5.24.2004

Interview with Kelly Carlton

We were fortunate enough to get in touch with Kelly Carlton, the Visual Effects Supervisor for the Director's Cut of Donnie Darko. Kelly was able to answer a few questions we had about the new film, as well as his working relationship to Richard. Visual effects play a big part in Donnie Darko and it was recognized as being one of the first movies in the history of the Sundance Film Festival to employ them on such a level. Considering the small budget everyone had to work with, the quality of the scenes is superb. Kelly was a key person in the additional material found on the Director's Cut (check out one of the new shots here), so we were excited he took the time to talk with us. — Number_5

R-K.net: How did you get involved in working with Richard? Are you from the Los Angeles area, and did you study visual effects in college?

Kelly: I had been working for several years at a film advertising company in Los Angeles creating titles and VFX when I met Rich through a mutual friend, Sam Bauer.  A year later, or so, Rich and I had several discussions about creating a main title and some effects for Donnie Darko.  After reading the script, we began working on some of the ideas and I guess the rest is history.  I am originally from Kentucky, and I studied fine arts at Georgetown College and at the Univ. of Cincinnati where I received an M.F.A. in Electronic Media.  I learned VFX after moving to Los Angeles. 

R-K.net: What was your role in the original theatrical cut of Donnie Darko?

Kelly: For the original cut, I created the main title, the shot of the dismantled school hallway on the ocean, and the VFX for the bathroom scenes where Donnie touches and stabs at Frank through a force field.  I also did cleanup work on some of the bathroom shots and corrected a misspelling on the Jim Cunningham newspaper headline.

R-K.net: We understand you did the new visual effects for the Director's Cut, which make up a good bit of the new material. Without giving too much away, should we expect (and I'm going to use official Hollywood lingo here) some "freaky new shit?"

Kelly: I think the VFX will have huge impact on the Director's Cut in terms of narrative and style.  As far as the freakiness factor goes, Richard went pretty crazy on a lot of the shots.  There's going to be a lot to absorb.

R-K.net: How involved was Richard in the design and creation of these new effects shots? Is it a case of him telling you what he's looking for and then you painting the picture on the screen?

Kelly: Richard has an enormous passion and interest towards the VFX in his films.  He is involved at every stage from concept to finishing touches.  Richard will usually describe what he's looking for, and then I will create my interpretation of the idea and then we will go from there.

R-K.net: What projects are you working on in the future? Any other Richard Kelly films?

Kelly: Currently, Rich and I are discussing his next project Southland Tales.  It sounds like it will be a very VFX laden film.  I look forward to the challenge and working with Rich again.

R-K.net: Anything else you'd like to discuss?

Kelly: Be sure to check out the trailer for Donnie Darko, The Director's Cut.  I produced and created the graphics for it at Intralink Film for New Market Films.  It's awesome.

R-K.net: Kelly, thanks for taking the time to answer our questions, and I'm sure diehard fans will be foaming at the mouth in anticipation of the new material you helped create. It's obvious that Richard didn't just hire you for your first name. :)