John Textor Has A Blog

Looks like the saga of John Textor continues. When Digital Domain went down and took Florida taxpayers for a $100 million bath I speculated that it would become an election issue. Well current Governor Rick Scott will be taking on the previous Governor Charlie Crist who presided over the Digital Domain deal. It seems the Scott administration would like to utilize an investigation on the Digital Domain bankruptcy to potentially target Crist:

The script had the makings of a big-budget Hollywood blockbuster: greed, corruption, special effects, and a star-struck audience willing to suspend belief. In the real world, there was no Hollywood happy ending. The hero did not save the day. The villain was not defeated. Instead, the story ended with Florida taxpayers being cheated out of over $80 million dollars.

John Textor has since moved on to help start a new VFX company called Pulse (which shouldn’t be confused with the UK firm Pulse VFX of course). There was a bit of controversy in social media circles as Pulse seemed to take credit for work the company did not do like Avatar, X-Men, Tron, and others but who cares these days right?

Well now John Textor has a blog to set the record straight:

John Textor and his team were able to rebuild the reputation of the studio and expand its profits. The ultimately revitalized Digital Domain received the industry’s highest honor, the “Best Visual Effects” Oscar for “The Curious Case of Benjamin Button” in 2009. It was during this period that the idea of expanding beyond just being a “gun for hire studio” and moving into the “Pixar” model of being the creative team/studio behind the films emerged.

As I pointed out on my blog years ago, John Textor privately warned of a “train wreck” pertaining to the Florida deal.

“At this point, I am fairly certain that a train wreck is coming,” Textor wrote in an email to Stork on Feb. 9, 2010. “I have no choice but to deal with it because of the promises I have made to the state of Florida. I HAVE to deliver jobs.”

But who cares! Forget about those pesky facts. Remember it’s all about the love for the VFX industry!

Soldier On.




153 Responses to John Textor Has A Blog

  1. Paul says:

    Gotta give the guy some credits, he just will not give up! or in…

  2. Rex Lewis says:

    These stories are like the Energizer Bunny… great reporting, once again Soldier’s revelations become reality. He’s like a god damned VFX Nostradamus. Soldier on, we love it!

  3. Reality Distortion Meter Test

    John Textor has continuously misstated facts. I can’t speak to some of the things John has publicly stated as I wasn’t there and I don’t have all the info. What I can challenge Mr. Textor on is his continuing manipulation of the truth regarding Digital Domain (version 1).

    Mr. Textor now has a blog that tries to paint a rosy picture of what happened to DD under his watch and what his new effort is all about. His blog states:

    “At the time the reputation of the FX studio had been slipping from the glory days of “Titanic” and the profitability was way down. John Textor and his team were able to rebuild the reputation of the studio and expand its profits.”

    Actually, after the “glory days’ of TITANIC and after Mr. Cameron left the Company, DD had the most profitable years it ever had. Now that’s not to say we were a thriving business that could go public, but we were cash flow positive and when Mr. Textor “bought” DD (he used Other Peoples Money) in 2006, there was $18 million in treasury. After the stub year of 2006 (where DD and its accountants rejiggered a few numbers), Digital Domain, under Textor’s regime, lost tens of millions of dollars and never once was profitable, and yet he was somehow able to IPO though he eventually bankrupted the Company.

    The blog further states:

    “The ultimately revitalized Digital Domain received the industry’s highest honor, the “Best Visual Effects” Oscar for “The Curious Case of Benjamin Button” in 2009.”

    Wow… really?

    Between 1993 and 2006 ( DD v1),

    5 Academy Award Nominations
    2 Academy Award Wins
    4 Academy Sci Tech Awards
    35 Clios and Cannes Lions
    1 Grammy
    1 MTV Award

    Between 2006- 2012 (DD v2)
    3 Academy Award Nominations
    1 Academy Award win
    2 Clios

    And… Benjamin Buttons was started and funded well before Mr. Textor ever even knew what Nurb surfaces were.

    So… John, get your facts straight. There are people that will question your statements because they were there.

    • John Textor says:


      I appreciate your comments. I am not the author of the entry on my blog and I will review for accuracy to address your concerns. It does seem a little fluffy. I can assure you, however, that it is not my intent to portray the course of DD as rosy. That said, you are also aware that the circumstances of your sale to our group did not represent for you a ‘successful’ outcome as your LinkedIn page would suggest. Your company was in default with its March 2006 obligation to repay capital to Cox and you were forced to sell. We both know what it feels like to lose a company we love to a financial agenda. I am not sure why this fact would be debated between us. The transaction which I arranged, and in part funded (combined with seller notes that I also personally guaranteed) was extremely helpful to you and the other shareholders, preventing a significant lawsuit that would have surely resulted from the conflicting interests of yourself, IBM, Cox and your other partners.

