tag:blogger.com,1999:blog-66241329952663146142024-03-04T23:17:48.737-08:00The Wizard of MGMA. Arnold Gillespie book about special effects, matte painting, in-camera affects and the MGM backlot. People of interest are Warren Newcombe, James Basevi, Yuricich, Harold Wellman, William Wyler, John Bossart, Max Fabian, Clarence Slifer, Mark Davis, Harold Lipstein, Harold Marzorati, Ed Snyder, Virgil Apger, Kenneth Bell, Eric Carpenter, William Creamer, Miton Gold, Eddie Hubbell, Frank Shugrue, and Jimmy Manatt.
Robert Welchhttp://www.blogger.com/profile/12742406587312845695noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-6624132995266314614.post-25997531456187535822016-12-29T13:54:00.004-08:002021-08-07T12:15:58.320-07:00BEN-HUR (1959) Miniature Galleys<h2>
BEN-HUR (1959) - MGM Production 1724</h2>
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"You can't make miniature water. And you sure can't make miniature fire" espoused A. Arnold "Buddy" Gillespie in his memoirs. The MGM Special Effects team tasked with BEN-HUR (1959) were challenged with both of these elements.<br />
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The classic BEN-HUR (1959) movie epitomizes the craftsmanship of writing, directing, miniatures, and editing coming together. Inspired by David's <a href="http://modelshipsinthecinema.com/wp/archives/8152"><span style="color: white;">Model Ships in Cinema</span></a> Ben-Hur tribute blog, this entry combines the working script, behind the scenes photos, and diagrams from the collection of A. Arnold Gillespie.<br />
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Additional diagrams and photos contained in the memoirs of Buddy Gillespie, titled "Wizard of MGM", provide insight into the planning of each shot. This blog touches upon the masterful work by the MGM studio; effects, painting, woodworking, Art Direction, and cameramen.<br />
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The Roman fleet initially appear in scene 156 as silhouettes. The larger scale Roman trireme 1/6th scale (2" to the foot) are revealed subsequently, The direction and placement of each radio controlled, cable guided, galley is carefully planned by the Art Director, A. Arnold Gillespie.<br />
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Using radio signals, catapults, arrows, oars, and seamen moved on command. Queued just out of frame, spring loaded and battery powered action was initiated.<br />
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Arrius's vessal, painted white, leads the fleet. Shot in August of 1957, filming was intermittently delayed due to weather.<br />
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Sc. 156 EXT. THE OPEN SEA - DAY </h4>
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<span style="font-family: "courier new" , "courier" , monospace;">Across the sparkling blue </span><span style="font-family: "courier new" , "courier" , monospace;">Mediterranean</span><br />
<span style="font-family: "courier new" , "courier" , monospace;">comes a galley of the Imperial Roman Navy,</span><br />
<span style="font-family: "courier new" , "courier" , monospace;">a long, narrow fighting ship built for </span><br />
<span style="font-family: "courier new" , "courier" , monospace;">speed, low-masted, square sailed, its bow</span><br />
<span style="font-family: "courier new" , "courier" , monospace;">tapering sharply to vicious iron-snouted </span><br />
<span style="font-family: "courier new" , "courier" , monospace;">battering ram.</span><br />
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<span style="font-family: "courier new" , "courier" , monospace;">The ship approaches swiftly, using both</span><br />
<span style="font-family: "courier new" , "courier" , monospace;">sail and oars. There are hundred and </span><br />
<span style="font-family: "courier new" , "courier" , monospace;">twenty oars, sixty to each side, rising and </span><br />
<span style="font-family: "courier new" , "courier" , monospace;">falling in perfect rhythm.</span><br />
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Scene 156, the introduction of the Roman fleet, and scene 236, as Arrius and Ben Hur raft afloat see a ship on the horizon, were shot on the same day, August 20th, 1957, using profile ships. Note the similar cloud formation painted on the backing of Tank Lot 3. Perhaps the top of the long shot, scene 236, is a matte painting.<br />
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Shoreline silhouette was added as the barren shoreline of Judea for Scene 260, also shot on the same day. The background shot was flipped apparently to provide more open sky behind Charlton Heston.<br />
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Arrius's trireme, identified by the stern's plume, was restored by the Baltimore <a href="https://commons.wikimedia.org/wiki/File:Model_Roman_Ship_from_the_movie_Ben_Hur.jpg"><span style="color: white;">Vocational Education Department</span></a>. Proudly displayed in the Baltimore Convention Center main lobby, the vessel measures 20' 6" bow to stern, 4' wide and 10' 10" tall. Being 1/6 scale, the full size galley would have been 123' long, 24' wide and 65' tall. <br />
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Shooting finished on November 18th, 1957, with a total cost of $441,603. Galleys, profiles, rubber crew and special effects construction totaled $181,515. (See cost sheets posted at the end of this blog).<br />
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Note the eye hook for the cable pully attachment at the stern, used to control movement of each ship. Eye hooks were installed at the bow and stern to control fore and aft movement. </div>
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Sc. 203 FULL SHOT - THE FLEET - DAY</h4>
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<span style="font-family: "courier new" , "courier" , monospace;">Arrius's galley joins the fleet. The </span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">galleys are fanned out across the sea,</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">using both sails and oars.</span></div>
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As shown in a previous frame still, ten Roman galleys cross the 75mm Ultra Panavision camera for scene 203. </div>
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Eight galley silhouettes accompanied the ten Roman ships. The images were made from photos of the miniature galleys as required for proper angle and height to tie in with the three dimensional ships. Height and percent from bow right are detailed in the schematic.</div>
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Cables pulled the galleys across the miniature sea. Rigging location for cables are calculated. Careful attention to the deep pit was made so a distracted effectsman would not fall into the pit. At 3' per second, the 11' galleys total travel time for this shot was only 4 seconds.</div>
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Art Director Edward C. Carfagno illustrated each scene, including Sc. 203, Arrius' Galley Joins Fleet - Day. </div>
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This miniature shot is recycled for Scene 205X1 and several others. Note the cloud formations are the same as viewed through the second camera. A slight flaw with this quick clip is that Arrius appears on a ship in and along side his own white, eagle emblemed, vessel.</div>
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<span style="font-family: "courier new" , "courier" , monospace;">205X1 MEDIUM SHOT - DECK (BLUE BACKING)</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Arrius comes up on deck, looks at the pirate fleet in the distance.</span></div>
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Conversion Pirate to Roman</h4>
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To reduce production cost, galleys were converted from Roman trireme to Pirate galleys and back. Shooting was scheduled to accommodate redressing. Five of the ten ships constructed played dual roles. From August 8th, the first day of shooting, to September 18th, all ten ships were Roman. On September 18th, five of the galleys were converted to Pirate ships for scene 210 and beyond.</div>
