If you've ever watched Interstellar, you might remember the scene where Dr. Mann tries to engage the docking mechanism to the Endurance and take control of the ship against Dr. Brand's and Cooper's warnings. You can watch it here if you haven't already. It's a magnificent scene directed by Nolan; everything about it is pure gold.
In that scene, after Dr. Mann fails and his Ranger is destroyed with him in it, Cooper decides to attempt a risky manoeuvre to dock his Ranger to the Endurance. When Case(the robot) calculates every possible logical aspect and says, "It's not possible," Cooper responds, "No, it's necessary."
This fictional movie scene may seem unrealistic, but it resonates with my approach to design and creation in multiple ways. I can explain my thoughts and story further
Interstellar - Docking to the Endurance. Source: Youtube
Quality isn't just something nice to have; it's a necessity.
I have had the opportunity to work with over 100 designers throughout my career. Each of them brings unique backgrounds, skills, and incredible talent. I have seen fantastic work and remember most of the figures because of their talent and work. We used to admire a tremendous post-studio production artist who created superb composite work that was truly magnificent. We tried to match that level whenever we saw a piece from him. We never reached that level with Photoshop and Lightroom, but it brought us to a level we had never been before.
I have had the opportunity to work with over 100 designers throughout my career. Each of them brings unique backgrounds, skills, and incredible talent. I have seen fantastic work and remember most of the figures because of their talent and work. We used to admire a tremendous post-studio production artist who created superb composite work that was truly magnificent. We tried to match that level whenever we saw a piece from him. We never reached that level with Photoshop and Lightroom, but it brought us to a level we had never been before.
I have worked with great storyboard artists and painters who create stunning work. Working and evolving with their work helped us understand the depths of storyboarding we never knew before. We were chasing the craft, wanting to be good at it. We didn't care if it was possible, but it was necessary.
Many of these stunts have cost us in various ways, regardless of the task size or request. We used to take things seriously and aimed to achieve the quality we admired, driven by our desire to be second to none. This commitment came at a price, resulting in sleepless nights, minimal downtime, and even financial costs. While some may call it passion, it felt necessary for us. Whether we acknowledge it or not, we take risks; even today, I continue to do so. But are we taking enough risks?
...as your life's work depends on it
I am not simply suggesting we take risks on every random task we get. Check that clip again; Cooper took a calculated risk, analysing the spin of Endurance, matching it with Ranger's, and docking with his robot Case. Even the simplest leeway is there with all logical reasoning to save himself(at least avoid getting killed by an error) by not taking that risk.
I am not simply suggesting we take risks on every random task we get. Check that clip again; Cooper took a calculated risk, analysing the spin of Endurance, matching it with Ranger's, and docking with his robot Case. Even the simplest leeway is there with all logical reasoning to save himself(at least avoid getting killed by an error) by not taking that risk.
So, if you know your craft, get on it (like Cooper), take calculated risks, and excel in it, as your life's work depends on it. If you know someone who knows the craft, work with them (like the robot, Case) so you can learn to become stronger.
"If you know your craft, get on with it, take calculated risks, and excel in it, as your life's work depends on it."
This scene gives me goosebumps every time I watch it. That may be why Nolan wanted the scene exactly like that. If you think about it, even Nolan would never have been able to create that scene if he had settled for the regulars.
So, What stops us from aiming for goosebumps-worthy work or classy manoeuvres that make a mark on people's minds? Do you think it's a necessity in design and craft?