      As for the state of the company, you were betrayed by your management team who collectively threw you under the bus in their attempt to look good to our incoming team of ownership. If only they could get rid of you, they could prosper. Sound familiar? It would not be the last time that story would be told at DD. I actually learned later that you were not the demon you were portrayed to be and I was heavily criticized internally when I suggested bringing you back in to a role some time later. The daggers are sharp in the VFX world and Venice was no different.

      Whatever the case, it is true that the aftermath of our purchase allowed the company to dramatically improve the quality of projects that DD was able to deliver. The recent film projects of DD at the time of our purchase were not of a level of industry importance as they once were and, of course, no where close to what they would become. From ‘Zoom’ and ‘My Super Ex-Girlfriend’ to ‘Pirates’, ‘Transformers’ and more…the projects at DD would again become industry significant….and Benjamin Button? I honestly cannot respond to your comment that this film was started and funded before I arrived. That’s just dishonest Scott. Started in test? yes, there was a test that looked nothing like what the film or character would become…and the film was definitely not funded. We had to win that project all over again after multiple rounds with Fincher and the studio. Like it or not Scott, the company had lost its luster as a leading VFX company and it was known for ‘bait and switch’ tactics of bidding whatever was necessary to win a projector, only to reveal the true pricing later. We had to work incredibly hard to overcome that reputation.

      Anyway Scott, why does this still matter? We helped you out of a difficult spot without realizing how you would resent us all for buying your company. You received significant cash and your employees’ options were allocated nothing of the proceeds. You were luckier than I was, but a ‘successful sale’ it was not. It is widely known that you love that company so much that you would have never sold it had you been able to pay back your de facto lender Cox.

      Here’s an idea. Why not stop tweeting and blogging and, instead, do something useful. Let’s get together and publicly discuss the history of DD in a way that actually lays out both of our many mistakes in a way that is truly helpful to the industry. I know we agree on far more than is obvious by this silly feud.

      As for me, since I first learned about Nurbs (sorry, but it was 1999), I have always been intrigued by non-entertainment applications of visual effects creativity and technology. I have never tried to be a Hollywood guy. I have always thought there were much bigger opportunities, and valuable purposes, for visual effects tech and people…and I have invested everything in my life to try to prove this (and obviously failed the first time)…but rather than blog about the challenges of our industry, or any industry that is doomed by the very nature of labor-based services that compete with offshore labor markets, I prefer to keep relatively quiet (I wish) and focus on the creation of content, projects and applications that create opportunities and jobs for domestic businesses and American workers. I love Canada, but I am a respectful nationalist…and I am sorry if this is unpopular on this site, I am part of a wonderful re-start that is already proving that high-end VFX jobs can be supported by new applications that originate from, but are not dependent on, the struggling feature film VFX trade.

      I am sorry to say this Scott…I do respect your pioneer roe in our industry…but it’s been a long time since you (your artists) won those Oscars and it’s been almost as long since you hired anyone. You should try it…it feels really good to give someone a job. Heck, after everything that happened, it feels really good to ‘have’ a job.

      I’ll trade all of the Oscar chances for a shot at rebuilding the wonderful opportunities that we set in motion at the flawed DD 2.0, this time without the legacy feature film VFX business hemorrhaging cash and dragging down new, more efficient business models.

      We are trying to do that now…and as crazy at sounds to ask, I would really like your support, spiritually, and that of the industry as well. If we are right, that character animation and photo-realistic human animation have applications that extend well beyond the entertainment industry, then maybe a whole bunch of us can have sustainable careers doing what we love, albeit a little differently than in our past.

      So what do you say? Two polar opposites sharing thoughts with whatever small crowd is willing to listen? I would like all that ever loved DD to have a chance to dig into the recent history if they care to do so. No question off limits. I am just not sure if it’s of interest at this late stage. More importantly, I do believe that I have an interesting perspective on the incentives debate and a number of ideas regarding the future for the talented people in our industry that inspire us both.

      In the meantime, all I can do to make up for mistakes in the past is keep working, keep hiring and keep hoping…JT

  4. […] that Digital Domain never needed to rebuild it’s reputation. Former Digital Domain founder Scott Ross points this out in my last post that DD garnered multiple nominations and awards on quite a regular basis. Furthermore, your […]

  5. vfx dude says:

    11 executives and/or chair members and four artists for that Pulse company. Wow, I had no idea their excel skills were that insane that they can pull off all that vfx. I’m looking forward for tutorials on that excel animation package.

