Greetings of us. It is a contemporary 12 months and far has occurred on this planet – to place it flippantly – since we final related, so the time is ripe certainly for some nice and illuminating diversion into the wonder-world of cinematic sleight-of-hand. I am positive all of my readers would agree! I do know full properly how tough issues have been for a terrific a lot of you, so if this weblog can in any means present some respite and ‘day trip’, then you definitely’re welcome!
As is my subject of curiosity, I’ve put collectively a various cross part of movement photos from various studios in addition to numerous a long time. I would not have it another means. Along with the standard blended bag of cinematic treasures, which embrace a pair of large tremendous wide-screen 70mm roadshow movies and a few very a lot lesser recognized outdated black and white reveals from the 1940’s that aren’t with out benefit each in leisure worth and artistic results technicality.
I’ve included one other in my Blast From The Previous sequence, after a short hiatus, the place we pay tribute to a different of the film worlds veteran matte and trick shot exponents which I hope you get pleasure from.
However first…
A Most Curious, But Well timed Discovery:
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In sifting by means of my recordsdata I got here throughout an outdated MGM matte portray produced by certainly one of Warren Newcombe’s artists, rendered in pastel, most likely from the early 1940’s. The supposed shot seems to signify an unlimited navy presence of some kind in Washington DC, although what the movie is, I don’t know. Given the current chaos on the US Capitol constructing that was witnessed throughout the globe only a week or so in the past, this matte appears pertinent. If anyone can establish the movie, let me know. |
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A Blast From The Previous: CLIFF CULLEY
British results artist and matte painter, Cliff Culley was a kind of largely unsung and to a terrific extent, invisible trick shot heroes of the UK movie trade, in a profession spanning some 5 a long time no much less. Cliff started his very lengthy profession as a scenic artist – as most matte exponents of the day in truth did – with the well-known J.Arthur Rank organisation based mostly at Denham and Pinewood studios in 1946.
The Rank particular results division on the time was a busy one, with a substantial variety of ready and really gifted technicians making use of their particular person specialties. Their had been such results males as supervising Results Cameraman Henry Harris; Schuftan Course of and common particular results skilled Invoice Warrington; Bodily Results man Jimmy Snow; Mannequin Maker Douglas Woolsey; Miniatures Cinematographer Bert Marshall; Travelling Matte Cameramen Bryan Langley and Vic Margutti; Matte Portray Cinematographer Wally Gentleman; All spherical visible results maestro Filippo Guidobaldi; in addition to various matte painters working underneath the departmental oversight of Joan Suttie and later Les Bowie. Cliff Culley was one such matte painter, and just about all his prolonged profession could be based mostly on the Pinewood Studio lot.
The matte division was for some years run by Les Bowie, underneath whom labored Cliff along with Albert Whitlock and Peter Melrose. In a while different artists joined comparable to Bob Bell and Charles Stoneham, in addition to future artwork director Stephen Grimes, Alan Maley and future well-known results man John Stears. After Bowie left to go impartial, Invoice Warrington would take cost of the entire Rank results machine, and though not a matte artist himself, would have closing say on all issues matte, and get on display screen credit score, which might rankle the opposite technicians
(*see particular revealed apology later on this article).
Cliff would additionally work alongside well-known matte maestro, the nice Peter Ellenshaw on the big matte showcase that was Disney’s IN SEARCH OF THE CASTAWAYS (1962), with the massive roster of mattes and composite images being carried out at Pinewood, with the outcomes rating among the many greatest – and largest – of all of the Disney movies in my guide.
Round 1973 Cliff arrange his personal visible results firm, Westbury Design & Optical, located proper there on the Pinewood lot. I imagine this later shifted elsewhere. He was in fixed demand and would supply his providers to movies as numerous as ZARDOZ, SHOUT AT THE DEVIL, DOCTOR WHO by means of to CLASH OF THE TITANS amongst many others. Cliff retired from the film enterprise in 1999 after an unbelievable 52 years in visible results.
A Scrapbook of Cliff Culley Matte Moments:
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A beautiful, and uncommon studio portrait taken in 1963 reveals Cliff including ending touches to his fantastically ornate ceiling matte extension for the James Bond movie FROM RUSSIA WITH LOVE. British visible results supervisor of a number of more moderen 007 adventures (and dare I say it, an enormous fan of this very weblog), Steve Begg, had this recollection: “I labored with Cliff a few occasions [as a young matte painter], and so they did certainly do a front-lit move of the portray, with the live-action space clear glass with black behind, then with the movie rewound within the matte digital camera and a white cyc lit behind the glass and the portray in silhouette, a bi-packed interpositive of the live-action was uncovered onto the digital camera neg utilizing the white backing as a printing gentle. That is what I feel I keep in mind. Leigh, is that your recollection?”. Fellow Brit matte painter and miniatures veteran, Leigh Took was additionally certainly one of ‘Cliff’s boys’, and had this response: “That’s a terrific shot of my boss, Cliff. Considered one of my first jobs for Cliff as his assistant was to stipple glasses with a number of layers of black emulsion with a pad of mutton fabric this might be then scraped with a blade to clean out any nobly bits after which repeat the method with white emulsion prepared for delineation. Nice occasions certainly. Primarily bi-packed color separations a protracted course of. And that pretty gearbox motor on the correct could be grinding away all day. I can hear it now!” |
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The ultimate, now iconic shot in FROM RUSSIA WITH LOVE (1963) |
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Cliff labored on so many movies, with not often ever a display screen credit score. This is only one such present, the superb warfare image SEA OF SAND (1958) |
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Pinewood had a secure of artists who would come and go through the years. Different painters included Bob Bell and Charles Stoneham. Peter Melrose was one other who moved round varied studios and finally went freelance. Peter painted on this movie, THE PRINCE AND THE SHOWGIRL (1957) alongside Cliff, so it might have been both artist? |
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Additionally from THE PRINCE AND THE SHOWGIRL is that this glorious shot which I think could possibly be both a dangling miniature or a foreground glass shot, given the crispness of the ‘impact space’? The far background motion seems to be a separate factor added in? The movie was loaded with many matte photographs, a few of which seemed like retouched or hand colored images – not an uncommon factor as many studios did that as a time saver by the 1950’s. |
