ABOVE: Night shooting in the Australian desert on ‘Australia’. Di was about to leave the VFX cave to go back to set and the only way around was via head lamp lighting...

We sat down with Di Giorgiutti, Executive Producer of Features, to talk a little bit about her role at Luma and how she got her start in the VFX industry. She joined us from Marvel in 2015, and has been an industry heavy hitter, working on films such as The Matrix, Australia and Ant-Man to name a few. Di opens up about how she got her start, insider industry info, and her Hollywood crush.

Tell us how you got started and a bit about your background?

It was the first Star Wars film in 1977 that kicked me off on my path to work on films. I walked out of a local cinema in Sydney, miles from the hub of movie making, and said to my sister “I’ve got to do that, work on films like this!”

I completed high school, but back then there were no film/tv courses so I got a job as a PA for a small production company. It was being a PA that allowed me to see all facets of production and that’s where I decided that being an editor’s assistant was what most interested me at the time. It was still very analog in those days, so quite technical in terms of operating the big pieces of equipment – tape machines the size of refrigerators, patch panel walls connecting all the machines to telecine and edit bays, etc.
Being in the editorial/post production environment led to an added interest in telecine and the process back then of taking film and color-grading it to tape for editing and post purposes. During this time I covered a lot of projects including pop videos, commercials, and the highlight – working on the first Babe: The Gallant Pig film.

During Babe I was exposed to more of what was happening in film overseas and heard a lot about the digital action going on in London. With my Italian passport in pocket, I moved to London in early 1994 as soon as Babe was finished. It was in London at Rushes (then owed by Sir Richard Branson), that I essentially transitioned into the world of VFX production. I worked with high-profile commercial and pop video clients, while also touching on some VFX work on a couple of Bond films. I was also in partnership with a production company called ‘Big Tuna Productions,’ which owned two avids and did a lot of music commercial work, pop videos, and short films.

It was five years into my time in London that I got a call out of the blue to see if I was interested in returning to Sydney to work on a film called Matrix. For no real reason other than the yearning to return home for a while and a little lightning bolt that struck me, I traveled less than a week later to Sydney and embarked on the ride of a lifetime!

After seven years of working on all three Matrix films, dabbling in Romeo Must Die somewhere in between, I worked on a few other smaller features, finally landing back home in Sydney in 2006 to work with Baz Luhrmann on Australia. This was a two year project and during the end weeks of post, I got another out of the blue call from a Victoria Alonso to talk about joining her at Marvel to VFX produce Thor. After over six wonderful years at Marvel, during which time I met and worked closely with Payam and Luma, I decided to join Luma- a company I had become a huge fan of and admired greatly.

How did you segue into becoming a VFX producer? When you set out on your career path, did this ever cross your mind?

My segue into VFX producing really just kind of happened. My guess is that given my many years of working the technical side of things, it was a natural happening to transition into management. I understood the tech side really well and this gave me an instant aptitude to producing; especially with the added skill of understanding all the challenges faced by the artists and crews.

What film did you work on that helped you realize VFX was what you wanted to do?

Why, the first Matrix, of course. Matrix was and still remains the most exciting, mind-bending and where I learnt the most and made some of my best ever connections and friends!

Did you have any mentors? Who were they and what did they teach you?

I did not really have any mentors as such, but there have been a few people along the way who have particularly inspired me – The Wachowski’s being two key people.

Matrix won an Oscar for Best VFX. How does it feel to have your work receive such honors?

Even 16 years after it won all the Oscars it was nominated for (Editing, VFX, Sound, Sound FX), I still feel super proud and honored to have been a part of the whole experience. And having been invited to attend the 2000 Oscars and be there for the win, certainly made me feel that my contribution was all the more valuable. The fact that The Wanchowski’s invited me back for the sequels was also an honor and made me all the more proud of what we achieved as essentially a small team of kids growing up and learning on the job.

Tell me more about The Wachowski’s. How closely did you work with them? How involved and specific were they about the VFX needed for the film?

The W’s are now 100% family to me and I know the feeling is mutual. Matrix was truly a young group of us exploring and learning about the limits of VFX whilst on the job. It was like we all grew up together doing something we’re all passionate about, and also being allowed to explore all options – lots was learnt!

The W’s thus were VERY involved in all aspects of the film, including VFX. Back then they saw VFX as the tool to achieve the ‘comic book/graphic novel’ effects that they grew up loving. The best way to describe this is when you read an action packed graphic novel panel, the artist will have drawn in lines to show the subjects in motion. This is one of the albeit simpler effects that we had to develop, but it was critical to the W’s. This and bullet time, of course! It was the bullet time shots that was my biggest task on the first film: I was put in charge of producing each of the 4 shots, which was a mammoth undertaking on all levels….but this is a whole other story!

And what about Kenneth Branagh for Thor?

Ahhhh, Ken Branagh, who is now Sir Ken...he was a treat to work with as well. Ken was like the most polite and efficient director I’ve ever worked with. Not that the W’s were not polite and efficient, but Ken was almost soldier regimented on starting meetings on time and ending within an hour no matter what. Thor was also the first shoot I’d ever been on where we did no overtime at all, and it still remains to be. Having said all this, Ken is one of the most talented and involving ‘actor’ directors. By this I mean that he really gets into the role and involves the actors in developing their characters – he’s not shy to get on the floor and roll around demonstrating how he wants a particular moment to go. Because of this, he was MOST popular with ALL the actors!

And I can say the same of Baz Luhrmann. He’s also very much an ‘actor’ director. Baz would also do many show and tell moments describing how he wanted a scene to go down. Alas, Baz has an extra element of fantasy in his show and telling – he really is a character and most inspiring!

