I assumed Mark Fozbee wanted to ditch the taxi game for a life creating visual effects for movies.
I mean, he’s no different from everyone else who’s been a guest on the IADF podcast in that he daydreams of working on Hollywood blockbusters, but where Mark differs is in his happy acceptance that he’ll always do another job for a living: drive his London cab.
So, keep that in mind when you listen to his interview. It might make you feel better about your ambitions as you work behind the counter in Greggs the baker or dance around a pole in Spearmint Rhino.
Mark’s not new to creating and producing. Back in the early ’90s he was making music, printing it on vinyl and selling it round record shops. Here’s a clip below…
He’s since experimented with live action video, combining that with visual effects and he’s toyed with animation software. And that’s not to mention the old school welding and the like (he did an apprenticeship in mechanics).
And that’s the difficult thing to grasp about Mark Fozbee: he’s on a journey making things, and admitted he may not stay exclusively in VFX, but move onto live action, instead. He’s difficult to pin down.
Mark’s showing his mettle in VFX. He’s over 40 and dabbling in a creative sector we all associate with younger people (most often younger males).
His cabbying allows him to work at night, when it’s most lucrative, sleep when the kids are at school, then work at his computer with his family relaxing around him in the evening.
So he can’t spend huge swathes of time deep in FX work like those in their teens and early 20s do when they’re learning the software apps and working on projects.
It may take Mark longer to reach the same level of expertise, but he’s doing it just the same – combining domestic normality and digital dreams.
So maybe it’s the patience that comes with being over 40 and having domestic responsibilities that gives Mark his positive attitude to the limitations he faces around VFX and digital creativity.
Then again, maybe it’s the patience required to keep smiling while cabbying on London’s night time streets!
The Gemini Rising production is based in Los Angeles, but the team opted for a remote post-production model in which VFX artists around the world were hired to work out of their hometowns. This means up-and-comers like Mark here in the UK can contribute. There’s an obvious cost saving to this, as well.
He’s been working on the project since early 2011 and has contributed many dozens of VFX shots (see image below). And he’s built up a strong relationship with his line manager Nathaniel Nose, a relationship that may lead to further work in the future.
He’s got lots to say about working remotely, so if you’re facing a post project like Gemini Rising this will be of special interest to you.
Explore Mark’s VFX work at his MrFozbee You Tube channel.