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GEORGE LOCKWOOD Post Supervision |
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(818) 904-0101 phone |
(818) 904-0202 fax |
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An award-winning filmmaker in his own right, George Lockwood is, perhaps, best known for his long association with film experimentalist Pat O'Neill. His work, however is diverse, ranging from O'Neill's abstract narratives to his work with John Schneider (The Dukes of Hazzard, Smallville) on his family comedy Collier & Co.
In 1989, George designed and produced his first soundtrack, O'Neill's Water and Power, the landmark 35mm experimental narrative and winner of the Sundance Film Festival's Grand Prize. His body of sound work is notable, including such projects as O'Neill’s The Decay of Fiction (a project on which he also served as Director of Photography), Gregg Araki’s The Living End, and Jefery Levy's Drive (winner of the Venice Film Festival's Critics' Prize). Most recently, as sound designer, he has completed David Lebrun’s Proteus. He was the picture editor for the Le Mystere de Papa Loko (for the opera at the Burning Man Festival), numerous shorts and music videos, and Les Bernstein’s feature Night Train, a project on which he designed both the optical effects and soundtrack. In addition to producing his own work, he has contributed to the work of such well-known artists as Mike Kelley, Jim Shaw, and Donald Byrd. His desire and ability to teach has made him a sought-after guest speaker at venues ranging from Los Angeles’ Getty Museum to the New York Film Festival, Carnegie Mellon University, UCLA, and Pittsburgh Filmmakers. |
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George received his MFA from the California Institute of the Arts School of Film and Video in 1978. On completion of his degree, he set out to develop an in-depth understanding of the technical processes of the film medium. This course has taken him through a series of positions including chemist, optical supervisor, post production supervisor, director of photography, sound designer, editor, and director. His credits are also diverse, ranging from California Raisins commercials to such major films as the Robocop features, Total Recall, Darkman, and Return of the Jedi on which some of his responsibilities included such things as matching imagery being composited in 4-perf anamorphic at Lookout Mountain Films in Los Angeles to that being composited in 8-perf VistaVision at ILM in Marin County. In the mid-80's, working as the supervisor for RGB Optical he established workflow and QC protocols for the facility resulting in a four-fold increase in productivity in his first quarter. In conjunction with YCM Laboratories, he supervised the reprinting of such classic films as The Ten Commandments, American Grafitti, and White Christmas. He has been a regular judging panel member for television’s Emmy Awards in the category of Visual Effects. |
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With his features Buddies Galore and The Tao Is Down, he established a cinematic paradigm for socially based narrative production which has become a staple of contemporary digital media. It was not until the 1990's that his ideas, first explored in the '70's, regarding the use of non-actors on camera in contrived situations and the documenting of their interactions became commonplace. Not surprisingly, Mr. Lockwood embraced digital technology early, by the mid-1980's, years before it became the medium of choice for the film industry. |
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Before adopting film as his chosen medium, Mr. Lockwood participated in live theater as a performer and director of such works as Samuel Beckett's Act Without Words I, a piece regarding which he was interviewed by director Michael Ritchie for PBS. He soon sought to expand his vision of theater and found his way to film where he devised means of making the economic resources required by the filmmaker comparable to those of the painter or poet. These efforts would define much of today's digital production paradigm. His first feature, shot entirely on film, Buddies Galore, was made on a budget of just $900.
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Few in the medium possess George's breadth of experience which ranges from the deeply technical to a profound sensitivity to performance and dramatic structure. His work is frequently singled out for praise by reviewers. His experience across film, video, and digital media proves invaluable to those with whom he works. He has taught non-linear editing as a tutor and continues to seek teaching opportunities both in the academic realm as well as through tutoring and consultation. |
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As a musician, Mr. Lockwood’s experience ranges from the concert stage to James Cameron’s Titanic, for which his expertise on the Irish fiddle led him to play in 1996. Also in 1996, he produced for the American Film Institute and the Los Angeles County Museum of Art a program of live musical accompaniment for Pat O’Neill’s films Two Sweeps and Let’s Make A Sandwich. He has studied Carnatic (South Indian classical) violin with Dr. L. Subramaniam. In the mid-1980's he founded the Keltones, a four-piece ensemble exploring Celtic-influenced musics, with well known Latin American harper and composer Cynthia Valenzuela. In addition to his motion picture work, he continues to play with his five-piece ensemble, Buzzworld.
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