ROBERT STROMBERG (Director), who is making his feature film directing debut, won
the Academy Award for
Best Art Direction (shared with Rick Carter) for the highest- grossing movie of
all time, James Cameron's "Avatar,"
repeating the feat one year later when he landed his second Oscar for Tim
Burton's 3D fantasy-adventure, "Alice
in Wonderland," currently the sixth highest-grossing film worldwide. He earned
his first Oscar nomination, as a
VFX supervisor, for Peter Weir's "Master and Commander: The Far Side of the
Stromberg's most recent project as production designer was Disney's "Oz The
Great and Powerful," directed by
Sam Raimi. The movie released in the U.S. on March 8, 2013.
Stromberg is a second-generation industry veteran, whose father, William R.
Stromberg, a low-budget filmmaker
(1977's "The Crater Lake Monster") and visual effects cameraman, introduced the
fledgling talent to the world of
film and design as a youngster (his brother, William, became a film composer).
Stromberg began his own career
in the mid-1980s, specializing in matte paintings with the company Illusion
Arts, for owners Bill Taylor and Syd
His early feature film work includes "A Nightmare on Elm Street 5: The Dream
Child"; the 1989 remake of H.G.
Wells' adventure story, "Journey to the Center of the Earth"; "Tremors"; Martin
Scorsese's "Cape Fear" and
"The Age of Innocence"; Rob Reiner's Oscar-nominated drama "A Few Good Men";
Barry Sonnenfeld's comedy
sequel, "Addams Family Values"; Robert Rodriguez's vampire thriller, "From Dusk
Till Dawn"; the Sylvester
Stallone actioner, "Daylight"; Rob Cohen's epic fantasy, "DragonHeart"; and Ed
Zwick's contemporary wartime
drama, "Courage Under Fire."
In between movie assignments, Stromberg also collaborated on such TV projects as
two episodes of "Star Trek:
The Next Generation"-"The Best of Both Worlds" (his first Emmy nomination,
1991) and "A Matter of Time"
(winning his first Emmy honor in 1992). He also contributed to the "Star Trek:
Voyager" pilot episode called
"Caretaker," for which he shared his second Emmy Award in 1995. He also
collected an Emmy nomination in
1994 for HBO's drama, "Fatherland," a fictionalized account of what might have
happened had Hitler survived
and triumphed in WWII.
As the art of matte painting evolved into the digital world, Stromberg formed
his own visual effects company in
1998, Digital Backlot, which soon became a recognized name in the world of
visual effects and design by such
filmmakers as Steven Spielberg ("Catch Me If You Can"), Steven Soderbergh
("Solaris") and Robert Zemeckis
("What Lies Beneath," "Cast Away"), among others.
Stromberg segued into visual effects supervisor on such projects as "Kull the
Conqueror"; "Dangerous Beauty";
Zwick's "The Siege"; the sci-fi films "The Chronicles of Riddick" and "Sky
Captain and the World of Tomorrow";
Scorsese's Oscar-winning drama, "The Aviator"; the television pilot for "Men in
Trees"; the big-screen adaptation
of the popular comic book, "Ghost Rider"; the adventure sequel "Pirates of the
Caribbean: At World's End";
Paul Thomas Anderson's Oscar-winning drama, "There Will Be Blood"; and Ben
Stiller's action comedy spoof,
He also collaborated with filmmaker Peter Weir on 2003's "Master and Commander,"
for which he earned Oscar,
BAFTA and VES (Visual Effects Society) nominations, while reimagining the roles
of visual effects supervisor and
production designer into a combined craft called "visual effects designer" that
allowed Stromberg to create a
film's physical sets during actual production, then remain on the project during
post to work with the director in
overseeing the creation of its virtual elements.
In 2005, Stromberg met James Cameron, beginning a collaboration that would
evolve into the creation of the
world of Pandora for Cameron's new film "Avatar." Along with Rick Carter,
Stromberg became co-production
designer on the epic fantasy film, winning the first of his two Academy Awards
along with the Art Directors
Guild prize and the BAFTA and a Saturn Award nomination. A year later, he took
home another Oscar for his
production design on Tim Burton's "Alice in Wonderland," in addition to
nominations for the BAFTA, the Saturn
Award and a Broadcast Film Critics prize.
His recent credits as matte artist include Stephen Sommer's action film, "G.I.
Joe: The Rise of Cobra," Roland
Emmerich's apocalyptic sci-fi thriller, "2012," and Oliver Stone's sequel, "Wall
Street: Money Never Sleeps." He
served as visual effects design consultant on the apocalyptic thriller "The
Road" (based on Cormac McCarthy's
best-selling novel), Scorsese's period mystery, "Shutter Island," and the pilot
for HBO's acclaimed series, "Game
His visual effects designs for HBO also include the 2008 miniseries "John
Adams," for which he won a Visual
Effects Society Award and his third Emmy for his efforts, and the cable
network's epic crime drama, "Boardwalk
Empire" (another Scorsese collaboration), for which he collected his fourth Emmy
Award (for Outstanding Special
Visual Effects for a Series).
In addition to his achievements in the film/TV arenas (where he has compiled a
list of over 100 credits), Stromberg
set his sights on directing by forming a production company called Moving
Target, where he spent two years as
a commercial director, creating spots for such clients as Firestone and State
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