What’s your favorite type of film to work on. Why?

Not that I’ve done many of them, but I am way more interested in films that have ‘hidden VFX’. I am a fan of movies where you can not tell that there’s been a lot of VFX work done on them. Films like historic period films (like Australia, which I worked on with Baz) and films like Sicario. I have worked on tons of big, superhero films, which are always loaded with VFX, but you know they are there because most of the environments are sci-fi or fantasy. Ant-Man was less so, but the whole macro world of fantasy is oh-so-cool!

What is your favorite film(s) and why?

Ooooh, I am a softie and love the period historic romances! Some of my favs being Pride and Prejudice, Emma, Jayne Eyre, etc.
But I would have to say that whilst I read the script and it did not make sense to me, Matrix is still up there as one of my top five all time films – and yes, I am partial to it, having worked on it! 🙂

How did you cross paths with Marvel?

Marvel came my way via a call out of the blue from Victoria Alonso. I was in my last few months on Australia with Baz, and after two hour-long conversations with Victoria, I was all set to start immediately on Iron Man 2. Alas, Australia ended up extending by 2 more months and Iron Man 2 could not wait for me any longer, so upon finishing with Baz I went back to LA and met with Victoria regarding Thor. A couple months later in March 2009, I started at Marvel for another ride of a lifetime!

Which was your favourite Marvel film? Why?

Ant-Man for sure! Not that Thor and Thor 2 were not amazing experiences and where I forged my relationship with all the Marvel execs and teams, but Ant-Man was more of a story I could relate to – being less superhero-y. In fact I had done a breakdown of the Ant-Man script earlier in the piece whilst finishing off stereo delivery on the first Cap, and I loved the script so much that I asked Victoria if I could be involved in it next. In the end Ant-Man delayed a couple years, so then I did Thor 2 next, which then nicely led into Ant-Man.

What made you decide to join the Luma team?

Lots of things, but key to it all is the kind, caring and thoughtful mentality of Payam, and thus the same goes for all the people he has gathered over the years to form Luma. Everyone, whilst waaaay younger than me, are super nice, fun, approachable, inspired by their work, and obviously good at what they do. That too is key for joining Luma: you always want to back a horse you believe in, and from my many years working with Luma as a vendor, they had proved themselves over and over as being the company that can do it, no matter what!

How would you best describe Luma’s culture?

Best ever! There are are tons of culture activities. I am not a huge participator myself, but I do love to watch all the kids have fun and most letting go and enjoying themselves….and most important, each other! After all, we are all here together at work more than we are with our loved ones, so being happy together at work is important!

What has been the most challenging project for you?

I’d say Australia was the most challenging – not from the VFX point of view – but due to the VFX challenges combined with shooting for nine months, mostly in the outback of Australia! There was no internet, and at various points I was driving between main and second units for three hours in the outback on my own, through fjords with crocodiles, deserts with snakes, and other natural hazards – total four wheel driving adventure stuff – but still hair raising and all whilst managing the VFX! If you are talking the most VFX challenging, then Matrix again was the most challenging on this front; especially, the Bullet Time shots which were my key task to prep and manage all the way thru to completion.

In your opinion, what skill do you posses that makes you good at what you do?

Simple: loving and understanding people of all sorts. Oh, and patience too!

Do you have any tricks to handle the particular craziness of your job?

Ha….I hate to say it or use that overused saying, but ‘Keep Calm and Carry On’. Being calm and thoughtful and not reactionary has been me all my life – I get it from my Dad. I think that when you take a breath with every problem thrown at you, you can deal with it all much better, Never rush into anything without taking a pause to figure out the best plan of attack.

How do improvements in technology impact on your work? What role does tech play in your job?

Probably the biggest recent thing which has changed things for me in the most positive way is iCloud and having all my devices linked! So not so much a VFX thing, but it’s been amazing to me in my current role. This means at any time and place I can be easily accessible. Most of my work is done via email, so being able to do this from anywhere and having access to email history, etc – best thing ever!

Do you miss any of the older VFX techniques?

Not really. I guess if I miss anything, it’s that things are not shot more in camera and there is too much reliance put onto VFX to help storytelling. And unfortunately, not a lot of films pull this off very well, in my humble opinion.

Let’s talk about your other passions in life. I’d love to expand on your side projects or hobbies.

Family and friends are a huge passion of mine, so a lot of my spare time goes towards keeping in touch and supporting them. I also have a dream to set up and own a wine bar some time in the future. I have all sorts of ideas for it, but there’s lots to learn about working in the restaurant industry, so one step at a time: I will be starting with a Sommelier course soon!

What do you do to unwind after a tough day at work?

Most nights as soon as I get in my apt door, I kick off the ole shoes, plonk on the couch and chat with the man about his day, my day, etc. Hearing about someone else’s day/life always puts good perspective on your own. Oh, and there might be a glass of vino thrown in there somewhere. And if you want something more saucy, I love fencing and boxing, so there’s a night or two per week where I’ll go beat the shit out of someone! 🙂

Working in this industry for quite a few years, have you ever developed a Hollywood crush on anyone you have worked with? Be Honest!

Without a doubt…. and a ‘mini’ one that, because I am a total realist….Tom Hiddleston! 🙂

What is the first website, app or thing that you open/do in the morning?

My Mac Mail to have a looky see at what’s ahead for the morning.

Can you name the biggest lesson you’ve learned in your career?

Trust and respect are ‘key’ to success in anything you do, be it work and life in general!

Who is on your collaboration wish list?

Ha….JJ Abrams.

Any plans for life after your career in VFX?

Retiring back home to Sydney….and that wine bar.