During his five years at Haboush Company, Moreau worked on
numerous television commercials and the film K-9000. "It was all tradi-
tional animation, at that point. We animated on paper, then painted on
the cels in color. It was a wonderful time. There were all these boutique
houses and ladies that would paint the cels."
After leaving Haboush, he
freelanced for a time,
working mostly on commer-
cials and some film shorts.
Doug Trumbull, a former
director for Haboush, landed
a job on Close Encounters of
the Third Kind and hired
Moreau as an animator on the
film. "Stars don't show up on film, so we had to actually paint them.
We spit them out of an airbrush on black paper and then shot them.
The comets and little meteors, shooting stars, were all done by animation.
We animated the belly of the mother ship . . . " Many now-common ani-
mation techniques were devised on that film.
After Close Encounters wrapped, Moreau went to work at Apogee
(which later became Industrial Light and Magic) working on Battlestar
Galactica and its spin-off television series. "Unlike traditional animation,
these effects had to look real because people knew what fire, explosions,
and even lasers looked like . . . I fondly remember my time at Apogee,
being surrounded by really, really talented people--the most talented
crew of people."
Subsequently, Moreau spent two years doing camera work at Cinema
Research, moved on to compositing and effects animation at Perpetual
Motion Pictures, before returning to freelance work, which he continues
to do. Some of his film credits include Cats Don't Dance, Firefox, Little
Mermaid, Never Say Never Again, Rover Dangerfield, Spirit: Stallion of
Cimarron, Star Trek: The Motion Picture, and Titanic.
....
Practice on your
home computer and
hone your animation
skills. Constantly try
out new techniques.
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