Especially after an unwelcome studio re-cut of the remake of his film-school thesis THX 1188, it was a vision to which Lucas enthusiastically aspired. Lucas sought to extend and amplify the power of the individual at filmmaking’s center, the director, with computing-much like the Force for a Jedi knight. When Lucas recruited its key members to Marin county in 1979-the lab’s director, Ed Catmull, along with Alvy Ray Smith, Tom Cunningham and others-it was, however, more for their expertise in digitally organizing the filmmaking process than in digitally rendering it. Pixar itself had begun as a small, eccentrically funded computer graphics lab at the New York Institute of Technology on Long Island, its founder’s seemingly far-off dream to make digitally animated movies. This vision relied on the ability of new technologies-computerized editing systems chief among them-to allow the filmmaker the same creative control on complex, high-budget projects that Lucas and Coppola had enjoyed as film students at USC. Lucas’s dream, together with his early mentor and collaborator Francis Ford Coppola, was of an independent artist-filmmaker, liberated from the dictates and follies of the market by a high-technology production environment.
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