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Free Poster Win a copy
on ALIEN! autographed
Full llnlnr liy artlst
Blg. 19x22! ll. ll. lilgarl
By special arrangement with H. R. Giger has personally
Swiss artist H. R. Giger, autographed 100 ALIEN
CINEFANTASTIOUE has posters to be given away
primed a handsome 19x22 lree in a rattle to those who
lull color poster (right) to order copies ol his books or
herald the publication ol his posters. To win your signed
book, Gr'ger's Alien. devoted poster. till in your name in
to his lantestic design work the rattle tickets provided at
that so greatly contributed bottom. and enclose them
to the success ol ALIEN. with your order lor the
The poster is sent Iree and Giger books and posters you
shipped unfolded in a sturdy desire. Each Giger book or
mailing tube with each Giger poster that you order entitles
book or poster. shown this you to one chance in the
page. that you order. In drawing. ll you order all
addition, your order otters tour items, you'll have tour
you a chance to win a copy chances to win one ol the
ol this poster, personally 100 autographed posters to
autographed by the artist, be given away. (Should you
in a rattle which is explained order multiple copies 0l any
at right. Giger's Alien is item, you're entitled to
a sumptuous. large-sized. enclose lacsimile rattle
lull-color paperback, lull ol tickets lor the drawing. ll
Gigers sketches, paintings you do not wish to cut out
and photographs. and his this order torm. any copy or
own story ol the production. ' lacsimile is acceptable with
Nscronomicon is the art AII g
your order.) Your chances
ol winning depend ol the
volume that inspired a whole
new visual aesthetic lot 72 page book_ color, 11'/411% number cit orders we receive,
lilmed science liction by but remember there are 100
serving as the basis tor {' : » _ autographed posters to be

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Mllflllil ill-FIIIIPIIIIII I CINEFRNTASTIOUE, P.O. BOX 210, OAK PARK, IL. 60303 I htunplul lt.l.8l||rhmn
One Chance Enclosed is my check or money order lor the H. R. Giger books and posters I have
checked below. I understand posters will be shipped unlolded in a sturdy mailing
One
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Chance
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When Ordering the iteiri below
tube and that books are cushioned and packed in cardboard lor lull protection
Foreign orders are accepted at no extra charge, in USA lunds only.
NAME/Plelse print
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The Spell El Cl Necronomiconm DI Lilith
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NAME/Flelso print
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Silililill
555155 Q]? WQNDER THE BLACK HOLE
iiiiiii Art_ic_le by Paul M. Sammon 5
by I,-mlm-ck S Clarke in-depth interviews with 25 Disney artists and technicians who helped create
' the stunning visual effects for the studio's $16 million space odyssey.
[wish I had something good to say about
THEBLACK "°L.E-“‘='=1!'“'"""'"°""g VISIONS: PETER ELLENSHAW interview by Paul M. Sammon as
'h' he“ P1" °f “"5 d°“hl° '55“ '° ‘h’ P"* An effects legend crownsa brilliant careerwith his workon THE BLACK HOLE
d"“""‘ °m“ m""‘ §P°‘"*l °m‘“§- A¢'“““?'-
I have tmtch good to say about those, and
and looks back on more than 40 years as a matte painter and visual innovator.
abottt designer Peter Ellenshaw and the antty
ofWalt Disney techniciattswlto did intaginativg BEST OF THE SEVENT|ES by Frederick S. Clarke 72
worlt on the film, but t'll have It) get to thnsc The_ '70s saw the unprecedented popularity of big-budget horror and science
mm,m.m§ |au.,_ |,m“,scTHE BUCK HOLE fiction, but the decade also featured ten years of empty-headed schiock
invites criticism and deserves it. i refer you
rst to page 68 for Steven Ditttt'0'5 review of ‘ i
the lm which amply points out its decien- D ‘
cies, clticfatttottg which is a total laclt oftmder-
standing on the part ofits tnultcrs as tn what
constitutes good science ction. or even good
lmmaltittg for that matter. Disney raisetl high K

expectations for THE BLACK HOLE with a

d'll'
§f§?n'...§? .3 51$
h|'"' b-h
t-..l1»l‘ii§§.'t
' ll'
.i..~"{.'l§,~'§§ §3...'.'i.‘i THE BLMIK HOLE by Steven Dimeo 66
eschew their tradiliottal kiddie formula for a
more adult approach. The gttlfbetweett what METEOR by $19»/9;-| Qimgg 1Q
they promised attd what eventually showed

SW8 wt by 69
cmpty~headed as any Disney ltn in recent
years. Sincethe subject mattt-roi'THE BLACK STAR TREK-THE MOTION PICTURE by Kay Aftd8l'SOl'i $5
HOLE offered the potential for what could
have been the greatest science ction liltn
ever made, it is that much more distressing to
see it squandered on the production of a n
Mickey Mouselilte cartoon.
Disney did malte good on one romise
concerning the film—the special eiiects of
THE BIACK HOLE establish a new state-ofr
theart. The lm features the most intricate
and stunning matte shots ever devised, and PUBL|$HEFl AND EDITOR: Frederick S. Clarke. MANAGING EDITOR: Michael Kaplan.
in|[()du((-5 the i|)||()v3tiQ|-| of the Mam; gm" BUREAUS: New York—David Bartholomew, Dan H. Scapperotti; Los Angeles—
camc,-,‘ aspmal qffgc-15100135 m.°|,“;o,,an» Jordon Fi. Fox; London-Mike Childs, Alan Jones; Paris—Frederic Albert Levy.
in 5,5 own way as ‘in. Dvkn,-at-|,:,‘ Camera wag CONTRIBUTORS: Kay Anderson, John Azzopardi. Steven Dimeo. Paul R. Gagne, Bill
ins-|-ARwM'15_-I-his, iahssueb Paul M_ Kelley, Glenn Lovell, David B. Mattingly, John McCarty, Adam Rosenberg, Paul M.
Sammom Mb, gig,“ nfumhs in p,c;;a,al;On_ Sammon. OFFICE MANAGER: Bill Gudmundson. SUBSCRIPTIONS: Kae Alessi.
is intended as a tribute to the vision and
ingenuity of the Disney effects team. and to CINEFANTASTIQUE is published quarterly at P.O. Box 270, Oak Park IL. 60303.
one man incganicular, production designer Single copies when purchased from publisher are $4. Subscriptions: Four issues
and special ects supervisor Peter Ellcnshaw. $10, Eight issues $16, Twelve issues S25. Foreign subscriptions are the same, but
THE BLACK HOLE is E|lcn5haw‘5 parting please pay in USA funds only. Second Class Postage paid at Oak Park lL. (USPS
gesture to the effects field, and it's an C- #0145-6032). Printed in USA. Contents copyright 0 1980 by Frederick S. Clarke.
¢omp|i,hm¢m°fwhi¢h h¢¢;,nb¢m,|y p,»°,,d_ CINEFANTASTIQUE is a Registered U. S. Trademark No correspondence can be
,1‘, cmwngng achievemem or 3 C3,", span. answered unless accompanied by a stamped, self-addressed envelope.
ning more than 40 years. This fact, also,
m=i"== it sad indwi that Ellenshws dssitzn Photosfrom THE BLACK HOLE e 1919 Walt Disney Productions, ViIOr|d rights reserved.
genius, and the effort invested by his effects
°°"“5“°"° "“j"‘°,:",“‘“"““,’,fC{“i°""°§§" ntmut ntsrntaunow in the u s and Canada by Bernard DBBOBF inc tea High
ifns;£:?'h St., Nutley N.J. 071 10. Other cotiniries apply for liberal discount and tar-ins of sale.
effects work could have been staggering. As it
is, we can still appreciate their gem-like effects Cover. The Cygnus at the mew of the black hole, painted by David B. Mattingiy.

