Pablo Holcer is a CG Supervisor at Sony Pictures Imageworks. His credits include: HOTEL TRANSYLVANIA 3: SUMMER VACATION, THE MEG, SMURFS, ALICE THROUGH THE LOOKING GLASS, AMERICAN SNIPER, FURY, THE INTERVIEW, THE AMAZING SPIDER-MAN 2, and CLOUDY WITH A CHANCE OF MEATBALLS.
Earlier, Holcer served as a compositing and sequence supervisor at Rhythm & Hues contributing to: PERCY JACKSON: SEA OF MONSTERS, 300: THE BATTLE OF ARTEMESIA, the Academy Award-® and BAFTA®-winning THE LIFE OF PI, HOP, YOGI BEAR, ALIENS IN THE ATTIC, NIGHT AT THE MUSEUM 2: BATTLE OF THE SMITHSONIAN, ALVIN2, the Academy Award®-winning THE GOLDEN COMPASS, ALVIN & THE CHIPMUNKS, SUPERMAN RETURNS, HAPPY FEET, THE CHRONICLES OF NARNIA: THE LION, THE WITCH & THE WARDROBE, ELEKTRA, THE FLIGHT OF THE PHOENIX, THE CHRONICLES OF RIDDICK, and AROUND THE WORLD IN 80 DAYS.
Holcer also worked at Industrial Light & Magic as a compositor on PIRATES OF THE CARIBBEAN, HULK, and TERMINATOR 3.
Originally from Argentina, Holcer worked at Patagonik serving on: CONDOR CRUX as co-director, art director, and compositor supervisor, LOS PINTIN and DIBU II as compositor supervisor, and DIBU as lead compositor.
Holcer graduated from Escuela Nacional de Bellas Artes, Argentina, as a professor of Painting and Drawing, the School of Fine Arts.
Name your three favorite movies:
MINORITY REPORT, WINGS OF DESIRE, and THE NIGHT OF THE HUNTER
What is your proudest achievement while working at Imageworks?
My proudest achievement is being able to pass the enthusiasm and passion I have for the craft to all artists working with me. Keeping the curiosity, energy and freedom alive, to create the best quality images possible for the Director’s vision on any given project. I really enjoy working with big teams and groups of artists. Fostering collaboration and camaraderie during tight schedules and big projects as with ALICE THROUGH THE LOOKING GLASS has been part of my achievements, too.
What inspired you to become involved in making movies?
What inspired me to get involved in movie making is the ability that a film has to merge all the different artistic disciplines, from writing, photography, painting, music, and dance in a coherent narrative that can move people’s emotions. I come from a painting and fine arts background; my mother loved the movies, with my brother as a theater director and my sister as a dancer, we all grew up watching movies of all sort and genres. I remember my teenage years waiting in long lines at Buenos Aires Cinematheque to watch the latest Brian de Palma, Scorsese or Herzog movie.