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Some uncommon earlier than and after frames from the Alan Ladd interval piece THE BLACK KNIGHT (1954). One other movie with a load of matte photographs. Albert Whitlock should have been at Pinewood then so he could have additionally had a hand in it. |
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Extra BLACK KNIGHT frames in Technicolor and VistaVision. |
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I’ve a delicate spot for outdated time comics, and the loopy Norman Knowledge madcap adventures had been, and stay, fairly humorous. These are two of the mattes from THE BULLDOG BREED (1960) |
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Arguably Cliff’s best matte work was seen within the big blockbuster KHARTOUM (1966). |
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A uncommon behind the scenes take a look at a block in and check composite for THE TALE OF TWO CITIES (1958) |
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One other of the various agreeably insane Norman Knowledge comedies, with this one being THE EARLY BIRD (1965) which featured various intelligent miniature set ups, mattes and cel animated gags comparable to this bit the place hapless Norman crashes the firetruck into the (painted) constructing and big cracks unfold all up the frontage. Humorous film, with Cliff really getting a display screen credit score for ‘Particular Matte Results’! |
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This shot from the primary Bond movie DR NO (1962) is a subsequent to invisible set extension the place Cliff has painted in the entire higher a part of the set. Culley labored on the entire 007 films as much as and together with On Her Majesty’s Secret Service, and after a spell got here again just a few years later to do some small scale matte work on Man With The Golden Gun in addition to some cel animated gags on Octopussy and The Spy Who Liked Me. |
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Considered one of my favorite movies, the terrific Richard Attenborough starrer GUNS AT BATASI (1964). A splendidly acted, directed and photographed piece set in an unnamed African colonial outpost the place a coup de tat is underneath means. All shot in England in fact with Cliff augmenting UK landscapes with refined painted ‘African’ surroundings. Nice film! |
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I properly recall my grandma taking me to see CHITTY CHITTY BANG BANG (1968) on the now lengthy gone Embassy theatre in downtown Auckland, in 70mm, magnetic observe stereo no much less. I recall the time out as vividly as if it had been yesterday, but I can not for the lifetime of me keep in mind what my friggen passwords are for any damned factor!! Go determine! Anyway, I digress….. reside motion composite right here with stunning Culley painted sky and hilltops, with miniature airship. Cliff received on display screen credit score too! |
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Matte arrange at Pinewood for one more of the CHITTY photographs. Proven at prime is Cliff in pale sweater including closing touches to his glass portray, whereas matte cinematographer Roy Subject mans the massive 65mm digital camera and an unidentified projectionist mans the 65mm rear display screen course of projector. |
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The very talked-about Carry On sequence additionally required Culley’s experience as seen on this body from CARRY ON CLEO (1966). The shot is fascinating because it seems largely be an enormous painted cyclorama with simply the center temple bit being matte artwork, and by the seems to be of it, performed as an in digital camera foreground glass shot. |
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One other from the Carry On sequence – FOLLOW THAT CAMEL. |
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The spy spoof HOT ENOUGH FOR JUNE (1963) was titled AGENT 8 3/4 within the US. |
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The motion journey NORTHWEST FRONTIER (1959) – aka FLAME OVER INDIA had this thrilling sequence atop a busted rail viaduct, performed as matte artwork and actors mixed by means of travelling mattes. |
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A sorely ignored warfare bio-pic, OMAR MUKHTAR-THE LION OF THE DESERT (1979) was a particularly spectacular, large finances spectacular with Anthony Quinn, Oliver Reed and the all the time utterly over-the-top Rod Steiger (as Mussolini!). Large motion set items, stunts and bodily results, it is a movie many have by no means heard of however is properly price in search of out. Cliff provided a pair of fast mattes of this huge refugee camp stretching far into the desert. |
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As I stated, I’ve a delicate spot for outdated time comics, with Bob Hope being one such entity. CALL ME BWANA (1963) was fairly weak, although it did characteristic the beautiful Anita Ekberg, in order that’s sufficient motive to take a seat by means of it! |
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Cliff’s firm Westbury Design & Optical dealt with the entire particular miniature work for Ray Harryhausen’s CLASH OF THE TITANS (1979). Cliff’s son, Neil Culley, is seen right here photographing the spectacular deluge. |
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CLASH OF THE TITANS flood with bluescreen performers added in by Frank van Der Veer. |
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A Culley matte shot from CLASH OF THE TITANS. |
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Arguably one of many absolute best James Bond photos was ON HER MAJESTY’S SECRET SERVICE (1969), which even with a change of lead man nonetheless hit the spot and delivered. A troublesome, no shit, kick-’em-in-the-balls type of Bond that even Connery hadn’t ventured into. That is certainly one of many mattes and visible results from the movie. Apparently, I feel Cliff painted the mattes for this one ‘squeezed’, as evidenced by images I’ve seen (the pic at proper I’ve un-squeezed for this weblog). Presumably to allow the matte artwork to be photographed with superior spherical lenses and permit later scope stretch to 2.35:1 |
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A pair extra OHMSS mattes, with the decrease one being the proper invisible trick that no person ever notices. The small village far under has been painted in by Cliff, and talking of ‘cliffs’, the protection cable on the stuntman’s leg may be very seen on this motion bit. The movie, although a tad overlong, was a really satisfying expertise. Lazenby was surprisingly good and will have made a pair extra (want he had), Telly Savalas was great as ever, Diana Rigg was a stunner, Peter Hunt’s path and John Glen’s very ‘Hunt impressed’ fast, nearly violent motion chopping was improbable, however better of all was the breathtaking rating by John Barry – arguably his greatest within the sequence. Sorry guys, you’ll be able to hold Daniel Craig (simply the least spectacular 007 by a rustic mile), with not a scene being memorable from any of his Bond movies, whereas I can recall a lot from all my faves. |