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The second diagram below states "CONVERSION PIRATE GALLEY TO ROMAN GALLEY", directing the Paint Department to apply the conversion of the Roman vessel to Pirate.</div>
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Tank Lot 3 backgound also had a makeover. Dark clouds with a red dawn on the horizon provides contrast for flares and fire balls. Note the camera tilt down in the initial battle scenes, versus the tilt up, camera closer to the water line, emphasizing ships and hiding the red dawn in later scenes. (See photograph at the end of this blog for camera rigging reference).</div>
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<h4>
Sc. 220x19 CLOSE SHOT - BEN-HUR</h4>
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A pivotal scene known by the "ramming speed" quote, provides insight into the use of miniatures and background. Shots are frequently re-used as both foreground action and background, combined with live action. Scenes 220 and 231 showcase how proper planning, writing, and flawless execution come together. Camera angle, height and stability are carefully calculated.</div>
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<span style="font-family: "courier new" , "courier" , monospace;">His face is grim as he tries to see </span><br />
<span style="font-family: "courier new" , "courier" , monospace;">through the oar-hole.</span><br />
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<span style="font-family: "courier new" , "courier" , monospace;">220x20 ON - DECK - NEAR FIGHTING TOWER</span><br />
<span style="font-family: "courier new" , "courier" , monospace;">(Blue Backing and Straight Shots)</span><br />
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<span style="font-family: "courier new" , "courier" , monospace;">The forward section of Arrius's ship is </span><br />
<span style="font-family: "courier new" , "courier" , monospace;">afire. Pirates have boarded and hand-</span><br />
<span style="font-family: "courier new" , "courier" , monospace;">to-hand battle rages. Arrius and his </span><br />
<span style="font-family: "courier new" , "courier" , monospace;">men fight valiantly as some of the </span><br />
<span style="font-family: "courier new" , "courier" , monospace;">sailors and marines try to quench the </span><br />
<span style="font-family: "courier new" , "courier" , monospace;">fire with water buckets. The Pirate </span><br />
<span style="font-family: "courier new" , "courier" , monospace;">galley has withdrawn. </span><br />
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<span style="font-family: "courier new" , "courier" , monospace;">220x21 INT. GALLEY - FULL SHOT</span><br />
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<span style="font-family: "courier new" , "courier" , monospace;">The slaves are frozen with terror.</span><br />
<span style="font-family: "courier new" , "courier" , monospace;">Suddenly a bloodcurdling SCREAM heard</span><br />
<span style="font-family: "courier new" , "courier" , monospace;">above the din focuses attention on </span><br />
<span style="font-family: "courier new" , "courier" , monospace;">Number Forty-Three.</span><br />
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<span style="font-family: "courier new" , "courier" , monospace;"> NUMBER FORTY-THREE</span><br />
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<span style="font-family: "courier new" , "courier" , monospace;"> We're going to be rammed!</span><br />
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<span style="font-family: "courier new" , "courier" , monospace;">221 CLOSE SHOT - NUMBER FORTY-THREE</span><br />
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<span style="font-family: "courier new" , "courier" , monospace;">He stares through oar-hole.</span><br />
<span style="font-family: "courier new" , "courier" , monospace;"><br /></span>
<span style="font-family: "courier new" , "courier" , monospace;"> NUMBER FORTY-THREE</span><br />
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<span style="font-family: "courier new" , "courier" , monospace;"> (shrieking)</span><br />
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<span style="font-family: "courier new" , "courier" , monospace;"> We're going to be rammed!</span><br />
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Scene 222 B.G. (background) - Each scene is diagrammed, specifying speed of the Roman and Pirate ships, camera lens, and film speed. Ship speeds are carefully planned to approximate full sized ship travel, taking into account film speed.<br />
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Art Director's schematics detail placement of the ships in Tank Lot 3. CL (center line) of the tank backing and feet from center are calculated. Every 10' are marked. Romans are identified by "R", Pirates by skull and cross bones. Cameras were floated in the turbine and drum whipped waters to transport the viewer into the scene.<br />
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75mm lens, Set No. 318, BACKGROUND FOR EXT. PIRATE </div>
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RAMMING ARRIUS (DAY) SC. 222,G2,G3,G4</div>
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Shot 11/5/57, Delayed due to weather.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ5WeZJoOTCqAaFp4efYg5mCSDrC9hO43yMpVmmpDKLceXyZbNBwcfkpcvrGJSYvilWPgfsCoKzqAAwLFc8qGkfssk0_fm5feP0dysdD0igo344OF9WBjzhsO_UbkGIsQ3tsSGk7Cdhec/s1600/BenHur00043.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ5WeZJoOTCqAaFp4efYg5mCSDrC9hO43yMpVmmpDKLceXyZbNBwcfkpcvrGJSYvilWPgfsCoKzqAAwLFc8qGkfssk0_fm5feP0dysdD0igo344OF9WBjzhsO_UbkGIsQ3tsSGk7Cdhec/s640/BenHur00043.png" width="640" /></a></div>
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XL, XLI and XLII are 40, 41, and 42 respectively. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3RtrvYVXCoRPa2SEzVdEG5JJz4zCgYYVDOBvAfD38kQjV7V7qk9ytRKrbJPC0iVgT8St9CXYnWNkFHvce-zbNuTFjCBDjPMBK2hhiXAWxhSRoiWl5LaN4aOxPRcdRUD1HS29ujhWXNV0/s1600/BenHur00044.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3RtrvYVXCoRPa2SEzVdEG5JJz4zCgYYVDOBvAfD38kQjV7V7qk9ytRKrbJPC0iVgT8St9CXYnWNkFHvce-zbNuTFjCBDjPMBK2hhiXAWxhSRoiWl5LaN4aOxPRcdRUD1HS29ujhWXNV0/s640/BenHur00044.png" width="640" /></a></div>
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Rowers' oars are positioned at a 20% angle from each other. The photo below of Arrius's ship at the Baltimore Convention Center, bow (front) on left, shows the oar hole placement.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsW9oPq9_sHMcW0rhBczirFQNOoxj1jiULFrIgsL-lVNg7zUys1XLcUkj7D3MOQZ6jeBTP2ewfbGXUcoYfz2pgR4Jr6QaTibWBkhzsf_JgXGZ8ANSmgrNqo_78e_zXi1W1_gG1XnZOCBo/s1600/1200px-Model_Roman_Ship_from_the_movie_Ben_Hur_1-2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsW9oPq9_sHMcW0rhBczirFQNOoxj1jiULFrIgsL-lVNg7zUys1XLcUkj7D3MOQZ6jeBTP2ewfbGXUcoYfz2pgR4Jr6QaTibWBkhzsf_JgXGZ8ANSmgrNqo_78e_zXi1W1_gG1XnZOCBo/s640/1200px-Model_Roman_Ship_from_the_movie_Ben_Hur_1-2.jpg" width="640" /></a></div>
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Sc. 210 THE BATTLE BEGINS</h4>
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Signal flares raising high above the Roman fleet hailed the beginning of the battle. Shot in August of 1957 in Tank Lot 3 at MGM in Culver City, nine of the 10', 2" scale, galleys plus three reduced scale profiles were used in this shot. 104mm and 50mm lenses captured the action for foreground and background scenes. </div>
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<span style="font-family: "courier new" , "courier" , monospace;">210 FULL SHOT - THE FLEET</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">The rocket makes a fiery arc in the night</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">sky. An instant later another flaming</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">rocket shoots into the sky from another</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">galley. A series of flaming arcs go from</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">ship to ship, signaling the order to attack.</span></div>
