It is said around Hollywood that Jon Farhat makes the hard stuff look easy. One of the industry's top Visual Effects Supervisors and Effects Directors, Jon brings nearly two decades of experience and tremendous talent to all of his projects, whether he is working on digital animation or effects, fine art conception and creation or software development. In the early '80s John created a computerised motion control system for stage effects and with a handful of others, helped build one of the first digital film scanners. His latest work on BLUE CRUSH (2002) further demonstrates his affinity for 'performance effects', a term he uses to describe effects done on actors. The face and body replacements he designed, shot and completed for the film are revolutionary. Jon's first foray into 'performance effects' was on THE MASK (1994), which garnered him a Visual Effects Supervisor Academy Award® nomination. Perhaps what he is best known for is the intricate digital effects he created for both THE NUTTY PROFESSOR (1996), which earned him a BAFTA nomination, and NUTTY PROFESSOR II: THE KLUMPS (2000).
Other notable credits include GRAND CANYON (also 1991, art director: DQI), THE MASK (1994), DEAD MAN (1995), MY FELLOW AMERICANS (1996), LIAR LIAR (1997), DOCTOR DOLITTLE (1998, also 2nd unit director), DRAGONFLY and BLUE CRUSH (both 2002), AMERICAN WEDDING (2003), THE INTERPRETER and DOOM (both 2005), UNACCOMPANIED MINORS (2006), and WANTED (scheduled for release in 2008).
Nominated for Achievement in Visual Effects 1994: THE MASK (w. Scott Squires, Steve Williams & Tom Bertino)
1 nomination