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One other nice little British flick many wouldn’t have heard of – THE LONG HAUL (1957) starring Victor Mature and Diana Dors. Considered one of a number of UK ‘trucking’ thrillers made round that point (one other nice one being the unbelievable HELL DRIVERS, made the identical 12 months. See it now!!). Here’s a sensational full matte portray which options close to the motion packed climax. |
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I might seen the movie a number of occasions however by no means noticed this matte shot till Dave Worrall, editor of Cinema Retro journal (a should learn!) informed me and despatched me a shot. WHEN EIGHT BELLS TOLL (1971) with an precise Scottish fort (that is by a lake in actuality) that has been altered by way of Culley matte artwork to make it atop a sheer rocky clifftop. Genius. |
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A wonderfully rendered Previous Bailey courtroom matte from the Sean Connery drama WOMAN OF STRAW (1964). By the way, Sean and Cliff had been good mates and would usually play golf collectively as soon as the day’s capturing had been accomplished at Pinewood. |
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The most effective James Bond movies to my thoughts was YOU ONLY LIVE TWICE (1967). My father took me to see it as a child and I properly recall later having nightmares over the opening sequence in area the place the unhealthy spaceship chomps by means of the air provide of the NASA astronaut, letting him float helplessly away, after which this ‘unhealthy’ spaceship actually swallows the NASA rocket. Actually shook me up as a younger fella. Though, as a child on the time of the primary launch, I knew nothing about trick results, it was upon subsequent viewings in 35mm, 16mm and TV that the sequence actually confirmed up the worst examples of ‘rubbish matting’ – that’s, a standard process the place optical patches are utilized to omit or conceal undesired artifacts from the unique composite images – the place in this YOLT sequence they popped up everywhere in the display screen in very seen ‘repairs’. Later DVD and BluRay do not appear to indicate this annoying artifact. possibly due to tighter management over the distinction of ‘black’ results photographs within the remastering course of? |
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I’ve contributed just a few articles to Dave Worrall’s great magazine, Cinema Retro through the years and he was type sufficient to ship me this glorious pic he took when he visited Cliff Culley’s matte studio at Pinewood fairly various years again. Dave remembered Cliff as being a very nice man and enjoyable to be round. This portray is fascinating because it’s certainly one of simply 4 remaining Culley work which might be recognized to exist. Eon, the producers of 007 apparently have this and three others of their places of work (certainly one of them is a CHITTY CHITTY BANG BANG matte, which Eon additionally produced). The sequence within the closing movie solely ever makes use of the center a part of this matte for some motive, as an in depth up. Maybe the proposed lengthy shot was dropped throughout modifying? |
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One other grand view, fully painted, from YOU ONLY LIVE TWICE. By the way, this too had essentially the most chic rating by John Barry, and exquisite Nancy Sinatra theme track as well. Find it irresistible! |
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As talked about earlier, an apology was forthcoming: The Pinewood studio results staff had been miffed at being omitted from not solely official display screen credit however from all point out within the British trade journal Cine Technician, the place boss, Invoice Warrington was all the time the one and solely FX kudos in print type. This most likely dates from round 1957 or so. |
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Within the late 70’s Cliff had a brand new apprentice, Leigh Took, and the pair of them would paint mattes and supply miniatures on a myriad of movies comparable to WARLORDS OF ATLANTIS (1978) |
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One other of the spectacle movies Cliff labored on was ARABIAN ADVENTURE (1978) which had many matte photographs, fashions and a few intelligent course of mixtures. |
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A few barely detectable mattes from the Brook Shields journey movie SAHARA (1983). There have been additionally a few different mattes that had been provided by Mark Sullivan and Jim Danforth. |
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Within the mid seventies, the Disney organisation produced a number of photos fully in the UK, utilizing all British expertise. That is certainly one of a number of Culley photographs from ONE OF OUR DINOSAURS IS MISSING (1975). |
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From the identical movie is that this neat, nearly fully painted inside of The British Museum, circa 1920. |
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From the favored Peter Sellers sequence THE PINK PANTHER STRIKES AGAIN (1976). |
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Scenes of spectacle from the made for television mini-series THE LAST DAYS OF POMPEII, with assistant Leigh Took serving to out on the massive variety of photographs, and Cliff’s son Neil on fx digital camera duties. |
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Preparations for an in digital camera painted glass shot, made on the Pinewood again lot. See under… |
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A revealing take a look at the arrange for the foreground glass shot. That is Cliff on the 35mm digital camera, lining up the matte artwork with the partial set, and Cliff’s son Neil as results cameraman proven observing at left. |
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Some mattes from one other mini-series for American tv, PETER THE GREAT, from the 1990’s. Be aware the great Winter Palace portray proven prime left. |
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Now here is a movie that featured some thoughts boggling visible results – and most spectacular they had been at that. The movie was HELLBOUND-HELLRAISER 2 (1988). These scenes had been extremely imaginative in design and supremely properly executed by Culley and his staff. |
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One other weird set piece from HELLBOUND-HELLRAISER 2. |
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Whereas we’re on excessive and totally insane movies, we will not for a second omit the psychotic nightmare that was NIGHT BREED (1990) which I lined intimately in a earlier weblog. Tons of wonderful matte painted photographs and optical mixture work. This can be a nice take a look at the best way issues had been performed, from the conceptual art work, plate images by means of to the completed composite. Helping Cliff on this mammoth matte present was former Pinewood matte painter Bob Bell, and a younger trainee, Terry Adlam. |
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I feel this may need been Cliff’s closing movie, or definitely close to to it. RESTORATION (1995) was a rollicking, luxurious, bawdy, seventeenth Century, bodice ripper of a yarn if ever there have been one. |
So now, on with todays matter – the ignored movies…..