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Edward C. Carfagno's rendition of Scene 210, signalling the battle begins.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLvp8TbUIUaQIV8v-MaT9KpX_CheXnOU5uH7cohIjStu_n9QVZ55Ss1ArVujsZ5TDy2h1g48w65d-x_Z9w3T9fAgolqTkzPuROFSS_IBwYJCBRxtqazd9ryU8zhDQzzYIkY5L30ggeIBs/s1600/thumbnail_DSC09680.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="329" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLvp8TbUIUaQIV8v-MaT9KpX_CheXnOU5uH7cohIjStu_n9QVZ55Ss1ArVujsZ5TDy2h1g48w65d-x_Z9w3T9fAgolqTkzPuROFSS_IBwYJCBRxtqazd9ryU8zhDQzzYIkY5L30ggeIBs/s640/thumbnail_DSC09680.jpg" width="640" /></a></div>
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Sc. 220X1 MEDIUM LONG SHOT - BATTLE</h4>
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<span style="font-family: "courier new" , "courier" , monospace;">Arrius's galley circles to sideswipe Pirate galley.</span></div>
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Two Pirate ships engage Arrius's trireme. To avoid miniature men seeming static, the rubber figures were cast with flexible wire armatures for "positioning". Some miniature men were mounted on coil springs. Others "walked" about the deck on motorized pulleys. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia5W2hkwOIYin9in7NIw0C4py0YYByosU6q8cvQXUTYdP9ZHrZaM8ldrLPN9v6gXDksG6JvmpT7mT94_NkhXFny09UL2LNW_uOvUZWtOxrEZc5bbAXDwbVSaxlIEHt-wq72dMFwzRQ3iU/s1600/BenHur00022.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia5W2hkwOIYin9in7NIw0C4py0YYByosU6q8cvQXUTYdP9ZHrZaM8ldrLPN9v6gXDksG6JvmpT7mT94_NkhXFny09UL2LNW_uOvUZWtOxrEZc5bbAXDwbVSaxlIEHt-wq72dMFwzRQ3iU/s640/BenHur00022.png" width="640" /></a></div>
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Edward C. Carfagno's storyboard for scene 220X17 directed the sales to be furled (rolled up and secured). </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmoAekVly_E-cvI_zSMGMrL260Tv6-RjY9t_SU-uZorUTM_FcNFOPwl10GMRt2WDo-NZuhYwaRTNasMhp3eftQn_bxxIpobcSrVnBpMJfZsQefIW0QKnuGXVe7x6aJaNv1o8NvxirfLW0/s1600/DSC09687-2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmoAekVly_E-cvI_zSMGMrL260Tv6-RjY9t_SU-uZorUTM_FcNFOPwl10GMRt2WDo-NZuhYwaRTNasMhp3eftQn_bxxIpobcSrVnBpMJfZsQefIW0QKnuGXVe7x6aJaNv1o8NvxirfLW0/s640/DSC09687-2.jpg" width="640" /></a></div>
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<span style="font-family: "courier new" , "courier" , monospace;">220X17 CLOSE SHOT - BOTH GALLEYS</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Arrius's galley is backing away from the</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Pirate ship he has just rammed, as the second</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Pirate ship slams into the forward port side</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">of Arrius's galley, spilling fire onto the</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">deck. Some of the fire spills over the side.</span></div>
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Miniature Pirate ship, post ramming, as miniature rubber Romans lower ramp, preparing to board the severely damaged vessel. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwVWXczJte9DCZilKiJAndX7UHQcGEb6RK5q7nMeF_nf9FvC_jdmrxZYbEt144sNxIl6idq3O_hSPgHnPjrc_8E1k2AlxKhG0GPlkUQjjIqT3DPKemo96-ROX0IQjpzlJ9tL9bwQtceug/s1600/62-P-4-cropped.tif" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwVWXczJte9DCZilKiJAndX7UHQcGEb6RK5q7nMeF_nf9FvC_jdmrxZYbEt144sNxIl6idq3O_hSPgHnPjrc_8E1k2AlxKhG0GPlkUQjjIqT3DPKemo96-ROX0IQjpzlJ9tL9bwQtceug/s640/62-P-4-cropped.tif" width="640" /></a></div>
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In December 2016, some of the miniature rubber slaves, Romans and Pirates surfaced for auction. Originally obtained at the 1970 David Weisz MGM Auction In California, the figures stand approximately 11" tall. </div>
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Sc. 223 FULL SHOT - INT. CABIN</h4>
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<span style="font-family: "courier new" , "courier" , monospace;">With a rending, grinding crash, the break of</span><br />
<span style="font-family: "courier new" , "courier" , monospace;">the enemy galley knifes through the hull,</span><br />
<span style="font-family: "courier new" , "courier" , monospace;">snapping the great oak timbers. Some of the</span><br />
<span style="font-family: "courier new" , "courier" , monospace;">slaves are crushed by the ram, others are </span><br />
<span style="font-family: "courier new" , "courier" , monospace;">impaled by the splintered oars. A torrent of </span><br />
<span style="font-family: "courier new" , "courier" , monospace;">water pours in, swiftly flooding the cabin.</span><br />
<span style="font-family: "courier new" , "courier" , monospace;">The SHRIEKS of the dying and wounded mingle</span><br />
<span style="font-family: "courier new" , "courier" , monospace;">with the SCREAMS of rowers who are trying to </span><br />
<span style="font-family: "courier new" , "courier" , monospace;">the stairs, where they follow the hortator to</span><br />
<span style="font-family: "courier new" , "courier" , monospace;">the deck.</span><br />
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<span style="font-family: "courier new" , "courier" , monospace;"><span style="font-family: "times new roman"; text-align: center;">The miniatures in the battle scene were not the only rubber men created. Scene 223 introduced two rows of full size rubber slaves, impacted by the ramming Pirate galley. The set, built on a gimbal, tilts as water rushes in.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoAMAaus-oQIHqICaNx6qM5VCJm8VNkLsL0wMoq6H-N1Mpx1STzAz4YOcOKd-2qtlPTF3rwyDs4j1QwVovaiqEh0U4F_XNim7IIt6vwR1mAEbHJp5EddIvzavTDdd5D0J1Emx4jGJ5op8/s1600/Untitled-13-2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoAMAaus-oQIHqICaNx6qM5VCJm8VNkLsL0wMoq6H-N1Mpx1STzAz4YOcOKd-2qtlPTF3rwyDs4j1QwVovaiqEh0U4F_XNim7IIt6vwR1mAEbHJp5EddIvzavTDdd5D0J1Emx4jGJ5op8/s640/Untitled-13-2.jpg" width="640" /></a></div>
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Sc. 231A,C,D BACKGROUND BATTLE ACTION FOR RAFT</h4>
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<span style="font-family: "courier new" , "courier" , monospace;">Sc. 230X1 CLOSE SHOT - ARRIUS AND BEN-HUR</span><br />
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<span style="font-family: "courier new" , "courier" , monospace;">Ben-Hur has added a piece to his make-</span><br />
<span style="font-family: "courier new" , "courier" , monospace;">shift raft. He looks off to - - </span><br />
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<span style="font-family: "courier new" , "courier" , monospace;">230X2 ARRIUS'S GALLEY</span><br />
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<span style="font-family: "courier new" , "courier" , monospace;">It is ablaze and starting to list.</span><br />
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<span style="font-family: "courier new" , "courier" , monospace;">230X3 CLOSE ON BEN-HUR AND ARRIUS</span><br />
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<span style="font-family: "courier new" , "courier" , monospace;">Arrius stirs, partially retaining</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">consciousness. He looks dazed PAST CAMERA.</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">230X4 GALLEY - RAFT IN FOREGROUND (BLUE</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">BACKING)</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">We see over Ben-Hur and Arrius, the ship </span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">sink slowly into her grave. Arrius</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">collapses into unconsciousness.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg83cvPJdkNmhhaloSdgSATE8qzNVk395BFSX5U19pGqZGHUa3Rd2QA35yELIdLRJTeMPBiJdJe-C6jvjUlWUb9rnQy93Tyz_7PgdW4o11D9tpFoJE6pe9qrdMLJzhiYZAeaN4U3MrNI0c/s1600/BenHur00055.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg83cvPJdkNmhhaloSdgSATE8qzNVk395BFSX5U19pGqZGHUa3Rd2QA35yELIdLRJTeMPBiJdJe-C6jvjUlWUb9rnQy93Tyz_7PgdW4o11D9tpFoJE6pe9qrdMLJzhiYZAeaN4U3MrNI0c/s640/BenHur00055.png" width="640" /></a></div>
