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Robert Weaver

Biography from TheMovieDB

Robert Weaver joined ILM in January of 1991 and began work as a technical director, lending his skills to an array of critically acclaimed films, including Contact, The Mask, Death Becomes Her, and Hook. He moved into the role of Visual Effects Supervisor at ILM in early 2000.  As a supervisor, Robert is responsible for the development and implementation of particular visual effects "looks" for various feature films. Some of his more involved projects have included Star Trek Into Darkness, Battleship, Harry Potter and the Half-Blood Prince, and Indiana Jones and the Dial of Destiny. This summer, he finished post-production work on Jon Chu's Wicked.  Information above via their homepage.

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Film Production

CG Artist:
1997  Contact

CG Supervisor:
1997  Contact
2004  The Chronicles of Riddick
2011  Cowboys & Aliens
2012  Battleship
2013  Star Trek Into Darkness

Sequence Supervisor:
1997  Contact
2000  The Perfect Storm
2004  The Chronicles of Riddick
2009  Avatar
2011  Cowboys & Aliens
2012  Battleship
2013  Star Trek Into Darkness

Visual Effects Supervisor:
1997  Contact
2000  The Perfect Storm
2004  The Chronicles of Riddick
2009  Avatar
2011  Cowboys & Aliens
2012  Battleship
2013  Star Trek Into Darkness
2016  Teenage Mutant Ninja Turtles: Out of the Shadows
2017  Kong: Skull Island
2018  12 Strong
2019  Lady and the Tramp
2020  Godmothered
2023  Indiana Jones and the Dial of Destiny
2023  Timeless Heroes: Indiana Jones & Harrison Ford
2024  Wicked
2025  Wicked: For Good

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About the Movie Section

Most data and links to images for the Movies section come from TheMovieDB (TMDB).

Additional data for Film Titles come from The Open Movie Database (OMDb).

At least one plug-in comes from IMDb.

Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)

While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:

  • I added "runners up" to Top 10 lists, treating them as ties where applicable and numbering them accordingly at the bottom of each list.
  • Regarding those polls wherein "franchise" movies were submitted as one project until BFI's policy changed to regard them separately, I treated them as ties and renumbered the affected lists accordingly (e.g. the Godfather films).

Regarding profile removals and data corrections:

  • If you would like your profile removed from this site, please contact the source of this data directly, TheMovieDB. My assumption is: once it's gone from their site, it should soon be gone from this site.
  • If you would like to correct movie data on this site, please contact the source of this data directly, TheMovieDB. My assumption is: once it's corrected on their site, it should soon be corrected on this site.
  • For additional corrections and profile removals, please e-mail The Open Movie Database (OMDb).

Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).

Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.

Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.