iiiiiléi
which "ind °""!§diim°"d§i" lh¢i'°"Eh- U A menacing sentry robot from THE BLACK HOLE: Background

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‘W-'1“
 HE BL CK HOLE
As Told by Disney's Special Effects Experts
H111! I)mnf\"‘ Slmlm |.r ham] n| Burlmnlc nn hghl bmxuns. I!'s a rrrxsxzznng mmzrlablr nlmuJ- II()l.I:‘, 1| Slmnlillmnnllnnplfo ml through
BI.-1(.‘I\‘
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n/Ii/mlr. Slnnzllng Ill //Ix‘ KImiIn's parking lnl nn n 1ng,nrnnllrwlvnmlrnmwlrnmlglnxsrnlnmuxlmlmn HOLI-I brmrrzrs I)m|4fy'x mm! rxpnzsllw gnrnblv I0
r/rm rlur rn mnly III Hus /nzrl qflhv Sun Frnmmln run:/|[r.\' llnnnnnhng n mrnrr 0/ Ihr I01. Ilnlr. r1 vlmvlly smnus slab al n'mu/nng Ihv kind Inf
H1!/:f\". zrhrrr I/u‘ nnug H 11! I/I ht‘//(I(lI!ll.iI1‘!!!YlI_HH1 Thr Imrnfy Slmlm nlm hnx Its nnn/irr1irpar1- mn[n'nn' I! ham '1 had sinu‘ JHR)‘ POPPI.\’S.
rn/1.n~r, /ml Injmmln rill/mu nflhr uh|q|uInm /irrum, rnrnl nml/znslu/fin‘. In 1(l,[rmn lhr num-nn/mrlanl THE HI.-1 CK HOLE is Ihr s1|uIin's rs! major
n /mrlmn 11/ Fun-.:l Lnnn (.'rrm'!ur\, that u'[rhnI_\‘— lrrhnnv|/ mm /mrnl. ll hm nrnr/\‘ n'rr_\"!I|n|g. I/1 |n- /M/1 mln lhr SF /irld. II should hr /mlnlrzl /ml Um!
vlluidrzi rm-m/min zrhirh umlu/a/H Ill! Ihrxlnrk /nl/I hnmr fur:/zlm arr rnnrmnns, aml n [hr fun! six zrlnlr 20,000 LE.-{Cl 'ES l’,\'[)F R THE S£.4—n
hn.\-n|g|n [hr KIIIIIIH/Il”II‘XIHll'L Burnn l'1xln IIfll‘1‘lS wnrs, ul nnr Innr or nnnlhrr. 1-zrtlml/_\‘ n'rr_\‘ nnr 11/ /I/In THF HI.-1(.'I( IIOLE rrxrmh/N mun‘ than a
Ihr xlmlmk zrrrlrnz /nrnzlwlrr; hm‘ _\nu'// /ind SI. Ihnn‘ (Ir/nzrlnwnlx hnx Ivrrn I!|l‘ll[l‘l't1 mlh THF !1!IIrInI— run/mnrd rrrtmn grr1rnrr1m|rnIs, |ln-
_/n,n'ph'<IInsp|lnI rrhrrr Ilmm dml—1rn1_q¢l|n'(l- n1l\ rnlrrgnl at n fax!-n|/mng l‘|(I|man [anln1_\'.
/\" urrnxx Ihrv vlrrrl /‘mm Ihr [mr ml Imrklunll Hm! .\IQO.\' I’lI.OT|s an r‘n:r| brIh'n'.\'n1npl!rfI)|mqv'x
rm/s {hr /ul s [nnlmm III nml (hr /nzh/Ir v nul. ,,'_h,, I_”rmh”“ ‘him Hm H” mm mu”,/,1“/”“_Palumhw /mnr n/nprrmrh In [hr SI /irld; rls x/1110'-mgr prrrnur
I111) mm‘ \‘IllI'T1‘I/|‘t1n'1iIIlYI!l1g'l Ihr (imp/r rrnlvfr hm ML, W I mm M". I-j”. m.,,,. H In /1,,” H m”,,.,;_ Baum" mu n|mh[)‘ s|1l|'-.vh'p/rrdlll anirrln mum-ntmlmn nn
/uni, mu rnlrr Ihr Inl /nmprr nnml In /ind 1I'x— R,-E;,,_. /,, .|/,.\ /,,,,,,,,, ,|,,,;,,,,,\ ,-,,k,,"‘ l,,,,,,;,.,‘ H 1-.m'n!mII_\‘ szlrmn-uh srrrlarin. Bulrrilh THE BL-1!.'I\‘
prrrn .\'ruIl\ lnrnnml /nuns, lrrrs, hm/1r\—rnns! ;,,,M,m/Mm ,,,mL,,.”/,;".;,,mk huh.’ Mm,’ Hm m;,,,,,<,//,\ IIOIJ1. I)ixmf\‘ has /lung zlsrlf a! {hr Ing-hudgr!
xlmlms an‘ mlrk. elrrnn n/Inm, rnmrrlr nml ng/_\ /,,,,,,-,,,,,vL.,,,, ,,,,,,A.,-,,,,,,,,,!,,,-,,-,,/K1,,“ ,,,,\./,-,];,,,,,,,,]‘ ;;1,- mrnrr rlmn :1];'rIx]iIm bamln-ugon xrllh a ungr-
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h|nIn'm_g\ n-rnu~In'n-_ [rn\, rm \11v!u‘,l!H<r\\ um//H.mm-/I\n|; gh1|\(I /n!I||\m'\ '\ mm: Its fnnnuln [nr snrrrxx brgms u'r/ll um of [hr
I‘/F” "1"" "‘YI‘"|"/F‘ ll ""11/L ""11, (11//'1'" 4'Il"lf"l»‘ Ilnnnlnl Hmlmnl rnlr llnllnm I.r/1.-_~1n .-.”I\ l|'H|nn H! nmsl prrsllgmus grouping 0/ prov!!! spmal r/frm
Il\ Inn /mngulunzx nml mlul Marks n[~I snnml mzgrx limrnl In -Iv! Inn-1 Im Hnhnl I \h 1.111! u huh :1!//1'|I/nr mm |n 1h1'hum|r1s~|!'.w nol strrlr/Iing Ihings I00/nr
nrr In/|ly nnnngnl, /nnnlnl Ill f/Immnl mwnrs nml /1111;-nl I1'g\ In Ill/HI: Mr mm In u nlk In my Illa! Milt’: an Oxtar nllached la nearly awn-