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Note the re-use of the same shot from two different cameras; 75mm and 104mm lenses.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYEVwCAQCR3RsplEj1Y-1-HR5ewUGON6_krX2D8LWNZ4BY2mrQ8FrxUYnlx3JFZa8KxVUiw4927TK-dwfVMQq7DQ99eWKeuSOnDEiAAK5BcZEshHY5l1GHfRFEv9p-L2UJBlaDjDLWwHQ/s1600/BenHur00053.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYEVwCAQCR3RsplEj1Y-1-HR5ewUGON6_krX2D8LWNZ4BY2mrQ8FrxUYnlx3JFZa8KxVUiw4927TK-dwfVMQq7DQ99eWKeuSOnDEiAAK5BcZEshHY5l1GHfRFEv9p-L2UJBlaDjDLWwHQ/s640/BenHur00053.png" width="640" /></a></div>
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Black and White photos of background and foreground prior to being optically combined. The blue screen chromakey method of combining shots, called out in the script, retained the blue glow of foreground activity. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmdcj4H51OE5n5jUx0t2LvVUO533ViWi-Hh8ScsENANqodkbPyXDqOIZG0QCwJFuJx2oG1463ahyphenhyphen7BvOD3bdySqFXpjU0I191aqUzrdUojJSOA2dKMcfkAOxVk7ZNPdl7sltJeSa41ysM/s1600/61-P-2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmdcj4H51OE5n5jUx0t2LvVUO533ViWi-Hh8ScsENANqodkbPyXDqOIZG0QCwJFuJx2oG1463ahyphenhyphen7BvOD3bdySqFXpjU0I191aqUzrdUojJSOA2dKMcfkAOxVk7ZNPdl7sltJeSa41ysM/s640/61-P-2.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit9qUtn3_OOaP8VkWVgnYHCcF1CZHg-uSnM_NVuQi8-JgYHAnpXfWfNHvQpTaJi2b9UMbxs16S4wOwirHr3RxsBE0_Ce9QkeVtMqSI3R0tYvdDRJaClKXNuP70Ka_lpfqVxeNFS9zGqT4/s1600/61-P-1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit9qUtn3_OOaP8VkWVgnYHCcF1CZHg-uSnM_NVuQi8-JgYHAnpXfWfNHvQpTaJi2b9UMbxs16S4wOwirHr3RxsBE0_Ce9QkeVtMqSI3R0tYvdDRJaClKXNuP70Ka_lpfqVxeNFS9zGqT4/s640/61-P-1.jpg" width="640" /></a></div>
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<span style="font-family: "courier new" , "courier" , monospace;">231 EXT. OPEN SEA (BLUE BACKING)</span><br />
<span style="font-family: "courier new" , "courier" , monospace;"><br /></span>
<span style="font-family: "courier new" , "courier" , monospace;">We see over Ben-Hur and Arrius, the</span><br />
<span style="font-family: "courier new" , "courier" , monospace;">ship sink slowly into her grave. Arrius</span><br />
<span style="font-family: "courier new" , "courier" , monospace;">collapses into unconsciousness.</span><br />
<span style="font-family: "courier new" , "courier" , monospace;"> DISSOLVE TO:</span><br />
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<span style="font-family: "courier new" , "courier" , monospace;">231 EXT. OPEN SEA (BLUE BACKING)</span><br />
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<span style="font-family: "courier new" , "courier" , monospace;">Ben-Hur has hoisted the unconscious </span><br />
<span style="font-family: "courier new" , "courier" , monospace;">Roman up on a fragment of the deck and</span><br />
<span style="font-family: "courier new" , "courier" , monospace;">is maneuvering his improvised raft away </span><br />
<span style="font-family: "courier new" , "courier" , monospace;">from the battle, which can still be </span><br />
<span style="font-family: "courier new" , "courier" , monospace;">seen in the distance. Laboriously, Ben-</span><br />
<span style="font-family: "courier new" , "courier" , monospace;">Hur pulls himself up on the raft beside</span><br />
<span style="font-family: "courier new" , "courier" , monospace;">the Roman.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS6u7tFhaBJag_m30QvZ_quPzCCnZvgK9k1Dm2J45MozilmftrFsxGSLL0vmEYP-XcxsuyWAINvkGm76F0QdMgMjnySaZcz7tnQpil2Zx_q414XvVkRjYwe6fk1rJEsZqYVJQHFsfpKEs/s1600/61-P-3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS6u7tFhaBJag_m30QvZ_quPzCCnZvgK9k1Dm2J45MozilmftrFsxGSLL0vmEYP-XcxsuyWAINvkGm76F0QdMgMjnySaZcz7tnQpil2Zx_q414XvVkRjYwe6fk1rJEsZqYVJQHFsfpKEs/s640/61-P-3.jpg" width="640" /></a></div>
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Note the similarity between the foreground action scene and the background blue screen scene.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhutd6a-fppp5nIVMnpYmQ6X8Bdt74NEYJHeTIuaRwaZTZy0qWs3Qc9urqkLg27iJXy2BGaQO9BpwWEjUOQXVUz1bebrYMnPV1iBGI1CUC7R0z5d6AqDltf47boiAl0uu9ywSfGRlh2v4Q/s1600/vlcsnap-2016-12-29-09h58m21s376.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhutd6a-fppp5nIVMnpYmQ6X8Bdt74NEYJHeTIuaRwaZTZy0qWs3Qc9urqkLg27iJXy2BGaQO9BpwWEjUOQXVUz1bebrYMnPV1iBGI1CUC7R0z5d6AqDltf47boiAl0uu9ywSfGRlh2v4Q/s640/vlcsnap-2016-12-29-09h58m21s376.png" width="640" /></a></div>
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The blue screen traveling matte method replaced rear projection in the 1960s. While used widely, it was not perfect. A strategically placed fireball can be seen traveling across Arrius's helmet and in front of the mast rigging.</div>
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Background for this shot in the 220X series is the arrow exchange between Arrius's trireme and the Pirate galley as shot by the second camera. </div>
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<span style="font-family: "courier new" , "courier" , monospace;">220X8 SEVERAL QUICK CUTS OF ARRIUS'S GALLEY</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">With tense deck activity, spears being hurled, </span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">fire balls from Pirate ship hitting galley.</span></div>
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Sc. 230X4 GALLEY - SHIP SINKING SLOWLY INTO HER GRAVE</h4>
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The sinking of Arrius's galley, as dramatic as any death scene, begins with a slow decent. Underwater cables, controlled by on-shore pulleys, drag the vessel downward into the "sea". The bow, or front, is the last to go, as if gasping for a last breath.</div>
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Oars wave violently as slaves attempt to signal for help. Debris and floating miniature men are swept by the descending ship.</div>
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MGM's Tank Lot 3's deep pit, outfitted with pulleys, controlled the ship's decent. Cable "C", pulled at 2.4" per second, resulted in a total of 30 seconds for the ship's demise. </div>
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Measuring twelve feet to thirty feet in depth, three hundred wide by three hundred feet long, with three deep pit wells ranging in size from twelve to thirty feet deep, MGM's Tank Lot 3 provided the effectsman to deliver miniature and full size effects.</div>
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Due to editing, Arrius's sinking ship is played out twice. Edited between the battle and raft scenes, one will notice that two ships sink. Both are Arrius's. The above still, shown during the battle scene, precedes the last shot of the sequence, below.</div>
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Editing the scenes chronologically, the sinking of Arrius's trireme is revealed. <br />
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/vfTu8XY2irE/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/vfTu8XY2irE?feature=player_embedded" width="320"></iframe></div>
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The MGM Effects Department captured Edward C. Carfagno's visualization of Scene 230 fairly accurately. As directed "Miniature Sinking Roman Galley (Arrius) Battle in B.G."</div>
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MGM Tank Lot 3 </h4>
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Filming the galley sequence enlisted the collective crews from many departments. Outfitted in waders, cameramen, lighting, effects craftsmen took to the waters on the backlot. Cinematographer Harold Wellman oversaw shooting of all miniature scenes. The long shot on the right required the cameras to be approximately 250' from the horizon.</div>
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Twenty ship lengths, 220', separated the Roman trireme, foreground, from the Pirate galley in the background in the photo on the right.</div>