Get pleasure from
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SPARTACUS, made in 1960, is a kind of movies that improves with age, and is excess of the ‘sword and sandals’ epic one would possibly imagine, thanks in no small half to an outstanding, literate and clever script by Dalton Trumbo – who due to the ability of star/producer Kirk Douglas was employed and credited regardless of his ‘blacklisted’ standing on account of the paranoid Purple Scare. The right solid of veteran actors praise the splendidly penned dialogue. Whereas the movie is de facto Kirk Douglas’ present – and nice he’s – the assist solid completely make the movie. Laurence Olivier, Peter Ustinov and better of all of the unforgettable Charles Laughton who will get all the perfect strains. So good is the writing that one hangs on each spoken phrase. Terrific. |
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I am an enormous fan of Stanley Kubrick, and rank a number of of his movies as all time classics. PATHS OF GLORY, THE KILLING, BARRY LYNDON and particularly the sensible DR STRANGELOVE – a movie that will get higher yearly. SPARTACUS was by no means a favorite for its director, with him actually simply being a ‘director for rent’ (and changing the unique helmer, Anthony Mann), although I really feel the movie is outstanding, and ranks as among the many very best of the massive finances Roman-Biblical style. Fantastically photographed by Russell Metty within the excessive constancy massive format Tremendous-Technirama 70mm. |
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The legendary Saul Bass was title designer and total visible advisor. |
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SPARTACUS contained various matte photographs, with all bar one (above) executed in home at Common Studios. The shot above is maybe essentially the most recognised and deservedly so. For some motive, this shot was farmed out to Disney Studios the place Peter Ellenshaw ran the matte division. In accordance with FX cameramen Invoice Taylor and Craig Barron, this view of Rome was initially handed on to Peter’s assistant, Albert Whitlock, to color, although for no matter motive Albert solely progressed thus far – possibly simply blocking it in – with Ellenshaw taking it over and finishing it. Each Taylor and Barron talked about to me that the completed matte as a complete is certainly Ellenshaw in type, approach and composition. |
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Ellenshaws’ magnificent piece because it nonetheless seems to be immediately. The glass had cracked sooner or later and nice care was wanted to restore the fragile matte which was just lately donated (or loaned?) by the Ellenshaw household to the Academy of Movement Image Arts & Sciences. |
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Peter inspects his one and solely non-Disney matte portray at his California house within the mid 90’s. The decrease proper pic reveals Peter analyzing a tiny fragment of the unique 35mm reside motion plate (proven prime proper) as shot on the Common backlot. |
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A lot to admire….. Trendy period matte professional’s Christopher Evans (left) and Craig Barron present nice admiration for the Ellenshaw masterpiece, and who would not? |
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Element with that definitive Ellenshaw feeling of backlight and refined silhouettes. Implausible. |
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Extra great element. |
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You possibly can see some cracks within the glass right here. An occupational hazard with the artform. |
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As talked about, the rest of the mattes had been Common renderings, with Russell Lawson being very long time resident matte artist, a place he held from way back to the 1930’s on reveals like THE BRIDE OF FRANKENSTEIN. Lawson retired a few years after SPARTACUS when he inherited a fortune. Albert Whitlock jumped on the likelihood to move up a matte division of his personal, so departed the Ellenshaw division at Disney and received the job at Common. The remaining, as they are saying, is historical past. For the above shot, the matte line runs throughout the display screen simply above Olivier’s head. |
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A curious shot this one. The matted in portion (a lot of the body) appears to have a number of layers, with the background and distant sky on completely different focal planes than the principle painted part with temples and so on. Could also be twin glasses, which is one thing evident in various outdated Common movies. Fairly why they did that is unknown? |
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Earlier incarnations of SPARTACUS had been poorly timed, with the matte comps trying very unnatural. Previous TV prints, VHS and even DVD’s by no means seemed passable. These frames have been taken from the remastered and restored BluRay, which accurately seems to be (and sounds) 1,000,000 {dollars}. It is out on 4K UHD too, which I wager seems to be thoughts blowing certainly, although no good to me nor my house theatre arrange, sadly 🙁 |
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For a 3 hour and fifteen minute epic there’s not often a boring second. Simply the unwelcomed and sure entrance workplace mandated ‘industrial’ love curiosity sort of bogs issues down. Aside from that, it stays an incredible and thrilling epic. |
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There was no particular results credit score on the movie, although I do know Clifford Stine (who did get an ‘further images’ credit score) dealt with some break up display screen photographic results to tremendously broaden crowd and armed forces numbers, and somewhat skillfully. I am positive this shot is a fancy one with painted higher half of the body – full with tiny flaming torches slot gags – coupled with a fastidiously replicated crowd of extras tremendously expanded in quantity by way of delicate splits. I examine that in a Kubrick guide a few years in the past. |
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An formidable shot the place many of the body has been painted in. Many little ‘motion’ slot gags are evident within the avenues between the troops barracks, bringing refined life to an in any other case static shot. Veteran Common matte cinematographer Ross Hoffman would have photographed all of Lawson’s mattes and orchestrated the assorted gags. Hoffman has been highlighted many occasions in my blogs as an important member of Common’s photographic results division, having labored there way back to the unique INVISIBLE MAN within the early 1930’s, proper by means of to EARTHQUAKE in 1974. Hoffman dealt with all matte images and travelling matte optical composite work. |
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Kirk surveys his mighty military, not realising that almost all of them are mere Lawson matte artwork. |
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I’ve intentionally adjusted this body in order to see the painted half of the body, once more with quite a few slot gags launched to simulate fires and so on. |
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A subsequent lower reveals the encampment from a more in-depth vantage level. |
