![]() So because its lifespan is measured in decades instead of months you have this constantly regenerating audience. It's also nice to think that the people in their late teens buying Garry's Mod today wouldn't have been able to even play/buy it when it was released 10 years ago. it's the Source engine - so you can run it on a potato - great performance is a feature. I can pretty much guarantee that every week more people watch it being played than actually play it. It's stayed so popular primarily because of the incredibly creative modding community. Pretty insane actually, it just broke 13m units earlier this year. How is Garry’s Mod performing these days? Why do you think the game has had such long-lasting appeal? so this backend aims to make everyone's work more visible to everyone else. ![]() So we evaluated where we are and what we need to do to be more agile, and I started working on a backend system for us.Īs we've got bigger one of the problems we found was that we don't know what people are doing. I want to get Facepunch into a position where we're kind of an incubator for talented game developers. We checked in with the developer earlier this year to see how Facepunch is changing, how Newman's opinion of Early Access has changed and what his plans for the future are. ![]() Now the team is hard at work on Early Access survival game Rust, among other projects. Having set up Facepunch Studios in 2004, the game maker set about working on the massively successful and pretty weird Garry's Mod. In 1998, I worked once more with George Lucas on The Phantom Menace, followed by Notting Hill, Sleepy Hollow, Band of Brothers, About a Boy, Shanghai Knights, Love Actually, Sahara, Match Point, Mamma Mia.Garry Newman is arguably one of the most prolific developers on Steam. Other films over this time included Judge Dredd, The Butcher Boy, for Neil Jordan and A Winters Guest for Alan Rickman. Kazuo Ishiguro’s Remains of the Day directed by James Ivory is still a high point in both a joy to shoot and emotional to watch.įeature work continued Assisting Kenneth Branagh on Peter’s Friends, Much ado About Nothing and Mary Shelley's Frankenstein. Howards End, The Remains of the Day, Surviving Picasso and Sense and Sensibility led to Director Guild of America Nominations. I moved to First Assistant Director in 1983 on Finders Keepers for Richard Lester, followed by work on a variety of films ranging from Missing in Action III, and Return from the River Kwai in the Philippines, to Nic Roeg's The Witches in London and Sally Potter’s Orlando in London and Uzbekistan. My onset production experience began with Euston television on productions T he Sweeney, Van Der Valk, Out, and Q uatermass starring John Millsįeature films over this time included The Squeeze, Nijinsky, Condorman, Superman 2 and 3, The Omen III, The Great Muppet Caper, The Dark Crystal, and Return of the Jedi. I continued working as a PA on several films followed by a short spell in the cutting rooms on the Herbert Ross Production of The Seven Percent Solution with editor Bill Reynolds. I entered the Film Industry with a job on the film One of Our Dinosaurs is Missing, for Walt Disney. It continues to be the best collaboration. Creative decisions and production ideas working together. ![]() Game of Thrones was the sum of those years of experience. I have always believed and hoped that I contributed creatively to every film I worked on. This included VFX Plates in Iceland, Spain, and Belfast, and many action sequences on episodes through Seasons 1 to 8. I directed every second unit of Game of Thrones. The experience of producing those 10 hours of feature quality drama, on schedule and budget was the foundation upon which I built Game of Thrones production plans for every season.īuilding worlds that were both convincing and affordable was a team effort built on our understanding of how to do it. The Show received 20 Emmy nominations with 7 wins. The theory and practice of shooting two units at the same time, covering multiple episodes with actors and directors moving between units, sets, locations, and countries was formulated by me for HBO’s Band of Brothers in 2001. My contribution to those 73 hours of unforgettable drama was the culmination of the previous 40 years experience. In 8 years, we made the equivalent of 40 films with production and story telling values that could meet and surpass many feature productions. Over 8 seasons our team produced a show that created a popular and cultural landmark, set a new standard in television and arguably across all filmed entertainment. The Producers Guild of America award for outstanding Producer of Episodic Television 2016. A total of 59 primetime Emmys over the course of the production. Game of Thrones won 4 Emmys for Best Television Drama.
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