Douglas Huntley Trumbull (born April 8, 1942) is an American film director, special effects supervisor, and inventor.
He worked on the development of psychedelic animation for the film 2001: A Space Odyssey by Stanley Kubrick.
In 1971, he directed his first film Silent Running which used the visual and mechanical techniques developed for the film 2001: A Space Odyssey.
He then contributed these effects to the films Close Encounters of the Third Kind (1977) and Star Trek: The Movie (1979). In 1981, he was the visual effects supervisor for Ridley Scott's film Blade Runner.
In 1983, he produced a second feature film, Brainstorm, for which he developed the Showscan process which improves sharpness and brightness of an image.
He has also developed a lot of visual and mechanical systems for amusement parks.
After spending nearly thirty years away from Hollywood, Trumbull contributed to special effects work on Terrence Malick's 2011 film The Tree of Life.
He was nominated for five Oscars and received a Life-time achievement Oscar.
Source: Wikipedia
Unreleased project :
The short Let's Go (1985) filmed with Showscan process.


Fond Memories is our step-by-step overview of James Horner’s career. We aim for it to be as comprehensive as possible. If you have additional information that is relevant to this episode, please do not hesitate to contact us. This seventh episode covers the year 1983 and especially Brainstorm and Krull, two early highlights of James Horner’s career. This episode covers the following scores: Krull (1983) Brainstorm (1983) [divider]1983: KRULL AND BRAINSTORM[/divider]   The success of Star Trek II: The Wrath of Khan (see episode 6) and 48 HRS, the two movies entrusted to the young James Horner by Joel Sill, vice-president of Paramount Pictures’ music department, were


"If you build it he will come ..." Just like Ray Kinsella, the character played by Kevin Costner in Field of Dreams, a voice (or rather my intuition) led me to create the Association and the James Horner Film Music website. Every minute, every hour spent working for this project was partly guided by an objective I held close in my heart: publish a new, previously unreleased conversation with James Horner. I gave myself five years to get there. Next January we will celebrate four years of JHFM... Unlike the composer, who never listens again to his old music and who never


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