Article by Paul M. Sammon

/ I‘ :‘<'
5
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 ‘T
Acknowledgments Interviews Cast and Credits
Without the cooperatiuit of a great tn:iii_\' Gafy "Q|sQ|‘| THE BLACK HOLE A Walt Disney Release.
people. this double issue would iie\'er have Difemor l2/79. ln Color, 70min aiitl Dolby Stereo. 97
stepped heyond _|nnt~ l8, I979, the day l was b Roseb itiintites. PVD(fIll';‘d In Ron Milley. I)ll’aflt‘tf(fl7_\‘ Gary
rst assigned it. I would iiiiiia|l\' like to thank 8 I’ Nelson. Smv-rip H)‘ 9)‘ .l'~'l’ R"-“' "'"“ 3" CH“
Ron Miller and the Disne\*Stiitliti‘s staff. Whilel sCfipNlIl’ilel’ Day. Slnijy Pp-_|eb Rosebrotik Bob Barbash and
r -taiii lIl\' reser\'atiotts about theDisne\' Cor mr- Rl"l‘a"d l-3"d3"- I)"”'“' "/P"""'F'“/’h."~ F'3"k
a:iun_ |'ha“. “,§(.|.\.a|kmS abuma" mllporalinus petQr _Elle|'l_ShaW Phillips. A.S.C. Pmriurliuii dz-tigrml by Peter Ellen-
A(‘\'(‘I)'t)lll' at the studio itself was open with Fggdegtcllgn Dfslgngg 3'3;-;\l':I"":('fPJJ"l'§¥'1*’""4::i;1‘?Y;°l\F313";
h .' ' f |n|a ure 5 rea Qran upervisgr rr rt m imi, oot )\ll'\'.. irrr IJYJ, U ii .
B bM c
' ' ' _'-

an‘: In “S Hansmlsmm Maitshridge, Al Roeltifs atitl R0l)1~rt T. McCall.

| wmd aka mu,‘ In ‘hank an ‘host, wk" o c a Ifdilor, Gregg McLaughlin,A.C.E. I)im1nra[mttii-
graciously gave oftheir time to he inier\'iewetl, JOIIII Mallsbridge ”'“" P"”'“l?'“P'3" A; C""i“|‘;h;';,k‘ -“}""'”v'
particularly those cases in which two or even A Dil'6CiOl’$ /'_”"'/”“”'z1' fl" mpmnfEiistattil" ‘ H“ aw
e L}T'~""
-

. (mnptmlr upltralphnlugmplty, .'"'(h'

three further talks apiece proved ll('Cl'S§ill'\‘. l am
esP¢‘t'iall\' grateful to Art Cl'\llCkSl13l\kINl‘Dil\'l(l Art crulckshank ""“m1 '/In" mpmimn‘ Dam]-‘I Lev‘ Mg!’ “HMS,”
‘“'° BLACK D-W 0* Minm Phowgephy '££Ziii;{-"'F""£2'£EE'.?Ii§l‘1'5.’I5.3?$.'$in.§§ .5".
‘hose fThuf'as"] End lhllllghlrilllcss “"."““‘*,’ EI.ISl866 Lvcatt rrrlrd byjoe Hale. Aiiitrialinri tprrtal r/frrls rxrnilrd
l "5 am? C relic 3]" 3“? jnccgc 3‘ aplgrcsjllle ' Composite Qpcal Phofography In Dorse A. Lanpher aiitl Tetl C. Kierscey. O/zliml
C"a‘_'“""‘ '5 3 5‘? f“'“e w “"c" ' '50“ pltulogrriplry roiirdimzlur. Robert Broughton. Pm-
(“'l‘°5“ '55"'~' ‘h'5 °"K|"3"Y ‘_"'a5 ‘°_b“_]i 5"~'\"' “Q5 Danny Lee iiiirlimi illiulmlurr, Fred Lucky, Getie Johnson.
i"§"'“'“e'"a]l-_a‘ ll?" T“;“'~ '“ §]:r'f§:'gF lb" P“? M6Cl'l3lC3l EHGCIS Supervisor Robert Ayres and Leoit R. Harris. .~lssi.tlanl merit»
.|“"5 STOP“ ‘"1 "Y " "Sm cm "95- 5"" ' - antral r/fem, Hal Bigger. .-lttitlaiil mall! arliils,
mate. proofreader and constant companion iii l'Ial'|’lS_0l\ Ellellshaill David Mauiugiyand cmmamim. Ga“a]“.§_ Sm").
what vI‘tlllSl have seemed a furious temporary Matte Artist and Matte EHGCTS mbql mordmalar, Totitttiy MtLoughliti. Pmdurltmi
insanity. ' - ntritmgrr, John Bluss. Uni! pmditrlmii manager.
Fi"i"!'-3h°5l°fh°53'""lh§"’Mll“’ B""if"- George uclnnls Christopher Seiter. ljutliirriet drsigrird by Bill
BIACK HOLE publicist and my Disney liason. Robot creator Thomas. Sr! dzrimilart, Frank R. McKelvy and
Whether setting up appointnientsoii the Disney Joe "ale Rug;-r M, §|\q0k_ S|[p("llj|]|g mum pdilar, Evelyn
lot. arraiigingan intintate luitch with PeterEllen- . . . Kennedy. Mim: rdilnr. Helen Siieddon. .-Ltiularil
shaw, fetrying out production stills and frame Dlreciol of Animated spemal Eects dirrrlnr, Toni McCrory. Semiid anulaiil dimtnrt,
blow-ups, or returning any one of niy innii- Dofse Lanphef Christoplyer Mlll€'l; alndvloseph P. gloore.
itterablelong-distattce calls, Boniferiiiaiiitaitietl specia| Animmed Effeds ,-lnirlaiit/i VII r ilar, blic ti as inrent Kor a. Lox»
our association with constant ease and unfailing Iuinr su/zmiuur, Chiit k l(eeline..l1akr-up rufltm-H11.
professioiialistn. Without Mike’s help, this piece Bob B|‘0l-lghf0l1 R°l1'~'"]~ 5f_h'm"'- C-M>A-A-1l‘7"*""F Nadll Ha"
simpiy V,-uu|d nu, |,L._ optica| photography coordinaioy il)‘flIf, Gloria Moiiteniayur. (.ni1iimm,]ack San-
"liiside THE BLACK HOLE" derives lriim . . d!‘@‘" illld Mil?‘ DY!" 1-"l"I1 fvf. Uvyd N<
||4_-3|-ly 500 pa“;-5 Of m|||§(|-ipi_ |h(- n-5"]; of 32 Dav|d Mattlngly Aheni. Firslnttislaiil ratrirramati. Rohert Lallonge.
interviews atid roiighly 23 hours til tape. That A$$lSl3l‘li M3118 Artist 5=‘f""fI11111I1Yl1"l'""Y"'I'|v Cl‘l'l| R- wi|50"< SQIIYIJ