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Adding it Up</h4>
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MGM accountant Kieth Gledhill tallys the shooting and effects costs. Insight into the shot planning is gleaned from the dates documented. Shooting ran from August 8th to November 18th, 1957.</div>
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Gross film footage shot was 41,370'. Scene 210, SIGNALS FOR START OF BATTLE, required 11 days for preparation. As this was the first scene for the battle sequence, additional time was required to test ship speed, radio controls, wave height, smoke and wind movement and film speeds.</div>
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This epic film was a pinnacle event for MGM. With a budget of $15.175 million dollars, BEN-HUR was the most expensive film made to date. It is no wonder that due to the MGM effectsmen, which included carpentry, plaster, rubber, sound, and careful planning, won an Academy Award for Best Special effects. </div>
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For more insights into BEN-HUR and other MGM blockbusters, peruse the pages of Wizard of MGM. "Ben-Hur: Inside the Script" ebook is available for Kindle, Nook and on iTunes. The Warner Brothers "Inside the Script" series contains the entire working script.</div>
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As Buddy Gillespie espoused, the more you learn, the more you will apply what you know. </div>
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<br />Robert Welchhttp://www.blogger.com/profile/12742406587312845695noreply@blogger.com0tag:blogger.com,1999:blog-6624132995266314614.post-44259559328341406852016-07-08T18:10:00.002-07:002016-07-10T12:31:49.805-07:00<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib3cH0qnWthVr8Bk4SAgQC780ahfA1aZlqSEgsU8aYzSlgfFH-10W1lpnu9LyUQQVLIgZMw3Nl8Zl21qEW_5uSJV7vW8VEtHKfMygVnNo0LFcmTUnYis_VzUN-HFCiiBQ1X_3NmEU2Rzc/s1600/MonkeyShot-v2.gif" imageanchor="1"></a>FORBIDDEN PLANET - Animations</b><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Joshua Lawrence Meador, head of Walt Disney Studios Effects Department was on loan to MGM Studios for the FORBIDDEN PLANET project. Pinocchio had recently wrapped up, allowing Joshua to work on the MGM title. Harper Goff at MGM originated the contact with Walt Disney about the film. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">16 scenes were animated. Each 30" x 12" animation cell was drawn on white fine stock animation paper using a conti crayon. Art Cruickshank photographed the actual paper drawings onto false sensitized duping stock No. 5245 in the Disney camera department with contrast burn-in elements and mattes to produce the final composites. Different color filters produced a full color effect from the black-and-white animation. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Each element of the shot, such as laserblasts, was photographed separately onto its own piece of film. A “glow glass” was used in the photography, a heavy light diffusing device which added a soft edge on the drawing, creating the illusion that a hot energy filed was making the creature visible. The MGM Optical Department, head Irving Reis, optically combined the final composite. </span><br />
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<span style="font-family: "arial" , "calibri" , sans-serif;">The Id Monster was conceived by Ken Hultgren, freelance artist, contracted by Joshua Meador. Ken came up with the final design modeled after the MGM Leo the Lion trademark.</span><br />
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Robert Welchhttp://www.blogger.com/profile/12742406587312845695noreply@blogger.com0tag:blogger.com,1999:blog-6624132995266314614.post-56530421897418036052013-03-11T09:20:00.001-07:002013-03-11T10:06:13.817-07:00An exciting event here in Burbank, CA, the center of the media industry, celebrating the history and renaissance of practical and in-camera Special Effects.<br />
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<br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
FOR
IMMEDIATE RELEASE: </div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
TRIBUTE TO
THE ART SPECIAL EFFECTS EVENT</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Burbank, CA
- March 10, 2013 - Documentary DVD and Book signing featuring veteran effects
artists and a tribute to the history of Special Effects on Sunday, April 14th
at 2:00 PM.</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Editors for
the newly published memoirs of A. Arnold "Buddy" Gillespie will be
signing <i style="mso-bidi-font-style: normal;">The Wizard of MGM</i>.<span style="mso-spacerun: yes;"> </span>Buddy Gillespie <span style="mso-spacerun: yes;"> </span>was the Head of the Special Effects Department
at MGM Studios from 1924-1965. <span style="mso-spacerun: yes;"> </span>He contributed
to such movie classics as <i style="mso-bidi-font-style: normal;">Wizard of Oz</i>,
<i style="mso-bidi-font-style: normal;">Ben-Hur, Forbidden Planet, 30 Seconds
Over Tokyo</i>, and <i style="mso-bidi-font-style: normal;">Tarzan</i>. <span style="mso-spacerun: yes;"> </span>The 384 page book includes hundreds of never
before published photographs, illustrations, technical details, and whimsical
stories of the Golden Age of Hollywood at its largest Dream Factory.<span style="mso-spacerun: yes;"> </span>Included is an introduction by Spencer Tracy
and Katharine Hepburn.</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="http://www.wizardofmgm.com/">www.wizardofmgm.com</a></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Veteran
effects artists will be signing the documentary DVD <i style="mso-bidi-font-style: normal;">Sense of Scale</i>, a personal behind the scenes look into the
fantastic miniature world of movie special effects as told by the model makers
themselves.<span style="mso-spacerun: yes;"> </span>These contemporary artists brought
such features as <i style="mso-bidi-font-style: normal;">Terminator 2</i>, <i style="mso-bidi-font-style: normal;">Armageddon</i>, <i style="mso-bidi-font-style: normal;">Alien</i>, <i style="mso-bidi-font-style: normal;">Star Wars</i>, <i style="mso-bidi-font-style: normal;">Batman</i> and many more to life.</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="http://www.senseofscalefilm.com/">www.senseofscalefilm.com</a></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Philip J.
Riley, co-editor of <i style="mso-bidi-font-style: normal;">The Wizard of MGM</i>
will be signing <i style="mso-bidi-font-style: normal;">Horror of Dracula</i> and
<i style="mso-bidi-font-style: normal;">The Invisible Man</i>, alternate film
history tales for these horror movie classics.<span style="mso-spacerun: yes;">
</span>Film historian and author, Philip J. Riley has contributed to the horror
genre for the past 40 years, including historical references for <i style="mso-bidi-font-style: normal;">Frankenstein</i>, <i style="mso-bidi-font-style: normal;">The Hunchback of Notre Dame</i>, and <i style="mso-bidi-font-style: normal;">London After Midnight</i>.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Dark
Delicacies Book Store</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="http://www.darkdel.com/">www.DarkDel.com</a></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
3512 W.
Magnolia</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Burbank, CA
91505</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Sunday,
April 14th @ 2:00 PM</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
###<br />
<br />
<br />
<br />
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<tbody>
<tr>
<td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSS6G1xXXr3wbWDaw0qH7fCd-gotVWglO19OOGjBoTjHSNqW68j7Q1ADwdh6ztoqZT3bJ53R_ARsqy9nUuIZZV1Wi1neGpw2Vy-hGxwTssoApNVHhmklnWX6AAfMmvkwEbRWBJBK_b5w4/s1600/Buddy+Cover+WEB-228x228.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSS6G1xXXr3wbWDaw0qH7fCd-gotVWglO19OOGjBoTjHSNqW68j7Q1ADwdh6ztoqZT3bJ53R_ARsqy9nUuIZZV1Wi1neGpw2Vy-hGxwTssoApNVHhmklnWX6AAfMmvkwEbRWBJBK_b5w4/s200/Buddy+Cover+WEB-228x228.jpg" width="150" /></a></td>