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Now, these frames are of curiosity. The huge approaching Roman military of Larry Olivier is in truth a trick shot completed with a shifting optical break up which mainly makes use of the identical mass of extras twice over. Clifford Stine is documented as having performed this work. Stine began in Hollywood within the silent period and was an outdated time results man and had been a VFX cameraman again at RKO on issues like KING KONG and plenty of different movies. In a while, Clifford came to visit to Common and for a time was a manufacturing D.O.P after which once more was drawn again into trick images on memorable movies like THE INCREDIBLE SHRINKING MAN and TARANTULA. Even submit retirement Stine was tempted again to the studio to shoot miniatures (beautifully) for the Oscar profitable EARTHQUAKE. Cliff’s brother Harold was additionally an results cameraman. |
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In a later lower it seems that the background Roman battalion are both a freeze-frame break up screened with the precise cellular extras in entrance, or the background gamers could also be painted fully? I would not be the least shocked if the nearest mass group of slave warriors had been the identical extras matted once more. |
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Whereas SPARTACUS stays notable for a terrific many causes, the savage battle sequences are certainly a factor to behold. Very good choreography and fearless stunt work as flaming rollers are unleashed upon the Roman centurions, utterly obliterating them within the course of. We are able to see the asbestos masks and gloves in freeze body, however when considered in movement the scenes are harrowing to observe. |
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After all, no person knew about asbestosis again then. |
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A memorable shot that most likely rankled censors in varied territories reveals Kirk hack the arm off of a Roman soldier – full with spurts of arterial blood. Daring for it is time. I imagine that Venture Limitless had some involvement with the movie with each Don Sahlin and Wah Chang listed on IMDB for ‘creator of compelled perspective figures’, presumably for the lots of useless on the battlefield after the monumental arse-kicking. |
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The ultimate matte shot within the movie… Oh the humanity! |
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And the ‘Dorothy Lamour’ honourary award goes to….. Jean Simmons – superfluous as she was to the development of the narrative. |
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The Jean Simmons bathing scene was fairly daring, although these uncommon publicity images are terribly frank for 1960. I simply felt compelled to incorporate ’em….fully out of respect for Stanley you perceive (!) |
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As I stated, I’ve a particular affection for the outdated time comics. I like the movies of W.C Fields, The Marx Brothers (a big fan of the Marx’s), Bob Hope, Oleson & Johnson, and Jack Benny, who headlines right here in THE HORN BLOWS AT MIDNIGHT (1945). |
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The loopy slapstick story required a large number of visible results that ran the gamut of matte artwork, miniatures, optical trickery, course of and a few amazingly complicated digital camera strikes with the entire above within the one shot! Fortunately, the movie was produced by Warner Bros who had been definitely as much as the duty. The well-known Stage 5 particular results unit had been undoubtedly no slackers when it got here to creativity and drawback fixing. Warners had one of many largest trick departments in Hollywood with every little thing self contained. For this film, Lawrence W. Butler (higher left) was results director. Larry’s father, William, was an optical results technician at Warners, with the youthful Butler already aiding his father on the tender age of simply 15 on movies comparable to NOAH’S ARK . A lot later Larry was chosen by the legendary Ned Mann to coach as his assistant, with each shifting throughout to England to work for Alexander Korda. Additionally pictured right here is Hans ‘Koney’ Koenekamp (center) – a prime notch trick shot specialist who made a whole bunch of results photographs for Warners over his lengthy profession, with such movies as NOAH’S ARK, THE LOST WORLD, STRANGERS ON A TRAIN and a selected vfx favorite of mine, THE BEAST WITH FIVE FINGERS – a movie that Koenekamp himself was apparently most pleased with. Additionally pictured above is Edwin DuPar (proper) – one of many greats amongst Hollywood results cinematographers. Amongst Ed’s memorable achievements had been the gargantuan FX present PASSAGE TO MARSEILLE and an all out traditional in my guide, the unbelievable YANKEE DOODLE DANDY – with it is central little bit of film magic nonetheless an absolute jaw dropper for me. |
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A view contained in the legendary Stage 5 particular results stage at Warners. Fred Jackman established the unit within the 1920’s and plenty of notable technicians and artists labored inside these hallowed partitions. A few of these names being Jack Cosgrove, Roy Davidson, Byron Haskin, Chesley Bonestell, Paul Detlefsen and William McGann |
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Oddly, it was directed by Raoul Walsh. Not a reputation I might hyperlink with slapstick shenanigans. Extra with powerful man westerns and warfare photos. |
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The primary of quite a few mattes, although I am positive I’ve seen this shot in different movies – probably from different studios? |
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The essential plot includes an angel despatched all the way down to Earth to, properly, finish life as we all know it, by blowing this confounded trumpet exactly at midnight! I by no means stated it was excessive forehead, however it’s fairly amusing, largely due to it is star. |
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A part of the huge tilt up and dolly in towards Heaven. |
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The Warner Bros artistic staff had been absolute genius when it got here to complicated movement photographs comparable to this. It was very uncommon certainly to see such daring photographic trickery from the opposite studios, and when tried it was by no means a patch on the Stage 5 experience. Fantastically rendered matte artwork right here with what I assume to be a wonderfully blended rear projection plate of the Heavenly conductor atop the clouds. |
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Chesley Bonestell was matte artist on this present to some extent, and a I am positive Mario Larrinaga, Louis Litchtenfield and chief artist Paul Detlefsen should have had a hand in. |
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Jack Benny as our considerably bored and ‘tone deaf’ angelic trumpeter. |
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The opening frames from an astonishingly properly executed visible results sequence that I am nonetheless attempting to determine! The conductor and his large heavenly choir and orchestra, all in full live performance… |
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…and in a single arresting single digital camera transfer, we sweep up and over the conductor, over the heads of the choir and orchestra – all of whom are in full movement with violins and bows and the remainder of it – whereas the digital camera lastly involves relaxation on the face of our hero along with his out of tune trumpet. Laborious to explain to do it justice, but it surely’s an absolute stunner of technical mastery that also has me baffled. |