°"""‘ ‘“‘F°‘“)‘ "“f‘~‘ $1‘ "f“""""':

‘?“““'.- “'f“
assembled h\ om pt rson ttte. This is pointtd
Tommy McLaughlin .
iiiiiliiiiiiiiiziiii T.ai~iiiii}-Sziiiid
.
§1§L‘S;,'S§iZ‘ii
um m L.|ar“\.'l|“,[a [hm I am m|l.|v“.§ Unsibll. Sentry RODOY COOFGIDBIOY Suimd ejfrrlt rdilarr, George Fretlrick. Wayne A
for any errors, oinissions or other ll\':l\‘l'l'l(‘l\l Tholnas ’\||“’l""-J"§"Ph Palki L°“l5 Term” 3“d.l°h"
].jtilliffe.S/zrrtalsnutidr/Pris. Stephen l(atz.SrnpI
h d .} 1 - , } ,| 1. i | ._ _

]3‘2l::§;"f::l:n|1:i)|
-

lu'E)':§|:slm. B ,
Cosmme Deslgner rupmmiur, Sandy Nelson. Sauiid mtat. Henry A.
Maffell. tlllll mmng mixer, Dan Wallin. Pmpnty
Q K

the ttio\'ie. Because of the studio's decision to

keep the plot uitder wraps and its polity of tint Sgund Effects 'T"""" wmmr L"R"§“'"' IV-‘Kn,’ Dmuldcapel‘
allowing any press screenings of the lilni iintil
. . -I . Steve Kat: “mud pip’ Hlmard
Boles. Bu!
L‘ Hagador"
Bernard
Ga/in’ Carl
F. Bayless. Dialogiu re
lmmedlawh bffon‘ "~‘_g““""“' WIHN.‘ THE
BLACK HOLE soverall impact and effettiwiiess
S
DGCIB
- ‘so UH d Effect S plrirrmml, Bernard P. Cabral, Norman Carlisle
and Al Ma ire Rnmm John van Fr“
las art or eiitenaiitment) remained as dark atid k C u N- k I "' 1 B 3
b H -

mysterious to nie as its titled celestial pheiiuni-

. -.
Terry Saunders
_

Miniature Mechanical Effects!

5:". "'"uff,\:Sai;,|
“A.C.F..S.
“-‘"‘ ‘ ‘x 7"“
famhm 0
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(‘"9" Dlmnglh"'~°""5'~'°f(°mP"§'"Elh'§anldcv Automatic Camera Effects Svstenis.
- - -

“'l‘l(h “'35 “"l"""

Whill‘ ll"
m'“'5 P°5"Pr°' Chlel Model Maker
Frank Paris
.-l.(.‘.E.S. opnalars, Bill Kilduff and Robert R.
wi|5u"_ Ma”, p;|,,“,g,nph_,-_ Ed Sch; and Anhur
duciion effects were uiytl;rway,‘l was only able
to \'ll'W two snippets o t e wor -itt-progreiil - ' Miller. ltzal tilnn mlars, Ray O. Hoar, Fred
did “‘“'l"" 3 (°P§‘ Uf lb" 5h°°‘l“F scrlph hm ll Execuhve Story Editor E. Brangnpn angrlihillippfa Meador. Mini'aliu¢merh-
1 arri\*ed only weeks before my deadline, and the L, Gfdl] cpef atiicnlnts aridtltizfmndzlrriahn, Terence Saunders.
nal 5(€'Itk‘§ had been dfltlvdl. Te¢hnica| Adyisgf Production aniitatil, Stephen M. Md-Iveety. Key
lt was a frustrating handicap, sometimes _ , grip, Doc Reed. Cntr. Roger E. Redel. Pildiing
maddeninglv. so; l b cg an to feel like someone Davld ‘n Ilsh lnu relay sjvxlnru lgv Continental Camera.
who was being told the plot ofClTlZEN KANE Don lwerks
for the first time, and then, at the last possible Bob Otto DL Hans Rcinhardh Maximman schcn
moment, was refused an explanation of what Dr. A I ex Durant. . . . . . . Anthony Perkins
Dvld- svdf
e

. .