  6. ExVFX says:

    WOW!! This is just all really sad on so many levels. I’m embarrassed for these gentlemen. What’s it like to worry more about your ego and reputation than how you’re going to pay the mortgage?

    Awards? Nurbs? I don’t think anyone’s used nurbs since 1995!

    Is this real?


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    wow wow

  7. Ian Miles says:

    I listened with interest to a recent podcast concerning the DFX industry and comments by Danial Lay bemoaning the apparent decline of DFX companies in the US. It is with a certain amount of amazement whenever people outside the US hear sob stories about US companies and individuals criticising other coutries policies in relation to job creation and competition. For the past 30 years, the US movie industry has used it’s size, near closed domestic market and US media outlets to pump other countires full of US media to the point where many countries film industries have almost died or are on life support. Even when other countries make outstanding films, the monoculture in the US demands that the films be remade to the inexacting and mediocre standards desired by the US consumer (Nikita, Girl with the Dragon Tattoo, Brødre). This guarantees the continued ICU status of film culture in other countries bu the continued profiteering of the US industry. The US pioneered the FX film but more importantly the increased use of DFX instead of actors, script writers and creators challenging media. The best example being Transformers, the WASP dominated, misogynistic sometimes racist films based on cultural theft, with no story but enormous DFX budgets. Hollywood continually demands less and less from the audiance, in the same way fast food makes life, quick, easy and cheap with the very visible negative consequences in the role of giving people what they want. The dollar machine even now uses the Trojan Horse of employing actors from other countries to be in films in order to facilitate an easier marketing campaign back in the national markets of the actors. It is ever increasing and now encompasses TV. It has got to the point where it now takes foreign film makers to make serious films and to its logical conclusion, films that tell a story Americans are completely unable to. Django Unchained, versus 12 Years a Slave. Which one was the better film? The US has embraced DFX like Lance Armstrong embraced Doping, with similar consequences. Any Special Effects company can move to a new and cheaper location, to take advantage of lower salaries, housing and living costs or change its business model. The US consulting industry is home of the new must have business models that US companies must adopt to gain advantage, offshoring, onshoring, outsourcing, insourcing or low cost deskilling. US DFX companies could even gain competitive advantage by accessing different cultural perspectives and cultural traditions or even move round the corner. However this is not the American way. The American way is to breed within the domestic market, often putting up barriers to competition, national monopolies or giants. The historical examples of this are numberous. Microsoft an out and out monopoly, allowed to grow and thrive over many years unchecked by the US. Coke / Pepsi, Boeing and US Studios also rate a mention. Not content with history, it is also continuing. Google, the near monpolistic company who name is now in the dictionary and about whom 90 minutes advertising films are made by a willing Hollywood. They are allowed to grow to universal dominence without any thought of the need for diversity and competition and often subsidised indirectly by the US State. These are then unleashed on a set of external markets with little economic muscle. It happned in the film industry. Once the Tsunami of US cultural medicority has worked its magic, the only way industries can recover is to use any means to regroup and grow or even batter their way into the US which is often simply not possible. These means of recovery include: job creation ncentives, marketing, directed university learning and other tools. However it is the utter arrogance of the insultated, vacuous and bloated American who then whinges because national industries fight back with whatever methods they can in the market place now modified and then defined by US companies. The only silver lining in the film industry has been some other media companies breaking open the US domestic market and feeding off the fat. Once in a while there is a beacon of hope amoungst the sludge of mediocrity – Redford and Sundance for example. It was the same in the US auto industry, where once the barriers to competition are broken, the true nature of many protected US companies can be seen once competition moves in. It is no different in the FX and DFX industries. Back in the real world DFX copmpanies from other countries are also suffering. However they have suffered for many years. Welcome to the world the US media tsunami created.

  8. […] characters in the film jumping into famous works of art and their adventures inside the artworks. John Textor was previously Chairman and CEO of Digital Domain Media Group and Digital Domain […]

  9. […] was just the beginning of Textor’s career as an executive. Since that time, he has also been Sims Snowboards’ chairman and CEO, Lydian Trust […]

  10. […] well and it isn’t going anywhere any time soon. The man leading the charge goes by the name John Textor and you are familiar with his work, even if you aren’t familiar with his […]

  11. […] and relationships with companies in major media. Even though audiences may not realize it, Textor has led the companies he has worked for while they produced work which audiences will recognize. He is known for […]

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