Life & Work with Matthew Gratzner of Playa del Rey

Today we’d like to introduce you to Matthew Gratzner.

Hi Matthew, please kick things off for us with an introduction to yourself and your story.
Growing up in Miami, Florida and being raised by parents who were each an artist and geneticist, my passion has always been rooted in art and science– Drawing, painting, sculpting and making anything that I could– all greatly influenced by history and watching films.

During high school I became involved in a theater company that did street theater, renaissance festivals and children’s theater– While this was an incredible outlet for creating artwork, sets, costumes and props– more importantly, it gave me the opportunity to perform as an actor and write and direct– Showcasing how the emotion of a performance could drive a story and engage with a live audience in real time.

After high school, my friend Bob Chapin (a fellow actor and multi-talent), got me a very unique job he previously had– Working as a sailor, performer and tour guide on the HMS Bounty, the tall ship constructed for the 1962 film, “Mutiny on the Bounty”. Bob then moved to Los Angeles and shortly afterward encouraged me to move to LA as well, stating, “For all the joy, frustration and aggravation of working in theater, you can have the same joy, frustration and aggravation in the film industry– but get actually paid for it!”.

So in 1992, my then girlfriend (now wife) Shannon and I, drove out and moved to Los Angeles. I didn’t really know how to break into the business, but wanted to be an actor and make films.

I ended up auditioning for Mel Brooks’, “Robin Hood: Men In Tights”, and was cast as a “Specialty Extra”, since during the audition I performed a choreographed sword fight with my friend Bob.

That was such an incredible experience, not only because I was working on a big Hollywood film, with one of my favorite directors (the first film I ever saw was Blazing Saddles in a drive-in– my parents thought that was an appropriate film to take a four year old to), but because I was tall and looked slightly mean, the AD on the show on day one cast me as one of the two personal guards to the Sheriff of Rottingham, played by Roger Rees. Which meant I was established and pretty much had to be in every scene Mr. Rees was in– which also meant I was on the show for months, and gave me the opportunity to get my SAG card.

The experience of working on the film was terrific– and while I loved acting, it was incredible and informative to see how the scenes developed as Mr. Brooks directed the actors, and I realized I loved the concept of being behind the camera even more.

However, since I never went to film school, or any college for that matter, but had art and fabrication skills, I focused on making props and models freelance, thinking that would be a good way to work on films and pay bills.

That turned into a business, that then in 1995, grew into a company I co-founded with Shannon Gans and Ian Hunter, called Hunter/Gratzner Industries, Inc., with the main focus being art direction and miniature effects for film. Then we developed that company into New Deal Studios, Inc., which expanded into production, digital effects, and with the goal of developing our own projects.

While I still kept my hand on writing and directing, with short films and commercials, visual effects projects monopolized all of my time… At the conclusion of designing and supervising some incredibly large miniature effects sequences for the film “The League of Extraordinary Gentlemen”, I decided to leave VFX and solely focus on writing and directing…

Which only lasted only one week, because I was presented with the opportunity to design and supervise the miniature effects for Martin Scorsese’s “The Aviator”. An offer I certainly couldn’t refuse and started my ten year relationship with Mr. Scorsese as a key member of Rob Legato’s VFX team as a Miniature Effects/Visual Supervisor as well as the Visual Effects Art Director.

Working with Mr. Scorsese was fantastic, and afforded me many opportunities to be on set working in and amongst the first unit to see the live action come to life; Indeed the best film school I could have ever attended, and energized me to focus on writing and directing.

Throughout that time I still had the opportunity to direct shorts and commercials and then co-wrote and directed two feature film westerns, “Hot Bath an’ a Stiff Drink” and its sequel, as well as write and direct a few 360º 3D VR films.

As the film industry continued to leave Los Angeles and technology became more homogenized, my partners and I decided to close our studio and focus on independent careers and projects.

I still absolutely love working with actors– Because the most valuable lesson I learned in my career in film, is while visual effects, art direction and stunt work are all extremely important visually– they must support the emotion of compelling characters and a strong story.

I’ve continued to write and develop traditional film and television projects, as well as writing and directing projects featuring new technology,  for Apple Immersive Video.  I also continue to make short films— my new project, Kendall ’77 is currently in post production; Which is a vast departure from my other projects that leaned into more escapist action adventure– this new film is an autobiographical drama that tells the story of my growing up with a bipolar parent; And yes, it includes visual effects supporting the story.

I’m sure it wasn’t obstacle-free, but would you say the journey has been fairly smooth so far?
No road is smooth or in fact a direct path to anything, especially in the film business. Some of the biggest struggles I’ve faced were keeping a business afloat in an industry that is 100% unpredictable.

One past challenge we faced, was since miniature effects were the core of our early business, we watched the technology of digital effects slowly, then very quickly replace what we mainly did.

We did evolve with the changes, including incorporating digital effects into our workflow; However, as visual effects became more cost effective, and international tax credits became more prevalent, the business became a global race to the bottom.

We always knew that technology was would vastly improve VFX, and were aware of where it was all going– I’ve been often asked “You started your former company in 1995, when did you know digital effects would replace practical miniature effects”. And my answer was always, “In 1993, When ‘Jurassic Park’ was released”. It was never a surprise.

The other struggle, or really lesson I’ve learned, which I share with anyone trying to break into the film business, is to keep your focus on your passion– it can be hard to steer a career back to what you really want to do once you’re locked into a different part of the business.

While my visual effects company gave me tremendous opportunities to work with incredible artists and on outstanding projects, it occupied so much of my time, it was very challenging focusing on writing and directing.

Thanks for sharing that. So, maybe next you can tell us a bit more about your work?
As a writer and director, I love to share stories that illicit a response from an audience. But my advantage is, also as an artist, I can visualize every aspect of a story before I even write it– which then is incorporated into the script.

I consider myself an old-school filmmaker regarding have a crystal clear vision and knowing exactly what I want for every aspect of a film or any visual project.

What I’m most proud of and sets me apart from others, is because I’ve previously owned my own company in the film business and was financially responsible for every high-end project I creatively supervised– I never waste anyone’s time or money.

And because of my diversified background in art and technology, this gives me the ability to communicate with not only actors, but every head of every department, leaving no one to second guess my or their decisions.

We’d love to hear about any fond memories you have from when you were growing up?
Creating artwork and getting a reaction from my parents.

Contact Info:

• Website: https://www.matthewgratzner.com
• Instagram: @matthewgratzner
• Twitter: @matthewgratzner

Image Credits
Gaiking: Matthew Gratzner, AJ Raitano
Hot Bath , Stiff Drink, an a Close Shave: Robert Patrick, Matthew Gratzner
Hugo: Matthew Gratzner
Kendall ’77: Matthew Gratzner, Jayden Aquirre, Angie Teodora Dick, Griff Furst
Mutiny!: Matthew Gratzner, Robert Chapin, Chris Halstead, Peter Bisson, Angie Teordora Dick, Paul Anthony Scott
Shutter Island: Matthew Gratzner
The Aviator: Matthew Gratzner, Leonardo DiCaprio