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Greg MacGillivray
Birthday:
1945
Biography
'Hollywood Don't Surf!' is really about how Hollywood's superficial view of surfing culture has influenced popular culture and the story of what happened when real surfers tried to change that.
'Hollywood Don't Surf!' is really about how Hollywood's superficial view of surfing culture has influenced popular culture and the story of what happened when real surfers tried to change that.
In a normal movie, the director controls what you look at. The shots don't last very long because you're getting the audience to look at specific things. An IMAX shot, on the other hand, can be twenty or thirty seconds long.
In a normal movie, the director controls what you look at. The shots don't last very long because you're getting the audience to look at specific things. An IMAX shot, on the other hand, can be twenty or thirty seconds long.
Grain isn't structured like a screen door that you're looking through, but pixels are. Film-based grain is just all over the place, one frame totally different from the next. So your edges are coolly sharp and have a different feeling, an organic feeling rather than this mechanic feeling you get with digital.
Grain isn't structured like a screen door that you're looking through, but pixels are. Film-based grain is just all over the place, one frame totally different from the next. So your edges are coolly sharp and have a different feeling, an organic feeling rather than this mechanic feeling you get with digital.
Flying through a hurricane is the most fearsome shaking you will ever get. Everything has to be tied down in the airplane. And the IMAX camera has to be rock-steady through all this. We had to design special mounts on the left and right sides of the cabin and in the cockpit to hold the cameras.
Flying through a hurricane is the most fearsome shaking you will ever get. Everything has to be tied down in the airplane. And the IMAX camera has to be rock-steady through all this. We had to design special mounts on the left and right sides of the cabin and in the cockpit to hold the cameras.
We have new tools that can give the audience a sense of not only being there, which is the key element in an IMAX film, but also seeing things in a way that they won't see on television or in feature films.
We have new tools that can give the audience a sense of not only being there, which is the key element in an IMAX film, but also seeing things in a way that they won't see on television or in feature films.
My goal is that after seeing 'Grand Canyon,' every person in the audience will go home knowing they have to conserve water: even something as simple as installing a low-flow toilet or showerhead, or turning off the faucet while they're brushing their teeth.
My goal is that after seeing 'Grand Canyon,' every person in the audience will go home knowing they have to conserve water: even something as simple as installing a low-flow toilet or showerhead, or turning off the faucet while they're brushing their teeth.
Not only have I made films about the subject, but I've largely funded them on my own, so I'm fully committed to doing whatever I can to change the audience's respect and appreciation for the ocean. In 100 years I want whales, dolphins and sharks to still be around, and the ocean to be a healthier place.
Not only have I made films about the subject, but I've largely funded them on my own, so I'm fully committed to doing whatever I can to change the audience's respect and appreciation for the ocean. In 100 years I want whales, dolphins and sharks to still be around, and the ocean to be a healthier place.
Satisfying myself is the point in filmmaking, in my mind.
Satisfying myself is the point in filmmaking, in my mind.
At first, the tornado is nearly invisible. Against the sky, it's white on white.
At first, the tornado is nearly invisible. Against the sky, it's white on white.
Film has far more color shades. It's called 'bit depth' in digital terms. And most bit depth in digital is about twelve, but film bit depth can be twenty to thirty. And so you just have more shades of yellow and red and oranges and everything.
Film has far more color shades. It's called 'bit depth' in digital terms. And most bit depth in digital is about twelve, but film bit depth can be twenty to thirty. And so you just have more shades of yellow and red and oranges and everything.
Marine scientists predict that by 2050 there will be no more large fish left in the ocean if we don't change our relationship with the sea.
Marine scientists predict that by 2050 there will be no more large fish left in the ocean if we don't change our relationship with the sea.
What's happening on the Colorado River is happening all over the world. The water is overused, overdammed, and it's polluted in some places.
What's happening on the Colorado River is happening all over the world. The water is overused, overdammed, and it's polluted in some places.
I've been using the power of the IMAX medium, with its gigantic screens and supervivid pictures, to get people to fall in love with the ocean.
I've been using the power of the IMAX medium, with its gigantic screens and supervivid pictures, to get people to fall in love with the ocean.
I love the ocean; growing up around Laguna Beach, I spent my summers surfing, diving, and snorkeling.
I love the ocean; growing up around Laguna Beach, I spent my summers surfing, diving, and snorkeling.
The ocean is our planet's life support system, yet in my travels and at home, I've seen its degradation firsthand.
The ocean is our planet's life support system, yet in my travels and at home, I've seen its degradation firsthand.
With digital, you do have the advantage of having an absolutely rock steady image because there's no projector gate, no perforations, no film weaving through a machine. And there's no dust and no scratching.
With digital, you do have the advantage of having an absolutely rock steady image because there's no projector gate, no perforations, no film weaving through a machine. And there's no dust and no scratching.
Greg MacGillivray
Greg has been producing and directing award-winning films for more than 40 years. He started making films when he was just 13 and partnered with Jim Freeman to form MacGillivray Freeman Films in 1966. He loves the continual chess game of making a film, where each move affects every element. Today, he has more than 50 films to his credit, including over 35 IMAX productions.Since the 1976 production of his first IMAX Theatre film, To Fly!, Greg has produced some of the most enduring films in the giant-screen genre. He has shot more 70mm film than anyone in cinema history and is the first documentary filmmaker to reach the $1 billion benchmark in worldwide ticket sales. Greg has received two Academy Award nominations for Best Documentary Short Subject: first in 1995 for The Living Sea, and second in 2000 for Dolphins. In 2002, the Giant Screen Theater Association honored Greg as one of the five most important contributors to the success of the industry. That same year, Greg accepted the Bradford Washburn Award, the highest honor bestowed by the Museum of Science in Boston, for his contribution to science education.One of the best parts of his job is that it has allowed him to spend his life sharing filming adventures with his family and film team. He's been everywhere, but among the coolest places he's travelled are Tibet in 1980, which he describes as "rough and raw," like the old west; Irian Jaya (New Guinea) in 1984 where he experienced the stone-age cultures; and Costa Rica, for the amazing surfing (except when Shaun was bitten by a shark!).A passionate ocean conservationist, Greg and his wife Barbara founded the One World One Ocean Foundation, a non-profit public charity dedicated to educating and inspiring the public through giant-screen films and companion programming about the need to take action to protect the world's ocean. Greg also serves on the Board of Directors for The Great Park in Orange County and Sylvia Earle's Mission Blue, as well as the Laguna Playhouse and Laguna Art Museum.
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