Rosebud meant. The issueyou see, then, is based Ca ptain Dan Holland. . . . Robert Forster
-
. . .
on what inforntation was available at the time,
.
A_C_E_S_ Dgyebpmem Team Ll Charles Pizer h Bouoms
and is liberally seasoned with a strong dash of D" K M C ' ' ' ' ' ' P M. .
intuition. Frankly, l'll be as glad to finally see the r‘ _mc E rag ' ' ‘ ' ‘ ‘ ' vent 'm'C.uX
damned thing as _\-oirll be. H3"'§'B°'~" - - Em"! B°"K""]‘
- - - ~ - - < -

"“' 3",“
~

-- -d LACK -- is day d “'3' "“"_“"‘ '5 3 _‘-“"“"° Captain S.T.A.R.. Tornniy McLaughlin . .
“aw
~ _

ms‘ C THE E HOLE writer songwriter musician and coiiiinercial - -

‘U Ruben Blah‘ Harlan Ems°“' Richard Mam“ diver from San Diqiro Califomia. At the moment Stunlsf Bl" couch‘ Alan Ohrlcy‘ Conrad
son, TheodureSturgt-on and Forrest] Ackernian. he is Preparing a umcmon of biog“ his 0} Palmisano, Bobby Sargent, Billyjackson,
Though they weren't aware of it, in the fullest mm“ mon amhors/5(,“,,w,.;u.,.s Er pub Terry Nichols, Katee McClure. Bob Herron,
igcalion, H1‘ i5 cu,-mmiy a, work on an mdcplh Stevie Myers, Howard Curtis, Don Pulford,

_
and most pragmatic sense these live men enabled
me to saddleiipthe project and see it through to Re“-“pm 15;“ on T'H|5 ROCKY HORROR Regina Parton, Len Glascow, Melvinjones
il$ ll Ylld-\1P< PICTURE SHOW, to appear shortly. and Ronald Oliney.

_ __. _
 um‘ rt Iluvn. Thu! mid
rumriiilnl H‘!/II
11 HUI n/urlnrs nu! mimu1Il_\'

Immfv /rmlliirl. Both 4\1a.\'|m|/lat!

u
nlilur IYI I972.
17u'I)t.tm)’ trn1ziig¢lapa!11rtm1 ha: nol, H0111‘/lull’
' '
Sr/trll um! I1mr.tI Iiur_u1mir bnng Brx! .-lrlurd minis all), kip! rmup' trnlrn mi ils 1111]]? u no!1ibIm:\n'p!|u11
lu Ilmr mlrx (rm nmrr Otrum, and .-irlthon)‘ I PS)?
1
LY hon 'I21lr. /hrslml|n'sinJ|u11sr¢'urlml\-trnlrn.
The‘
CHO! I’r'rktns am] Yrrllr,\hm|u|rxI1HE TIME polity IX Iu n'I_\' an /m'[.'nm'r.i mslmrl. 77n'nm‘,
l\'/‘(,.III1\'f,_' mlzl Ilml /illzp 0/ nrulnlgia /it! lhrir n-/lrn Pam mi: uppriuirhrd
nwf/I HI purl [anlas_\/SI~' prmlllrliorit. (.'ambim' all
!¢'In'm'mt H'!111‘fS Hob
Bmbaxh and Rirlmrri l.rul!1au |n_/r11|um_-r #1974
,
Um ml/I 11 I171!‘/‘Y (ll/I’!!!/IIYUIII rm H/Ia! (11/Is /in Ihr trilh an ulm lhr [rm mm mllnl SP.~1(.'I:' S T,-I TI ON

