JOHN C. WASH - TimeLine
APRIL 1949 - Into the World I was born on April 5th, 1949, to Patricia L. Wash and Allan J. Wash, Jr. at the Maynard Hospital in Seattle, Washington. My father worked at Northwest Airlines as Publicity Representative for their Seattle operations. I was the second child of the Wash family, preceeded by my brother, Allan Wash III, born four years earlier.
SUMMER 1958 - Road Trip In the summer of 1958, our family embarked on a six week road trip, starting in the Twin Cities, and traveling to Niagra Falls, Manhattan, Washington D.C., and Asheville, North Carolina, with many stops inbetween. My brother documented our departure as our Dad packed up the Buick at our first home in Edina.
AUGUST 1965 During the summer of 1965, I photographed my first film, collaborating with my Edina High School classmate, Mark Keller. Our work was entered in the Kodak teenage film competition.
1966 In 1966, I did camera work on a film project in Minneapolis. This was an adaptation of the Frank Wedekind play, Spring's Awakening. The film was made as part of the Guthrie Theatre's workshop program, with a cast drawn from the actors and front house staff of the theatre.
1967 In the fall of 1967, I enrolled at the University of Southern California, majoring in Cinema. I made a film based on a song by the group "LOVE" for the junior production workshop, a precursor to the then non-existant music video.
In the department's animation workshop, I made OXO-OMO-ONO, based on the art of cartoonist Rick Griffin.
|OLD MAN Lyrics|
|I once knew a man||I know the old man would laugh|
|Been everywhere in the world||He spoke of love's sweeter days|
|Gave me a tiny ivory ball||And in his eloquent way|
|Said it would bring me good||I think he was speaking of you|
|Never believed it would until||You are so lovely|
|I have been loving you||You didn't have to say a thing|
|Dear old man||But I remember that old man|
|He'd seen most everything||Telling me he'd seen the light|
|Gave me a piece of good advice||Gave me a small brown leather book|
|Said it would do me well||Insisted that he was right|
|I couldn't really tell until||I only heard him slightly|
|I have been loving you||'Till I heard you whisper|
|Took you up all in my arms|
|Now it seems|
|Things are not so strange||Dear old man|
|I can see more clearly||Wise old man|
|Suddenly I've found my way||Fine old man, now…|
1972 DARK STAR was my introduction into visual effects. While at USC I animated several display screens and graphics which helped propel the storyline. Eighteen months later, I filmed animated and miniature elements for the Phoenix Asteriods sequence.
1975 While working at Universal Studios commercial division, I was part of a team of animators that produced graphic sequences for the film, USArt, a chronicle of the fine arts in the United States during its first 200 years.
1978 I worked with Jay Teitzell and Dan O'Bannon to create screen graphics displays for STAR WARS IV, the original episode. CGI was in its infancy at the time, and although Larry Cuba produced the majority of a computer-generated simulation of the Death Star trench for use in the briefing room scene, Jay and I worked with back-lit artwork shot under animation cameras to produce our scenes.
JULY 20TH 1979 Christine Kuzmick and I married on July 20th, 1979, in Los Angeles. We first rented a house in Venice, California. Chris and I went on a backpacking honeymoon in Mineral King, a wilderness area in the southern Sierra Nevada Mountains. I promptly got altitude sickness, and we retreated from the mountain to the relative comfort of a local motel. We later made up for that with several trips to Hawaii.
1979 In 1979, I began my first independent business, MOTION GRAPHICS, producing graphic animation and production for advertising, motion picture, and television clients. For THE THING and HALLOWEEN III, I first used computer animation in my work, programming a Cromemco S-100 system in FORTRAN to produce CGI imagery for those films.
1981 In 1981 I worked as Animation Supervisor for Entertainment Effects Group, headed by Doug Trumbull. At EEG, I worked on the films BLADE RUNNER and BRAINSTORM, and first worked as VFX supervisor for Ridley Scott's Chanel No 5 commercial, "Gardens".
1984 - VIDEO IMAGE is born, grows up to become VIFX. Following the release of BRAINSTORM, EEG was sold to Richard Edlund, who reincarnated the facility as Boss Film Studios. I joined with three department heads at EEG to form a new venture, VIDEO IMAGE ASSOCIATES. In our first project, 2010, we provided video playback and screen graphics production for the film. During the thirteen year life of the company, we expanded into visual effects production for motion pictures, television, and commercials.
Television Series I next returned to active VFX supervision, working on the X-Files television series, Smallville, and Vampire Diaries.
MORE TO COME...