<td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwdLezjhal-d-XHyNsxoSzU51KbMEPK14xS6mIxymfAIaQ5DepSMmxFs58FezzuvqFyoaXFSKvCllsIlmSdc0J461YH-Z_Iq1Q9dIOQ1FoPEc2DJFiGLYks43_1v73enHYY_vffnmTjnU/s1600/Wizard-of-MGM-Poster-v9-8x11-Flat.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwdLezjhal-d-XHyNsxoSzU51KbMEPK14xS6mIxymfAIaQ5DepSMmxFs58FezzuvqFyoaXFSKvCllsIlmSdc0J461YH-Z_Iq1Q9dIOQ1FoPEc2DJFiGLYks43_1v73enHYY_vffnmTjnU/s200/Wizard-of-MGM-Poster-v9-8x11-Flat.jpg" width="155" /></a></td>
</tr>
<tr>
<td class="tr-caption" style="text-align: center;">Wizard of MGM book cover - Web image.</td>
<td class="tr-caption" style="text-align: center;">Wizard of MGM signing flyer.</td>
</tr>
<tr>
<td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8L1nox-WrDgd8_PnAjEvLRZiKxdYs_YtBjdexbxHHCrHvzd4AW2l3rVl2pKGJYMoVeLoNRux5rJhXSPq1TmPCtRCOGdrlhmM_oDsYY0kc9lwpe7frWVNCiIRFsI19XCXodsjnnVj3eGg/s1600/SOS+POSTER-DD-v4-8x11-Flat.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8L1nox-WrDgd8_PnAjEvLRZiKxdYs_YtBjdexbxHHCrHvzd4AW2l3rVl2pKGJYMoVeLoNRux5rJhXSPq1TmPCtRCOGdrlhmM_oDsYY0kc9lwpe7frWVNCiIRFsI19XCXodsjnnVj3eGg/s200/SOS+POSTER-DD-v4-8x11-Flat.jpg" width="155" /></a></td>
<td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXLSBgoc0hkOwkgt3K-fEzDlh6xAwsVocyoyJwaViw0_KnonGnK1pNQE5oDssbYAu40VysN6r9wZRFMldYNxR01cJ8rqgL9xb0wwXzDuXUhEcaTG1ln8cKZV2Tgc7pkonwPcTFljbFjkQ/s1600/PJR-8x11-v1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXLSBgoc0hkOwkgt3K-fEzDlh6xAwsVocyoyJwaViw0_KnonGnK1pNQE5oDssbYAu40VysN6r9wZRFMldYNxR01cJ8rqgL9xb0wwXzDuXUhEcaTG1ln8cKZV2Tgc7pkonwPcTFljbFjkQ/s200/PJR-8x11-v1.jpg" width="155" /></a></td>
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<td class="tr-caption" style="text-align: center;">Sense of Scale signing flyer.</td>
<td class="tr-caption" style="text-align: center;">Philip J. Riley book collection flyer.</td>
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</tbody></table>
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Robert Welchhttp://www.blogger.com/profile/12742406587312845695noreply@blogger.com0tag:blogger.com,1999:blog-6624132995266314614.post-5823820174232249742012-12-28T16:49:00.002-08:002016-07-09T15:01:37.353-07:00About The CoverQuite a few people have asked about the cover and why the original book title was changed.<br />
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<span style="color: yellow;"><b> </b></span>"Buddy wouldn't consider himself to be the 'Wizard'."<br />
"Shouldn't the book be exactly as Buddy envisioned, including the cover and original title?"<br />
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Over the course of recompiling the manuscript revisions, talking to publishers and contemporary effectsmen, many persuaded us to update the cover, appealing to a new generation. Afterall, the book was originally penned for the special effects student. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD0kCrr5jEgneyP-UHlXAdo-Rllo1mvRNuuV4Zb35aRo-0Ax-1jkrRSuRywpPkm3nQVktsSKbfqlugF4ekUN3E8idiobA7NRdLtZrF8fz6Xn-w8thkEBEPC9IW6jKB6IOi_ylN-ssVtrw/s1600/BigOnes-Cover-Web-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD0kCrr5jEgneyP-UHlXAdo-Rllo1mvRNuuV4Zb35aRo-0Ax-1jkrRSuRywpPkm3nQVktsSKbfqlugF4ekUN3E8idiobA7NRdLtZrF8fz6Xn-w8thkEBEPC9IW6jKB6IOi_ylN-ssVtrw/s640/BigOnes-Cover-Web-2.jpg" width="640" /></a></div>
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The original concept of "Big Ones Out of Little Ones" carried a lot of metaphors; miniatures used in blockbuster movies, little ideas that develop into bigger concepts, and the many 'little' people that are the backbone of big business. Even the king of the jungle starts out as a pup. A bit lofty stretch for the current generation to ponder, possibly.<br />
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Buddy tested alternating red and black color schemes with varying font sizes and shapes. Exact photo layout and size were specified, as was throughout the book. Buddy's draftsman skills at work.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHFYdVv5ocImzoyWswIaWsp7RZMmA86Pr32vCITVx3F028EKpv9cR57a__WhCkLJoM77-3HYwkLCQdCoDkkWtCgtkbHfk_LwGC7jsWlwgzjvFRKYVwJhH18xtCxmAiCscZk4jdK8Jy08k/s1600/BigOnes-Cover-Web-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHFYdVv5ocImzoyWswIaWsp7RZMmA86Pr32vCITVx3F028EKpv9cR57a__WhCkLJoM77-3HYwkLCQdCoDkkWtCgtkbHfk_LwGC7jsWlwgzjvFRKYVwJhH18xtCxmAiCscZk4jdK8Jy08k/s640/BigOnes-Cover-Web-1.jpg" width="640" /></a></div>
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For the record, this is my grandfather's manuscript, not mine. Keeping true to his original layout and detail kept me up at night. Publishers either wanted a photo book, or, at a minimum, less words. When a publisher buys a book, they own the rights to it outright, to do with it as they see fit. Editing in any form, including changing the cover, was their right. Thus, taking the advice of many respected individuals, a new cover was realized and we chose a publisher that agreed to print the book as is.<br />
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Keith Kaminiski, a good friend of mine and well respected Art Director, took up the challenge. "Wizard of Oz" naturally draws up quite a few iconic images; the famous poppy field matte painting, the green Wizard bust floating in front of ominous fire pots as the Wizard's alter ego floats above, the witches castle, on and on. Buddy's book chronicles his life's journey. The "yellow brick road" metaphor seemed very appropriate. <br />
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<a href="http://tfm.usc.edu/uploads/articles/362/_mg_0042__full.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEPM2stzsF2B-6W5l720HEuCMYw0ba_jPRxI8KOxuLuj0YdOO8KuBlRFYJV9xD7JCeI00o5a7OWOvZ4LLKXIWk-lDDIBDPaZ5kVkmavBtPQav_oYMeVq1PxoR0hD9vC5hugxFtOVh7mPI/s1600/Buddy-comp-color.jpg" imageanchor="1"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9bZrLFdtnMXJ7hEMafdE4sCA3bjshqpgS-CUt59jAP091o0NvhfeXi64_-Rote_iZqei8GDQceZ5hQf9FndPoL4pBAfpW-gLUeRSDHcJT-yLtGcXY17_NYelACRw-6WlYoMTeMbredEE/s1600/Buddy-sketch.jpg" imageanchor="1"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9bZrLFdtnMXJ7hEMafdE4sCA3bjshqpgS-CUt59jAP091o0NvhfeXi64_-Rote_iZqei8GDQceZ5hQf9FndPoL4pBAfpW-gLUeRSDHcJT-yLtGcXY17_NYelACRw-6WlYoMTeMbredEE/s400/Buddy-sketch.jpg" width="313" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKaXi5Ipm3trLNN8NszFRr8Jy0XcMoj-uyo-hLtslITv0tcK-cMGJ2ND4rJly121MO15904k8ZtHqDUbFBy0aNpq0AsQ7hCweSrhRAuHEBvihFBci_wnNz4V6Us3U1L20Tqs4-Kw5W49E/s1600/vlcsnap-2012-12-28-16h22m47s26.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKaXi5Ipm3trLNN8NszFRr8Jy0XcMoj-uyo-hLtslITv0tcK-cMGJ2ND4rJly121MO15904k8ZtHqDUbFBy0aNpq0AsQ7hCweSrhRAuHEBvihFBci_wnNz4V6Us3U1L20Tqs4-Kw5W49E/s400/vlcsnap-2012-12-28-16h22m47s26.png" width="400" /></a></div>
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Buddy also directed MGM's logo title sequences, featuring several of the Leo the Lions, shot by his good friend, Harold J. Marzorati. This too, seemed very appropriate.<br />
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<a href="http://www.widescreenmuseum.com/widescreen/c65logoshoot3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.widescreenmuseum.com/widescreen/c65logoshoot3.jpg" height="240" width="400" /></a></div>
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Keith took all these and more into consideration. He hand drew Buddy's bust and each element in PhotoShop. The black and white contrast, similar to the "Wizard of Oz" movie, represents the story telling of the book as Buddy takes the reader by the hand to the glory days of MGM.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGKMGyPlHzFWMl9dfF0Z7H-WGRio71q1Qhwvp3TdJcUydouDlqkVCnbS6Jxxg5pJvRcvYU7l1GPnShRdDF1BSj5mAG3-DQTruI2vumfp-90Zdu1gQADaMHw5vUNy2Ojd_HqJaI5wKHcik/s1600/Buddy-comp-color.tif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGKMGyPlHzFWMl9dfF0Z7H-WGRio71q1Qhwvp3TdJcUydouDlqkVCnbS6Jxxg5pJvRcvYU7l1GPnShRdDF1BSj5mAG3-DQTruI2vumfp-90Zdu1gQADaMHw5vUNy2Ojd_HqJaI5wKHcik/s400/Buddy-comp-color.tif" width="311" /></a></div>