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Every determine strikes independently of one another… |
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Blurred on account of unique digital camera transfer sweeping throughout ‘orchestra’. |
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Warner Bros efficiently pulled off comparable difficult digital camera gags in lots of movies, notably within the 1940’s, which was the heyday of such creative work. Different movies like THE ADVENTURES OF MARK TWAIN, RHAPSODY IN BLUE, YANKEE DOODLE DANDY, PASSAGE TO MARSEILLE, YOUNG MAN WITH A HORN, SVENGALI and naturally THE FOUNTAINHEAD all contained miraculous and dazzling work of this nature. No different studio was as adept as had been Warners. |
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Matte set extensions. |
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Our angel Benny is distributed all the way down to Earth by way of some cosmic elevator. |
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Probably matte set prime up. |
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A multi-plane results shot with flickering neons, a dolly in digital camera transfer and reside motion atop the constructing. |
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Dramatic digital camera transfer ending with Jack Benny popping out of rooftop doorway. Spectacular shot. |
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I presume the principle constructing to be a big miniature, with course of projected reside motion. |
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Matte painted set extension. |
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So begins an totally madcap rooftop escapade. |
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The road views are very cool. Presumably massive miniature for the down views, with mannequin automobiles hooked up to some kind of conveyor belt mechanism. |
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Appreciable mayhem as Jack Benny does all he can to avoid wasting his valuable trumpet, which at midnight should be performed to carry the planet to oblivion. |
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Painted matte. |
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Extra characters develop into entangled in Benny’s scheme, which in fact is a dismal failure. Nice miniature, matte and course of work. Additionally a part of the consequences unit on this movie had been William McGann and Warren Lynch. Robert Burks was one of many miniatures cameramen and would go on to a strong profession later as a manufacturing D.O.P on movies comparable to HOUSE OF WAX, Hitchcock’s THE BIRDS and NORTH BY NORTHWEST. |
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A number of characters are hanging daisy chain type from one another in a wild puppet set piece. |
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If all of it begins to resemble the climax of Stanley Kramer’s IT’S A MAD, MAD, MAD, MAD WORLD – properly maintain on to your hats pals, as that movie is roofed subsequent on this weblog, and I am positive Kramer received his concepts from this present. |
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‘No comedians had been injured through the making of this movie’. |
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From one wild, unleashed comedy to a different. Stanley Kramer’s behemoth of a raucous laugh-fest, IT’S A MAD, MAD, MAD, MAD WORLD (1962) had a solid of each recognized comedy star – and some new to the style – going by means of the motions of what amounted to a huge three hour plus chase for some stolen loot. The comedy is broad, although the motion is plentiful and filled with outrageous stunts, pratfalls, gags and a few wonderful results work that ranged from thrilling bodily results by Danny Lee, optical mixtures by Linwood Dunn and Invoice Reinhold, results cinematography by James Gordon, miniatures by Howard Lydecker and Marcel Delgado, mattes by Howard Fisher and Cliff Silsby and cease movement by Jim Danforth and Marcel Vercoutere, all working underneath the banner of Movie Results of Hollywood. |
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Founding father of Movie Results of Hollywood, Linwood Dunn (left & center) with affiliate James B. Gordon (proper). Cecil Love and Don Weed had been additionally co-founders. The corporate was established by Dunn, Love and Weed after RKO shut down it is operation within the 1950’s. |
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Matte painter Howard Fisher is proven right here at work on the excessive rise matte. Howard was one of many outdated timers of the trade, having labored primarily at MGM in Warren Newcombe’s matte division for many years. Howard started with Newcombe way back to 1933 and was thought-about some of the senior painters. Among the many scores of movies Howard painted on had been GREEN DOLPHIN STREET, the place in line with Jim Danforth, who knew Howard, he would add little jokes into his mattes comparable to canines copulating in among the GREEN DOLPHIN mattes (although I’ve by no means managed to identify them). Most famously, Fisher painted the wonderful present stopping matte in FORBIDDEN PLANET of that large underground energy plant that everybody remembers. In later years Howard would work for Movie Results of Hollywood alongside one other veteran from days passed by, Cliff Silsby. |
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Some insider glimpses of the Movie Results of Hollywood facility. High left we are able to see Linwood Dunn and James B. Gordon with different crew members. High proper has Howard Lydecker crouching, Jim Danforth atop the ladder and Marcel Vercoutere on the correct. Backside left is the matte stand with 65mm digital camera arrange in operation. Backside proper we see founder Linwood Dunn with director of results images James B. Gordon in entrance of a giant miniature set. |
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Movie Results co-founders Lin Dunn and Cecil Love. Each males had a prolonged profession in optical cinematography going again so far as the outdated RKO period with KING KONG and movies like CITIZEN KANE. Love was instrumental in designing and constructing a then cutting-edge optical printer to Dunn’s specs, which grew to become an trade staple for a lot of a long time. Right here the 2 males are proven capturing the titles for WEST SIDE STORY, in what seems to be massive format 65mm. |
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James B. Gordon (second from proper) had a protracted profession in optical cinematography, for essentially the most half at twentieth Century Fox, underneath Fred Sersen, Ray Kellogg and Invoice Abbott. Gordon was chargeable for a whole bunch of distinctive and excellent optical puzzles at Fox, the place a favorite gag was to drop reside motion figures into miniature motion of scenes of destruction comparable to THE BLACK SWAN, THE RAINS CAME, HELL AND HIGH WATER and plenty of extra. A Fox specialty. |
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A younger Jim Danforth concentrates on the cease movement motion climax, assisted by Marcel Vercoutere. *Photograph from Jim’s very important profession memoir ‘Dinosaurs, Dragons and Drama’. |
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It was a movie that by no means actually knew when to give up, and tended to overstay it’s extremely prolonged welcome. |