i
1Ilr.\'mn vflhv Immjy irrlx m11'itrl¢'nn/I_w1u haw I, Ihrrrl xtrp ltml luwi Iakrn in
I I I
.ttl\'-yr1|r]0t1n1q\-
11
all (hr nibiltlirs 0 unnihrr /)L(llt‘\‘ rlnnir ~01 Ihr
mus! rzlily blululrrihr xtiuliifs yr! 1uid¢'r1:1b'n Ilhv
thul um In rulmmnlr m I)m|r\“s mus! ('l!l7llT and
min/1/¢2\' rmlinr inlo n-llu/mt! srlrnrr rlmm
'
art Ilia! THE BIA CA’ II()LEis1I|z'jirsIPG mm]
l)1stnf\'-/zrmltlnvl /i/in III /In" /lislnn u/Illa‘ mulm ix n
mu‘ lilllr brmus lam.
FRA N I‘ PARIS u
My primary rcspnnsihility at Dism-v\‘ is in
lind $rI’i|Il§_ writers and din-unr.\, and to ntatkv
a
-
p their drals. Sn when Barhash and Landau
canto to mo in the rst art M1974. I look:-d -
uvcr what tht-_\' had andiinnk them in to meet
Run Mill:-r. who would c\‘\'nt\|all\' h(-t'n|m-
lhv lintil pl'0(‘l\|('('l‘ on THE BLACK HOLE. thr very ht-ginning. and l)_\'ll1clall ull974 it
As H‘!lhllII_\‘!|1/It'll;/"I, hnmwrr, in Ilirbwgirinltlg Both nf Il\('S(‘ guys had lung lists Oi‘ crvdils.
was lhr u-old. Th! gem'si.t 0/THIS I31.-(CK HOLF hm \\'lu'n they rxt appruarhed us thvy t.'am('
was an intvgral part of tht' story.
began zuilh rr m1|.tlnn1/lu.\' 11/ rrnlrrs um] rm/zls. A frw months passvd and Hihlcr derided
with just an idva. Thvy hatlalskvlch Ola spaw that ht: wasn't Cnmplt-lr|_\' salislit-d with the
,l[.m, Him‘ m'n' nulinl l'l'.tll!ll!I!l7/1‘!!lS,' planmvl altttitmlliat thr_\"d drawntl|cinsrl\'cs.:tmlthey
[mm lhr hrglmiing as an W‘!!! shatrnm‘. ll mu l‘IIlI/ B;|rl);\§h/Land;|l| o'urt_ snwclimkcil around
\\‘i\lll('(l In do 2| POSEI DON A DVENTURE in and hired anuthcr writer in work with H ih on
Ihal the/Hm‘: nrrrnll “Iuak" In twrll zlrlrnritlmi H! _\PZ]l'(‘. The initial idvu was that this $pa'
admrm'zfnrlualpnuludton. T/n‘I)lsmfr nu‘!/|ml_/in rt'\\'ri|i|tgwltat thvlirst twng\t_\'s had dour. By
slalitm would he hit by a sup:-rnuva wavc; thc way. there were at lot oliwriu-rs on this
Iiw-urlinn/ilnlx lms aln'a_\s 'I!Yll'|[_\‘ n'lm1m1:'.\'Irn- r\‘('n'nm- wmtld hr in jeopardy and the big
srtwprqaroeiirrliuri slurybnarrlilig —lml. as III Ihrrusr proii-ct. /\t\‘\'way_ this time we hrtmghl in a
pI'(ll|l{‘|Il would hr how tn gm bark tn vamh. ll ll-lluw named William WClU(‘l [Wimd rt-(‘truly
zuilh Ihr rm/2!, [hr mad tmsn'! m.t_\‘ Tzm tm'//- rt-;tl|_\' was nothing nturc thtm a S]1;l('('-llllllllfl
krmuvi amsls mw I!|1'[l'l'(I tuilh THI: III.-l(.'I\' \\'rutr:.1 CBSTV-Mn\'ir: dirt't't(-d h_\' Hal Nord-
tliatistur film. hm“ (;|ll(-1| DEATH CAR ON THE FREE-
HOL!-."spmriur1|an zlmgn, and Ihnr risinrixprut-ml We put BZll'lb1l.\.ll and l.;md;tu on a dvatl WAY], But ;tli(‘rWuud had lilIi§h(‘(‘l his \'(*rsion.
anlillirliral In our anal/u-r. In Ihr nal urialvstx, wlim-rt-l;_\‘tl1t{\"d don-lnp am t>ntlint~. trcalmuil
THEBL1 (.'I\' II()Ll:' 11'/lr(h'dI)tn|¢f\"sprruImrk1|r- |||4-r1-w;|_\ still §u|m-dissatisfactioii all around.
and .\[‘!'l'('lI|)lil_\’. Thvn \\'<*'tl gu from tht.-re. And zit that point Hihlrr rt-tired. Ht: said h(~‘d
ma 0/tralr/mtg 1!: I!lG]II7V0(1Il(!!0!|S7llIIl1I1!‘IIIlI|!!' Run tht-n .1$siglI('(l the prujcu tn pr<id\|c(~r
all)-—/Zn through a lung and m1m'lum'x Inrtur/ms ('l>|II(' hurl: ii‘ we did it. hut at the time we
\\'in\tnn Hihlt-r. who at that timv was pr('- \\‘t'r(-n't surewt-would. Itwasa\'t'l§'(-xpt't1si\'(‘
prenalnl prriod. paring In n‘lil'(‘. Tliiswm tu l)l' his lust pruicct.
Frank Pnrix, Mr I)i.rmfv Slmliifs l'.\'t'(‘lI1H't' slnry pirlurv. We‘ wvrc-n't sure ilwc wt-re ready [O
Hih \;t\\' it Ihrungh the st'rt'1'np|;l\' stage \\‘ilh tttrklr il. And Il\('l'('W('I'l'$Iill snlncrt-st-r\'.1tit>|1s
rdtlur, I1 urlrlrlrlritrhll1t'r1st11!tYr|n1z'(\‘inm/n'1Iu‘!I/i Bitrlmalt zmtl L;md;tu, .md it was urmmd this
/Iu‘¢'m[u1IOI| a/Ilwprojrrl. I’nnJjaim'1I1he' mmpan_i' nhtmt thr lntsir rolirvpl til‘ [hr srripl itxell.
timv that thr black lmlv idt';\ lirsl ;||>p0;|r&-d. 1|l)t>\ll thr whulc idra uf :1 dis;|§|t.'r lm. S0
"I l9b'~7. Hr has hmi¢:\'I¢‘r|sm- nmlmnprrlim-, rmlm. \\'h¢~n thi[\"d lira! L'unit' in, ll1(‘l'(' was nu l>lai'k
and Ir/rvmorz ¢:\'p1'r-min‘, mrludmg ri I J ymr Jim! with Hih gtmc, \\'c put lllt' wript on tllr shrll:
hnlr in thc story. lmt llairlnuslt and l;md;|u pm
as //Ir asmrmlr prudurrr 0/lhr 0/11 Gl '.\'.§I\1OKF llI(‘llI|’t'ill ulitmv in llI('<l\lllill(' tht-\' 1|:-\'t-lupvtl
xcnrs Ill bath rlx mllin and Tl’ l'rmon.t. A l'S(.' l1'ln'rr 1! t/a_w1lV/nr nmrli I1 \‘rur Tlzr ¢iIms!rr~
umlcr Hihlt-r'\ §ll|)L'I\'i§i0ll. Sn, n-;|ll_\', thy /ilm t_1t/t"!1lllTt‘l|l'/ll‘!/I15 a/mgrr 11! 1/111 limr mlh
g-mdualr. Pam b¢'mrm' l)ismj\"x l'.\'!'!'U!!l'l' slur) lilatk lmlr ligurrd in thv script .1lm<1.\t Irvin HI! T()ll'/~'RI.\'(-' I.\‘H~'R.\'(), lml SI‘.-lI.'I* SH-
Rudtrnllr Ilivrnl /mm Prlrr E//rmhzm it /imil ilmgri /or lhr Palomino. Rnhrn .\I!l.11// ‘t mrli /!h'p7lll/ll('[lIlYl mun-/il n'1I.t xh-rk and /mtrrrft/I HI n/I/zrarnnrr
m
mt )Ah‘(§
_. .~_»
,.
»~‘
-
.-

? \ag y
//
T-if
L

_
 TION I languished until Ron Miller had art apparent us that it need ed so tiie changes. So we made a I
(hang! afhmrt in /he uiinter of I975. Production
agairigrami up. Hihler reappeared and alterripted ta
deal withjohn to direct it and then called in
yet another writer, Sutiiiier Arthur Long. a
Ilt
get the project. lllt‘ retitled SP.-I (.1; PROBI: I, into titan who hasa nice track record, to work the
some /tirid It/deni/t' shape lnzirr lhefollaieirig years story over. Nowjohn lives in England, and he
tht-lm ii-as also to be knoimi as PROBE I mu! decided that he wanted to supt-r\'ise the revi-

tltt
I70 tl
sirti Iy SR-ICE PROBE). Onen the irstste s Ilibler
thflb
IL‘7l S (ll I'1Hll'"Ig I7 I "I (Twill ellhp
l' HT!"pt"lg
stage It'lIS Io /n'rsiuttlt' Miller that Ihepmjerl nredeel
sioii of the scn' >t over there. so we sent Sitinner
k"h_]I ‘B
O\'(‘l' [O WOT \v\’Il O I" 0" ll. Ul “' h (‘I1 I '|(' “'35
finished we took another look and iieither wt‘
HOW. 8
’
t'
snrrleatn‘ to illustrate III visual qualities in a series of
preprodurtmri ski‘/(hes. Mtllrr agreed, til iuhirhpoirit
tiorjohii were very happy with the result. We
were still in adisaster-film rypesiiuation, and
' ' E