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Metaphors are still relevant and accessible. MGM being "Oz", and the wizards of MGM the effectsmen and craftsmen that toiled over minute details. Their subtle magic displayed proudly on screens worldwide. Yes, it may seem as if the title and cover are a bit gratuitous given the company Buddy shared with Cedric Gibbons, Donald Jahraus, Paul Irebe, and other movie magic geniuses. But this is his book. His tribute to teams at MGM. And his life lessons for us all to consider. One of a team of Wizards of MGM.<br />
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<span style="color: yellow;"><b>MagicImage Filmbooks</b></span> announced the upcoming title in their flyer sent out in 1989. The airman photo, one of many images still missing, might be that of Floyd "Speed" Nolta. <br />
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The complete newsletter included announcements for "Mr. Science
Fiction's Fantastic Universe" (available in VHS or Beta), The Gernsback
Awards, And Forrest J. Ackerman's "Famous Monsters of Filmland". <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg620lQRqHLgkdG9ZaomoJ482mkyuN2VUwJxWCHfnnfV3NWvg9-fIHHJxjfRY3S2HN6uUM8bqRiC8CqMURBXxtsFzDIxtPL29vrTC1MuaDVKBJyRmrQIMzqH0zAEU-ms8_c16z-9aDxKg/s1600/Magic-Image-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg620lQRqHLgkdG9ZaomoJ482mkyuN2VUwJxWCHfnnfV3NWvg9-fIHHJxjfRY3S2HN6uUM8bqRiC8CqMURBXxtsFzDIxtPL29vrTC1MuaDVKBJyRmrQIMzqH0zAEU-ms8_c16z-9aDxKg/s640/Magic-Image-2.jpg" width="640" /></a></div>
"The Memories of Patsy Ruth Miller", Filmography by Jeffrey Carrier and Introduction by William K. Everson was also featured in this mailer.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWuoF1tJY4-9p2X2J4R3pYMJNyiOY4-ewdsy1z1vEBzQpguzBCINVChPfqDnGfSdWiFTKNGvpNmvHP1Zu9MtkMnDRW8NAobTOP61rh_7zj8qyZGc5v9IIV8aDfzEEZP6M9YcqSbHMEsF8/s1600/Magic-Image-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWuoF1tJY4-9p2X2J4R3pYMJNyiOY4-ewdsy1z1vEBzQpguzBCINVChPfqDnGfSdWiFTKNGvpNmvHP1Zu9MtkMnDRW8NAobTOP61rh_7zj8qyZGc5v9IIV8aDfzEEZP6M9YcqSbHMEsF8/s400/Magic-Image-3.jpg" width="315" /></a></div>
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Robert Welchhttp://www.blogger.com/profile/12742406587312845695noreply@blogger.com0tag:blogger.com,1999:blog-6624132995266314614.post-32672979627015812872012-11-18T17:33:00.001-08:002012-12-30T17:17:26.273-08:00The Wizard of MGM by A. Arnold Gillespie<div align="justify" dir="ltr">
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<span lang="EN"><span style="color: yellow; font-family: inherit;"><b>Tributes</b></span></span><br />
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<span lang="EN"><span style="font-family: inherit;">Every art has its stars. Buddy Gillespie’s star shone brightly in the Hollywood motion picture industry for more than four decades as a creator of dramatic, eye-popping visual effects for Hollywood’s major motion pictures.</span></span></div>
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<span style="font-family: inherit;">A master of both art and technology, he served as head of special effects on more than 180 major feature films at Metro-Goldwyn Mayer Studios, endowing their stories and adventures with unforgettable images that enhanced and supported their dramatic impact. For his work in these cinematic milestones he was rewarded with twelve Academy award nominations and four Oscars.</span><br />
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<span style="font-family: inherit;">This very readable and richly illustrated set of memoirs chronicles the life and work of one of Hollywood’s most distinguished filmmakers, describing his career in detail and revealing the complex techniques with which he achieved his results. </span></div>
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<span style="font-family: inherit;">Dr. Raymond Fielding, Dean Emeritus </span></div>
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<span style="font-family: inherit;">College of Motion Picture Arts</span></div>
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<span style="font-family: inherit;">Florida State University</span></div>
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<span style="font-family: inherit;">The artistic vision of A. Arnold Gillespie set the bar for special effects as the film industry evolved during MGM’s golden age of Hollywood.</span></div>
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<span style="font-family: inherit;">"Buddy’s" seamless in-camera miniature, pyrotechnic and mechanical effects have inspired me since I can remember and his stunning sequences have laid the ground work for my career. Even in this digital effects age, the timeless techniques that Buddy pioneered I still employ on some of today’s biggest blockbuster films, allowing Buddy’s legacy in the magic of Hollywood to persevere.</span></div>
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<span style="font-family: inherit;">Matthew Gratzner </span></div>
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<span style="font-family: inherit;">Visual Effects Supervisor and Co-founcer, </span></div>
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<span style="font-family: inherit;">Back before effects artists were the rock stars they are today, when most toiled in anonymity, often without screen credit, a few celebrated masters stood head and shoulders above the rest. Among those, none stood taller than Buddy Gillespie, who spent most of his 40-year film career as head of the Metro-Goldwyn-Mayer special effects department, where he contributed cinematic illusions to such classics as <i>The Wizard of Oz, Thirty Seconds Over Tokyo, North by Northwest, Forbidden Planet</i> and <i>Ben-Hur,</i> setting the standard for excellence in matte work, miniatures and other photographic effects. His legacy endures to this day.</span></div>
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<span style="font-family: inherit;">Don Shay</span></div>
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<span style="font-family: inherit;">Publisher, Cinefex</span></div>
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<span style="color: yellow;"><b>About The Book</b></span></div>
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"Wizard of MGM" was originally titled "Big Ones out of Little Ones". The entire book, except for the Introduction by Spencer Tracy and Katherine Hepburn, was authored by A. Arnold "Buddy" Gillespie in 1965. </div>
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Buddy kept an extensive archive of effects he worked on throughout his career. Starting from 1922 with C.B. Demille, to 1965 retiring as the head of MGM Special Effects, Buddy had contributed to over 400 films. Each chapter immerses the reader into the artistry and MGM studio machine; matte painting, miniatures, process shots, optical and animation, includuing inner workings of the studio itself.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKKTcXoI7mf0hefWkk3Rh0orp6khMgSvMF_siTZiIOhVxnIrQefMPz-VICpftDVtL_shbEF3QQKAz-Z-6DEmfi3BEBzEYMHZoh5mEEtSiOqvy4Uj0mOBIaYdj6iuEA3Xcm2BQ8pwTeouk/s1600/Wizard-of-MGM-Photos-3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="281" rea="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKKTcXoI7mf0hefWkk3Rh0orp6khMgSvMF_siTZiIOhVxnIrQefMPz-VICpftDVtL_shbEF3QQKAz-Z-6DEmfi3BEBzEYMHZoh5mEEtSiOqvy4Uj0mOBIaYdj6iuEA3Xcm2BQ8pwTeouk/s640/Wizard-of-MGM-Photos-3.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">AAG measuring for "Wizard of Oz" process shot.</span><br />
<span style="font-family: Arial; font-size: x-small;">The Effects team suited up in waders in Tank Lot 3 for Ben-Hur.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpqyWTRRz6z8HefiToZSsgSf0aixRWL-VCC_b__PrDX6AMArtY1I8KtX9-Tel0sBVz0dYjNA_kAaBROjtK5uRSlfHTFbodAQjsPozhH28TFvDoHaaGF0qxC60_770a1h0nk2dYxQjvLmw/s1600/Wizard-of-MGM-Photos-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="259" rea="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpqyWTRRz6z8HefiToZSsgSf0aixRWL-VCC_b__PrDX6AMArtY1I8KtX9-Tel0sBVz0dYjNA_kAaBROjtK5uRSlfHTFbodAQjsPozhH28TFvDoHaaGF0qxC60_770a1h0nk2dYxQjvLmw/s640/Wizard-of-MGM-Photos-2.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The author with "Forbidden Planet" rover miniature.</span><br />
