Wes Ball
Wes Ball is an American film director and graphic artist born on October 28, 1980.
Ball attended Florida State University College of Motion Picture, Television and Recording Arts. This period of formal education preceded his professional work across the intersecting fields of film direction and visual design.
In addition to his career as a film director, Ball has worked as a graphic designer and graphic artist. This dual professional identity reflects a sustained engagement with visual work across both still and moving forms, placing him among practitioners whose approach to cinema is informed by a background in image-making and design rather than emerging solely from a theatrical or literary tradition.
Ball conducts his work in English and holds United States citizenship, operating within the American film industry. His career spans film direction and graphic design, two disciplines that share a concern with how images are constructed and given meaning.
Quotes by Wes Ball
Everything is always against you when making a movie, and if you don't have a solid blueprint that the entire team can get behind and understand and then execute, then you're going to be lost on the set.
The script is so key to making a good movie. But everything is against you when you're making a movie: the logistics of putting a crew out where you need to go, whether the light is fading; if the weather's not right, something's wrong.
My background is in VFX, and I know from experience that the best VFX are when you have something real in the frame that you can either extend or work off of. It was really important to get as much as possible in camera, for real.
I have a few filmmaker friends who are known for shooting super-fast, and they say that you don't have the time to over-think things and how that helps things out creatively.
For me personally, when I was a kid, that's like the stuff I wanted to watch - all the R-rated stuff.
My job is to kind of nudge them. Who said it, where, like, '90% of the job is casting,' so all I do is try to come to set and focus on getting all the best shots to cover the story; that's really it.
You know, things that might work in a book just do not work in the visual medium of movies.
I always wanted to do a very fun, adventurous kind of car chase, and the opening of 'Ruin' is essentially like the 'Star Wars' trench run.
We storyboard a lot, but I love when we are just going in there and just, almost on the fly, making stuff and discovering moments. It's just fantastic, where you can really go in there and be creative and everything.