liilzler mtituetetl the mart he thought ideal n the by this time we could see that that genre was I a
]afI*Rnln'r/ T. .lfr(.all. not as poptilar as it once had lieen. And by _ _ _
Bob .\fr({all was barn on Deeember 2). l9I9. this time we're in the sttmtiier of'76. We'tI
Painter. illurtratar. designer, McCall is one ofthe started out in the wiiiier of I974 and here it - ,
It'D1f(f'IpY!7!II!YS[)(|((Ilffi-YIS.HIIIlfMdf!l((fI0f0g- was, nearly two years later. I I I
iral knowledge and ex ressitie gm hie style have led
him to arrepl marry ciimmissioiispfrnm NAS/I and BOB M‘CAl<l- TI
other It‘!!!-klllvll agencies, and his painting of the When Hottgh was signed on I'd already
spare station on lhe one-sheel of200I isprabably the done a fair atiiotiiit of work. Now when I for his final design at all. I think he looks a
be.tl-recognized commercial iron of that production. started the projett I'tl understood that I would little absurd with his painted eyes and what-
MtCa1l also imrkeel closely with Douglas Trumbull do, over a certain period of time, a certain not. Perhaps they'll be able to put it over on
on SHR TRFIt'— THE MOTION PICTURE, de- number ofpaiiitiiigs that would sort ofspark film.
signing the Spock Faritasy Trip sequence. At the time- the project aiitl get it rolling. In that respect I The basic differences in design that went
he was rst rontarted by Disney, however, he was sitcceeded, I suppose, btit very little ofwhat I on are really reected in my Palomino. Mine
hard at zmrlt on yet another prnjeet. did ever reached the screen. Of course I per- was very sleek. and now. . .well, Iwould have
formed that job recogni1.ing that this kitid of loved to have had THE BLACK HOLE as an
BOB MCCALL preproduuion design often does change, and opportunity to give it my particular imprint
john Mansbridge, who's the art director when another artist or another creative man and look, which I think is more contem-
over there at Disney, and Winston Hibler comes in with his own concepts then things porary. They went from my very contem-
both called meaboutworkingon THE BLACK will change. I'm not bitter about it in any porary Palomino to what they have now-
HOLE in late October of I975. At that time sense. though. I enjoyed the project. I even which is line-but I think that there's no
they were still calling it SPACE PROBE I, I had hopes ofbecoiiiingiiiure deeply involved question that I'm knowledgeable relative toa
believe. I was working on a space mural at the as I worked nti through the months that I was projection into the future oftoday’s technol-
Smithsonianinwashington, called“The Cos» there, and for a tiine it even looked as ifl ogy. I'm very acquainted with space technol-
mic View," and they wanted to know if I iiiightbeconiethe production designerofthe ogy and have been acquainted with the space
would be interested in doing some pre~pro- filni.Asitturns ouilwillbecredited asoneof program for many years. So I would have
duction design work for the film. We agreed THE BLACK HOLI-1's art directors. But my loved to have been able to get more of my
on a fee, I said yes, and following my mural art-directioii inyolvemetit really only had to own input into the project. I think it could
project I went out to Los Angclcs. Ofcourse tlo with that first six mouths ofpreproductioii have resulted in some really spectacular stuff.
Ron Miller was involved too. I had a meeting design. Anyway, Peter Ellenshaw was finally se-
with Ron and those two other gentlemen, Dtiring that period of time I produced lected as the production designer-why is
[Barbash and I.2d3U| and then in March of initial designs for the Cygnus~it was called still a mystery to me. My guess is that the
'76 I started working for Disney and stayed on the Centaurus theii—and worked tip sortie feeling was that Peter, with a much greater
the project for six months. ideas forthe Palomino and for Viiiceiit. too. background in the film business, was pro
When I rst came on a director hadn't However. my ideas were rhaiiged qttite a bit ferred over me by Ron Miller, who ofcourse
been signed yet. So basically my time was afterl left the film. Naturally I preferred the is the head of the studio and the man who
spent in producingdrawings, dozensofthem; kinds of things I did. I rather deplored the makes the decisions ofthat kind. And, again,
close to a hundred, really. Most oftheni were changes, actually. I wanted very iiiitch to see let me indicate that I'm not bitter about it.
black and white, but I also produced nine the things I had designed used. So I was Peter and I actually worked together for a
major paintingsin an attempt to illustratethe disappoitiietlinthat respect. ButtlieCygnusI month, about, before I finished my part of
storyline as it then stood. The lm was still designed aiidthegeiieral configuration ofthe the job and left. My only regret is that I
cast in the disaster format, but I didn't really existing model that was finally used in the couldn't have been more involved.
care aboutthat. Iwas most enthusiastic about film is pretty much the satire configuration
the project. It was a splendid opportunity for that I put together. The main difference came /1tthi'.rpm'nt~inAitgwt iJI976—an uriexpeded
me to do the sort of thing I enjoy doing in the fact that Peter IEllenshaw| wanted a eventtookplaeetliatmuldhatiesigriyiedtheshutting
especially well. very different kind of exterior textural look. down ofthe entire prujertithe death of I4/imtan
He went to a very finely filigreed kind of Hiltler. But the signing of Hough and Ellenshaiu,
FRANK PARIS structural surface, a surface with a kind of andtheamuuntuiarklhathadalready been invested
After Bob McCall had been working for translucent quality. I've been over to the lot in the project, mriuinced Ran Miller In take nun the
us for about three months, we had a director since then. by the way, and seen what's been /tmduztion (hares a/SPA (.‘I~I PROBE I himsel/.' And
here named john Hough who hadjust done done. It's fascinating, looks fascinating. despite Hi'bler's death and irther scripting dif-
our ESCAPE FROM WITCH MOUNTAIN But the two single greatest changes iti- ntlties, a sigrtyiranl event was about ta take plate
for us. We thought that Hough might be volvcd the Palomino and Vincent. In fact, I'd that would ettmtually rryrtallize the/inalforrri ofthe
interested in looking at the SPACE PROBE designed quite a few numbers of robots in film» the arrival n/srri/tturriterjeb Rosebmok.
property, so we asked him to read it. He did sketch fomi and did a large painting of Vin-
and said yeah, heliked it. But he agreed with cciit in particular. Vincent was going to be FRANK PARIS
graceful. he was not going to be your usual When Hough came back to the states and
TD’ L4,: Rub!" Mr(_.a”.sMHmg" mm’,/M ‘.mm”_ lumbering robot. I thought of him as a the studio with the Long script. we worked on
SmdMma”_, --mmugmu/jum am,mmmmKbm1_ “Mug liuninitngbtrd, as being able to l(‘\‘llBll"3I\tI it a little bit longer with Sumner but now we
“M, In lmm” and dm ammd ,,,,~‘.gm"/“,,v,,_--Emu“ dart around very gracefully. But they ditlnt had becometutallydtseiichanted with the dis-
1,/1. Rub", _"(Ca/1‘; d,,,-K"/”,,;,, cunu H "0. A-A 5+ go with him at all. Surpnsingly, the nalclesigii aster _filiii per se.joliii was too._Through some
ML 5[ab_“d'd ,;,,p_ Pd’, E”,,,,;m,. j,P,,;,, ban-, d,,,-A,,,‘ they worked up oti Max looks a little like my meetings antl through some ideas of Ron s.
but [mm/0,-,,,,,] M, ,;,,/,3 ,/,,,, ,',,1,, 0 ;m,,,1,,,,,,; ,;,,1 ongitial VIII(!.‘l—~lll(' legs and arms arehtnged we decided to change the eiiiphasislof the
[,,”,,,_ p,,, 9,, ,,,,,,;pa,1_ _t|,g,,11-, ,,,,t,~ ,1,,,"g,, ,,,,,,,P,, similarly and, of course, Max is a hoverer. It film, decided to entirel_v remove the disaster-
wg dufgydpd |4'I|{y| Ellmghgui ]|K(d4IIh(Im';pyp- was never my intention to design Vincent as foniiiila structure. Between October I976 and
duetiori deiigrier in the summer of I976. he looks now. As a matter offact, I don't care jatiuary I977, a writer named Ed Coffey was

