Peter Bebb

BA (Hons) Woods, Metals and Plastics (3D Design), 1996

We talk to Oscar and BAFTA winning graduate, Peter Bebb, about his visual effects work on Hollywood blockbuster film, Inception, and how it all began at the University of Wolverhampton.

WLV: Congratulations on winning a BAFTA and an Oscar! You must be very proud…

PB: I am thank you; I feel very honoured. It's a huge accomplishment and testament to the work of the team at Double Negative.

WLV: You work as co-visual effects supervisor for London-based Double Negative. What does a typical day look like for you?

PB: My first task everyday is to check emails for any feedback from our US clients so that we can limit problems caused by the time difference. The team then gets together for ‘dailies’ where we review the work being produced by each person. This usually takes place in a screening room with the moving images projected onto the screen; just like a mini cinema. Most days also involve a process called ‘bidding’ where we review a client’s requests for a shot, for example using part of a script or a storyboard, and then consider different ways to achieve it. We do go home at some point but not for long. Ten hour days are very common!

WLV: What do you enjoy the most about your job?

PB: The creative process and being part of a team. There is always a great vibe in doing something artistic and something you are very passionate about. Then ultimately seeing your work in the cinema, nothing can beat that.

WLV: You graduated in 1996 with a BA (Hons) Woods Metals and Plastics (3D design). What are your memories of studying at Wolverhampton?

PB: Fun! University life was and still is a great experience. My course had great links with the industry which helped to put everything into perspective and it was Wolverhampton that introduced me to Computer Generated Imagery (CGI) machines. Thankfully the University had a CGI department – which back then was a real bonus as the technology was still fairly new to the industry.

WLV: What made you decide on a career in cinema special effects?

PB: By the end of the degree I knew I wanted to pursue a career in CGI. Being able to model, animate and render my product ‘in situ’ was a real eye opener for me. I also loved films and I knew that the technology could be applied in most fields so visual effects was the natural conclusion.

WLV: With special effects now included in most films, how do you think their use is changing the world of cinema?

PB: I think that the creative possibilities that visual effects offer to film makers has meant that some films are being written around the advances in CGI – and this isn’t a bad thing. Films such as Armageddon and Deep Impact, for example, simply would not have been possible without visual effects. Today they are just another tool for the director to explore telling the story with, no different to costume, lighting or make up. The effects I am most proud of are shots the audience don't even see.

WLV: What are your favourite special effects shots in cinema?

PB: There are many shots or sequences I have loved in film over the years. The most memorable being the birth of the ‘Batpod’ from the tumbler in The Dark Knight; Mal and Cobb's walk through Limbo square in Inception; and the tidal wave in The Day After Tomorrow – awesome!

WLV: Normally we like to ask graduates what their greatest professional achievement has been, but in your case we think we can guess your answer! So, instead we’d like to know what you would like your next great achievement to be.

PB: You’re right that winning an Oscar has been my greatest achievement to date but looking to the future I would love to work with the Coen Brothers, Ridley and Tony Scott and of course, Steven Spielberg!

WLV: What advice would you give a potential student of the University?

PB: Without a shadow of doubt my best advice is to follow your instincts. You must figure out what makes you tick. I'm a firm believer that if you enjoy doing something you'll put the time in and ultimately be rewarded. I’ve known people dread the prospect of going into work on a morning. Don't let that be you.