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John Bruno

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Early CareerEdit

John Bruno started out in animation in the 1970s working on television series like "Scooby's Laff-A-Lympics," "Godzilla," and "Heathcliff" as a layout artist. He worked on "Heavy Metal" in 1981 and was an animation supervisor at Industrial Light & Music for "Poltergeist" in 1982.

GhostbustersEdit

John Bruno was the visual effects art director, at Entertainment Effects Group, of Ghostbusters. Bruno was in Europe working on "Cheech and Chong: The Corsican Brothers" when he got a phone call from Richard Edlund to work on Ghostbusters. [1] Bruno supervised practical effects during filming. For example, at the location of the deleted Muggers scene, Bruno operated the battery pack and rheostat that operated the light bulb Rick Moranis held in his mouth as a placeholder for animation later on in production. [2] All effects storyboards were designed by Bruno with final polish by Brent Boates. In addition, in order to be as accurate as possible with the main production unit, Bruno would also sketch a rough layout of the location shoot. For example, he prepared a rough layout of Louis Tully's apartment. [3] At the set of Louis' apartment, Bruno was in charge of getting the coats of Ted and Annette Fleming to land properly on Vinz Clortho's head. It took him several attempts before the shot was acheived. [4]

CurrentlyEdit

John Bruno continues to work as a visual effects supervisor. He has worked on recent movies like the Twilight: Breaking Dawn two part movie, Avatar, and Hercules.

ReferencesEdit

  1. John Bruno (1999). Ghostbusters (1984) "SFX Team Featurette" (1999) (DVD ts. 01:05-01:16). Columbia Pictures. John Bruno says: "Once we finished Poltergeist, I went on to do a film called uh The Corsican Brothers. Cheech and Chong. I was in Europe when I got a call from Richard [Edlund], saying, 'Do you want to work on this movie?'."
  2. Shay, Don (November 1985). Making Ghostbusters, p. 149. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Calling upon his untapped powers as the Keymaster, Louis opens his mouth and emits an unearthly roar - accompanied by a stream of phosphorescent light to be added later using animation techniques. To achieve an appropriate interactive effect, a small lightbulb was inserted in Rick Moranis' mouth, with a concealed wire running to a battery pack and rheostat operated by John Bruno."
  3. Shay, Don (November 1985). Making Ghostbusters, p. 120 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "All effects storyboards were designed by Entertainment Effects Group art director John Bruno, with final polish by Brent Boates. In order to accurately storyboard the sequence in ouis' apartment, Bruno prepared a rough layout of the apartment and its content that he and the main production crew were in strict accordance."
  4. Shay, Don (November 1985). Making Ghostbusters, p. 114 annotation. New York Zoetrope, New York NY USA, ISBN 0918432685. Paragraph reads: "Getting the coats to land on the Terror Dogs head -- a job that fell to effects art director John Bruno -- proved to be more difficult than anticipated, requiring numerous repeat attempts before a successful shot was achieved."


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