<span style="font-family: Arial; font-size: x-small;">"Guy Named Joe" (1944) 3/4" miniature plane "flown" by 3 guide wires shot in Tank Lot 3.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjAstT9LX-XZH5FhGVThN7hbwFMZ2ZEaD9zzmF9B5OV26taSz_kOX8rYZstI3G5QxvQy_tBOHPdi67wskMZ7q1RSERpFbtj-unt53AaJDYtAKnyxJpVXtGj9KiER8RfGoghAoA53a7Ogs/s1600/Wizard-of-MGM-Photos-4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="184" rea="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjAstT9LX-XZH5FhGVThN7hbwFMZ2ZEaD9zzmF9B5OV26taSz_kOX8rYZstI3G5QxvQy_tBOHPdi67wskMZ7q1RSERpFbtj-unt53AaJDYtAKnyxJpVXtGj9KiER8RfGoghAoA53a7Ogs/s640/Wizard-of-MGM-Photos-4.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">"Forbidden Planet" Internal Krell Tunnel Background - Electrical driven revolving glass painted black ith a clear pattern in a spiral design.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuAlMlOTuoZuR1ThpVXas0QyDRFntaiG3MpZh8FmXbUJUvi9LucQSGFIo-jKu229MslaCquONbqIzV4pTFumnAHBDiman68hyMf37MxycKnLISYTE8C4GqRnugzyA1ZGKG2X9WF4vk0tc/s1600/Wizard-of-MGM-Photos-6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="440" rea="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuAlMlOTuoZuR1ThpVXas0QyDRFntaiG3MpZh8FmXbUJUvi9LucQSGFIo-jKu229MslaCquONbqIzV4pTFumnAHBDiman68hyMf37MxycKnLISYTE8C4GqRnugzyA1ZGKG2X9WF4vk0tc/s640/Wizard-of-MGM-Photos-6.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Form 48s for "Forbidden Planet" effects - Altair #4 Space Ship shot in Tank Lot 3 using 2' and 4' ships. And Krell Tunnel Background effect. Cameraman Max Fabian was renown for his miniature work.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPktXbD-OE7Dpg1lR7op_IW7anyapFwZz0T0V1-FIWoLTDnJpb5cBoIa8JHW6aTXEyrBu8YsuFJSvKiLpNwGfh81AlT4oo02gA-zQfrMoD6fjVkCO5RXL6KPi_5Cozv8YnrBP_r1zgoKU/s1600/Wizard-of-MGM-Photos-8.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="267" rea="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPktXbD-OE7Dpg1lR7op_IW7anyapFwZz0T0V1-FIWoLTDnJpb5cBoIa8JHW6aTXEyrBu8YsuFJSvKiLpNwGfh81AlT4oo02gA-zQfrMoD6fjVkCO5RXL6KPi_5Cozv8YnrBP_r1zgoKU/s640/Wizard-of-MGM-Photos-8.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">"Wizard of Oz" Flying monkey background process shot. Assebly was in front of small painted backing. Monkeys were cast in rubber with rubber wings. Each was hung by two staionary wires to head and feet. Two movnig wires were fastened to tips of wings and move by accentric in overhead frame.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAMSI0k6wtJjnyrVekSEqUaaGD7zfCCr7xyXNG6QFZXPQc1JDHDOFdH_-Z_wPpY8R3xEb4ib_6frq62lHInmJ9M8rR-DD18cL3W6cX96Klp5lL0J2z-PeqgajHT9JEClZfDl0r_2a_8f0/s1600/Wizard-of-MGM-Photos-7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="305" rea="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAMSI0k6wtJjnyrVekSEqUaaGD7zfCCr7xyXNG6QFZXPQc1JDHDOFdH_-Z_wPpY8R3xEb4ib_6frq62lHInmJ9M8rR-DD18cL3W6cX96Klp5lL0J2z-PeqgajHT9JEClZfDl0r_2a_8f0/s640/Wizard-of-MGM-Photos-7.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Auto roller for "Captain's Courageous" car body and boat. </span></td></tr>
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The 378 page book is filled with over 640 photographs, illustrations, scene diagrams and extensive examples of "how they did that" back in the glory days of MGM Studios. <br />
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As of 1963, Albert Arnold "Buddy" Gillespie worked on over 400 films including Wizard of Oz, both Ben-Hur movies, both Mutiny on the Bounty movies, Gone With the Wind and many other notable MGM blockbusters. His career spanned some 45 years, starting from set designer, to head of Special Effects.<br />
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Buddy's prose takes the reader back in time when the MGM powerhouse first began. Each of the chapters focuses primarily on a particular Academy recognized category for achievement. Whimsical stories about the personalities that worked at MGM, life lessons, and technical details of how effects were achieved are interwoven together. Historian, film and effect students, and general MGM enthusiast are each entertained as "Buddy's" personality pops off the page. Visual representation including details set diagrams, miniatures, and the team of individuals working together to build these effects take the reader back to pre-computer generated graphics days.<br />
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This book is not only historically important, but covers material never before available in print. <br />
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<b><span style="color: yellow;">About the Author <br />International Dictionary of Films and Filmmakers by Greg S. Faller</span></b><br />
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The complete filmography of Arnold Gillespie is one of the largest in Hollywood, reaching nearly 600 films and almost evenly divided between art direction and special visual effects. He worked on both versions of Ben-Hur and Mutiny on the Bounty, created the visceral quality of the 1906 San Francisco earthquake in San Francisco, the alien beauty of Forbidden Planet, and the maleficent nightmare of The Wizard of Oz. Gillespie's work in The Wizard of Oz demonstrated the imagination, ingenuity, and patience that became his trademark. To produce the witch's skywriting of "surrender Dorothy," he used a mixture of sheep dip and nigrosine dye released through a stylus into milk in a glass tank. The attack of the flying monkeys required the hanging of 2,200 piano wires from the sound stage's ceiling.<br />
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When Gillespie began special effects work for MGM, the studio was an efficient organization, all facets of production departmentalized. He was head of the Special Effects Department under the titular guidance of Cedric Gibbons' Art Department and in charge of the crews who worked with miniatures, rear-screen projection, and full-scale mechanical effects. The other aspects of visual effects fell under two other main departments; the Optical Department (matte paintings and optical printing) and the Animation Department. Gillespie seemed particularly intrigued with miniatures (Circus Maximus in the original Ben-Hur, the sea battle in the 1959 remake, the tank chase in Comrade X, the ships in Torpedo Run, and the raft sequence in How the West Was Won) and full-scale mechanicals (Robbie the Robot in Forbidden Planet and the four Bountys used for the 1962 version of Mutiny on the Bounty). But his forte lay in designing solutions for odd effects never before photographed. As in the skywriting effect described above, he usually employed liquids in a glass tank. To create the plague of locusts in The Good Earth, Gillespie dumped coffee grounds into a water tank, filmed their dispersal upside-down, and then superimposed the image with shots of the crops. For the atomic explosion in The Beginning of the End, he visualized a mushroom cloud before photographs and information were declassified by the government. By releasing blood bags under water and superimposing the image with a background shot, Gillespie manufactured an effect so believable and accurate that government officials thought he had access to secret materials. The footage was later used by the United States Air Corps in their instructional films.<br />
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Gillespie had the talent and a studio system to make the remarkable, the unexperienced, the fantastic, and the cataclysmic very believable and authentic. As he described his profession in a FilmComment interview, "The whole physical end of movies, in my opinion, was so interesting because whether the picture was modern, whether it was in the future, whether it was a dream world like The Wizard of Oz or in Outer Space like Forbidden Planet, it was illusion made real."<br />
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—Greg S. Faller<br />
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Robert Welchhttp://www.blogger.com/profile/12742406587312845695noreply@blogger.com0