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The movie was shot in Extremely-Panavision, which was 65mm with a 25% anamorphic squeeze, permitting prime quality optics on the massive adverse and a wider than regular ‘scope’ presentation when projected unsqueezed at 2.76:1. This seemed good in it is true ratio however was completely dire when considered on TV or VHS, with two thirds of the motion lacking. I am positive the present digital technology don’t know what I am speaking about (?) |
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For essentially the most half, the movie was nearly devoid of photographic results, with the primary 9 or 10 reels being continuous mechanical results and mayhem. There have been the requisite course of photographs provided by Farciot Edouart and Irmin Roberts, in addition to a few invisible optical ‘repair’ jobs the place Dunn was required to make optical mattes within the printer to change some mistimed bodily destruction that didn’t go in line with plan when the cameras rolled (the gasoline station destruction as I recall). It wasn’t till the final reel the place visible results kicked in. This was the primary matte shot, proven above with the pre-production art work the place an higher flooring and home windows had been required. |
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The primary matte painted shot could also be extra than simply the higher flooring, with the wall at left probably additionally matte artwork. |
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The massive cash shot happens in the beginning of the stunt packed climax atop a excessive rise constructing. Right here is the preliminary design and format in addition to a photograph of artist Howard Fisher’s fantastically detailed matte. |
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The matte because it seems within the movie begins off as an in depth up on an precise partial set constructed on the Common Studios backlot, and quickly zooms out to disclose the complete extent of the perilous state of affairs. |
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Excess of a straight matte shot, as you will note under with the breakdown of particular person parts. |
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The matte shot above comprised round seven completely different reside motion parts in addition to the portray itself, all assembled in 65mm on the Movie Results optical printer, which in itself, was a mammoth job given the system used on the facility. Utilizing the then commonplace methodology of color separation masters, every of the reside motion parts required three separate passes – as yellow, cyan and magenta – every run in bi-pack with applicable pink, blue and inexperienced filters. Some twenty one separate exposures had been required total. |
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The matte was painted on a big, 5 foot large sheet of hardboard, or Masonite because the Individuals discuss with it. In my intensive oral historical past weblog again in 2012 with Matthew Yuricich, I requested him about Howard Fisher, with whom he had labored at MGM: “Howard was a very nice man… he was an MGM matte artist and in addition one of many nicest guys you’d ever discover – a really good gentleman. Howard should have been round 65 again in 1955. They employed Howard away from another studio. There was plenty of jealousy in these days.” |
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Shut up of Howard’s element work. Pal and coworker, Matt Yuricich referred to Fisher as “a photograph realist” in his type and method. |
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I am undecided about this photograph. It does not seem like a matte block in as a result of sheer measurement (notice the studio lamp at proper plus the notation 36″ on one of many buildings). I am pondering it was the early stage of prepping a big painted backing for the cease movement work maybe. |
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Matte shot with reside motion filmed on the Common lot mixed with painted in skyline. |
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This is a kind of cool finds that no person ever spots till excessive def BluRay permits us to note issues not beforehand seen. A seemingly straight manufacturing shot trying down on the plaza is in truth a 3 half matte shot. Painted in retailer frontages at left, reside motion mid part filmed at Common, and a matte painted road, automobiles, folks and outlets at proper. Cool, huh? I reside to find photographs like this. See under… |
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Blow up of the left aspect of the body. |
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…and the matted in proper aspect of the body. |
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A beautiful and uncommon picture of an incomplete check for a significant results shot. The performers on the mock up set at Common have been break up screened right into a reside motion plate of Los Angeles, with a tough block in of what’s going to develop into a matte painted part that can mix the 2 reside plates. See under… |
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The block in for the matte artwork that can in the end mix the studio motion with the 2nd unit cityscape. |
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The ultimate shot because it seems within the movie with good be a part of and invisible intermediate matte artwork. |
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Undecided, however seems to be like a distant constructing could also be painted into this shot? |
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One other view of the stunt motion with one other matte rendered to mix in. I spoke with Jim Danforth about this: “On this body the comedians are actual and had been filmed on the set at Common. The wall of the constructing extending to the left seems painted. I do not keep in mind what number of storeys of the constructing at Common we constructed. I am guessing that a part of the constructing under the comedians was painted. Clearly, the road visitors is actual. My guess is that the brick constructing to the correct of the true constructing is painted (and the whole metropolis could also be). I feel this shot was accomplished earlier than I began at Movie Results”. |
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This angle could have fully painted cityscape matted in? Shades of THE HORN BLOWS AT MIDNIGHT me thinks? |
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A revealing behind the scenes take a look at simply how a lot ability went into executing these photographs, that for essentially the most half, had been invisible to the viewers. I requested Jim Danforth, and his exceptional reminiscence recalled the way by which this was composited: “The scene is reside, filmed on the set at Common with a matte break up to a painted distant cityscape. The Movie Results / Fox duping system made it attainable to have the fragile iron work lengthen into the sky space. In some scenes the artists penciled in ‘ghost’ photographs of the fireplace escape on the duping board as a way to improve the black density of the fireplace escape iron work”. |
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The Extremely Panavision body. Cliff Silsby was additionally matte painter on the movie. Cliff was one other outdated timer who’s profession stretched again to the outdated days at Warner Bros and twentieth Century Fox. Famed matte artist Matthew Yuricich informed me that he had fond recollections of Cliff when at Fox within the early 50’s. He described Silsby as “a mousy little man, a great matte painter who would take all of it personally”, particularly when their boss Emil Kosa received on his again and bugged him, as he habitually did with all of his matte artists at Fox. |
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I enlarged a BluRay body to indicate the intensive matte artwork. |
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An in depth matte painted shot with miniature motion. I used to be speaking with Jim Danforth just a few years in the past in regards to the mattes in MAD WORLD and requested him about this curious trying shot: “The attitude of the first constructing is off in comparison with the buildings on the correct and left. Be aware that the verticals of the painted buildings on the far proper are nearly a real vertical whereas the first (miniature) constructing is tremendously canted clockwise, as if drawn to a three-point perspective, and but, the buildings farther to the left of heart aren’t canted as far. This can be a scene with a number of vanishing factors (which not often occurs in life). The hearth engine ladder is a stop-motion miniature as I recall, and the folks on the fireplace escape balcony are stop-motion puppets”. |
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In an interview for American Cinematographer, Dunn revealed that some 25 matte work had been required for the entire motion photographs involving the fireplace escape and ladder sequences, with nearly all views of the buildings, surrounds and metropolis being rendered by Howard Fisher and Cliff Silsby at Movie Results of Hollywood. |
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Behind the scenes cease movement. * Pics are from Jim Danforth’s memoir: Dinosaurs, Dragons and Drama |
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*I’ve copies of those pics from the outdated American Cinematographer journal however determined to substitute identical higher high quality photographs from Jim Danforth’s Dinosaurs, Dragons and Drama – quantity one, which I like to recommend to anybody fascinated in ‘old style’ particular results. Jim discusses MAD WORLD in depth, amongst a lot else. |
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*From Jim Danforth’s Dinosaurs, Dragons and Drama. |
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Miniature with cease movement. Initially, the legendary Willis O’Brien was assigned to design and animate these sequences however sadly handed away throughout pre-production. Jim Danforth – himself a large fan of O’Bie – got here on board and took over animation chores, with the expertise being, in line with Jim, some of the pleasant of his profession. Additionally on the cease movement was Marcel Vercoutere, and in line with some sources, articulated puppet builder Marcel Delgado did some animation, which in the end wasn’t used. |
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Miniatures coordinator on the movie was one other full on legend within the subject, Howard Lydecker. Howard had a long time of expertise alongside along with his brother Theodore, on the outdated Republic Studios, the place, regardless of the unavoidable value chopping {that a} second tier studio needed to reside with, the Lydeckers always produced extremely real looking miniature results that also look nice immediately, due in no small half to glorious images outdoor in precise daylight, one thing not widespread on the time. So lots of the newer technology of results males owed their lot to the Lydecker brothers and their no-nonsense, pragmatic method to creating terrific mannequin photographs. Apparently, on the MAD WORLD shoot, Howard and Linwood would conflict over differing approaches to attain photographs, with Lydecker figuring upon a no-nonsense, sensible means whereas Dunn most well-liked to orchestrate an advanced, multi-element optical resolution. Some unwell feeling developed, leading to Lydecker strolling off the shoot with a easy “Properly, it is time I went fishing” as a type of resignation, and off he went, by no means to return. |
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Carey Loftin’s stunt staff bounce off the ability strains on the conclusion. Actual stunt guys with optical overlays of sparks and zaps of voltage. |
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Yeah….ain’t that the reality!!! |
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From frantic slapstick to a somber Christmas kind of ‘pull on the coronary heart strings’ film… |
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Though trashed by the critics, I did not thoughts THE MIRACLE OF THE BELLS (1948) an excessive amount of. A hokey kind of story for positive, however I really fairly loved it as a lazy afternoon time filler. |
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The movie is of specific curiosity right here because it is without doubt one of the few examples the place storied visible results visionary, the nice Willis O’Brien no much less, was matte painter. O’Bie was a extremely expert artist in his personal proper, in addition to a cease movement genius (KING KONG for any pathetic people who do not already know of his significance to the timeline of trick movie expertise and sheer gold commonplace leisure). When work was restricted, O’Bie sometimes took on matte shot assignments, portray mattes for movies comparable to THE DANCING PIRATE and THE BELLS OF ST. MARY’S. The story goes that the trade had a significant and really, very nasty union strike within the late 1940’s, definitely effecting the matte artists and illustrators union as I heard it. Studios like RKO had been blockaded with picketers, violence was rife and all hell had damaged unfastened. I’ve an account by John P. Fulton’s daughter: “Dad had a buddy who was an artist at Common and when he tried to cross the picket line he was grabbed by some union guys who laid his hand throughout the curb and pounded it with a hammer and broke each certainly one of his fingers”. Willis apparently labored on the sly, rendering the mattes for MIRACLE OF THE BELLS and others, at house and having them smuggled in by means of the studio gates. In accordance with Matthew Yuricich, his mentor at MGM, Henry Hillinck was additionally caught up with the massive strike and he informed Matthew he painted in secret in a non-descript constructing throughout the road from the studio. |
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I had a few readers e mail me about this shot which I might used as a tiny a part of my weblog header collage for my earlier entry so I figured I might rejoice it right here correctly. There are actually simply a few photographs in MIRACLE OF THE BELLS however this fundamental one is a doozy. A fantastic matte that’s stored on display screen for a while with a gradual optical zoom in, following Fred MacMurray as much as the doorway. |
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Russell Cully was chief of the RKO photographic results division, following the unlucky loss of life of Vernon Walker. Clifford Stine was results cameraman on the movie. |
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A blow up of the Willis O’Brien matte artwork. |
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Just a few different photographs from MIRACLE OF THE BELLS. |
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That is it for now. Hope you discovered this weblog fascinating and possibly even instructional.
Take care and keep protected wherever you’re…
Pete