9
 work for all of us. He cooked up a different
story otttlitte. dropped characters and set oll
on a whole new approach.
In the nteatttitne ottr deal with _]ohn was
rttntting ottt. We did have an optiott on his
services with a hiatus period itt between. a

’
k split deal wltere hecottld take another pictttre.
So we decided to use him on our WITCH
MOUNTAIN sequel. which was RETURN
TO WITCH MOUNTAIN. We then post-
potted the PROBE production while Rose-

'
/'
/
ik hrook kept working at his version of the rst
script.
Well, Hottgh directed the sequel and then
. he had an offer to do BRASS TARGET. It
j wasn‘t long hefore he decided to go for it~ he
opted tntt of the PROBE deal and left the
stttdio. And by this titne Rosehroolt had done
all of his writing on tlte rst screenplay.
jl-‘.8 ROSEBROOK
' Itwas in]uneof'77 that I nished ntyrst
script. and we decided to then try to add
dramatic dimensions to the story that a disas- j

ter ltn simply wouldn t accomodate. We had

j .
a meetittg. kicked arotmd some ideas. and
came up with the notion that it was about
Ar! I)m'rInr Rnhrri I .IIrI.'nII Ill [rant nfa model 0/Iltr spare rltulllr at .\'.-IS.-I, tt/ttrlt /tr /trlftnl tltnttgn. time that we try to come up with a wav to
dramatically incorporate the hlack hole into
hired to rewrite the screenplay. After Coffey cluding people like Hawkittg and _]at‘kson. the plot itself. We all decided that what's
let. we then called injeh Rosehrook._]eh had attd then tried to approach the script from the alreadv scientically known about black holes
denite ideas on ltow to restructttre the story angle of what is already known ahottt a hlack is fascinating. and that it was a suhject which
and, working with John. he proceetled to do hole. That is. from a very practical and st'ien- lent itselfto ettonnous dramatic possibilities.
it. He started over from scratch. using some tic standpoint. Front that point on we hegan working on a
of the satne elements and some ofthe sante When it came to working on tlte actual new script that was cotnpletely restructured
characters httt pntning everything down quite project itself. I was kind of oored again, frotn the others. We did ttse a ttutnher of
a hit. Initially the story had had an enonnous hecause at I'd ttever worked with a piece that characters frotn the previous scripts. httt not
atuottttt ofvaried characters. hut]eb's version was so big. and. ht trying to deal witlt as many all of them. and staned offott ourway again.
went with a very Iitnited cast. Which we characters as they had in tlte story then was Bvthistimeacouple ofdrasticchangesin
eventually used. outrageous. I tttean. there was a lot more than attitude had come ahottt. For one. the idea of
just I25 pages in the script. There was a lot a disaster lttt was dead. Secondly. there was
going on. And itt nt_\' o tinion there was too at hasic rearrangement in certain work hahits.
Ihmt in I91‘. Rt1.n-bnm/tkntzlptzl has htwt rrI11-
I|t‘t‘[\'stm1l[.ttllltnttgh ht: tmrktltm rremln cnnsulettl much emphasis on harclware. too. The result By ttow there hatl heen a nunther of scripts
ltllrnltntt In chrtrttclrr. Ar tmlrd. it tens Ihts sly/tslir was that tlte hardware was tnaking the story. tlone. ittcltttlittgoneofntv own. and it seemed
trail trlttclt musrrl the sltulltt In rnttlrtrl him [or /he I'd always heett taugltti and the Disne_\‘ people clear to me that sotnething other than jttst the
t2\'/IWH /mr_[w.tc /gfhrntlhtrtg lt‘ inlu the/ilm. Ru.u'- were heginttittg to feel this wa_\' as well when I story was wrong sotttewhere. So otte day I was
brn0lt't Irlrtmttmt pterrt nferl hit prmrcltprtlitms. came on— that you stan with characters and a talking with Peter Elleoshaw. and I happened
[rum [hr smr_v /1/'(.'ltttf_/nxeplt tl l\'II.!. FIGHT .\‘O story. and then everything else. whether it's to mention tltatwltat had happened with writ-
.II()R!:' FORf.'l'I-IR. garttmng an Emrrty ttmttinalmtt science ction or a western. shottld naturally ers in the past on this project went something
t! [hr ten/er! In TIIE PIIl.\'(II-I OI-' l.'F,\‘TR.~IL flow into that. like this; people had gone off and written a
script and then cotne hack after six or eight
‘

PARA‘ I/En tttlttclt Rasrbmuk tens ttmrttnuml [01 n Isltottld point ottt that I never saw Barhash
II't1h'r't Glllllf tttcttnlt. I!'.t ittdlraltw of/he trrtnl and l.ztndan's stun‘ and that I never saw their weeksilike I'd doneiand then sat in on a
Itlllr ltwttlr/ilttt /tutor)‘ not hike tehrn _t'at1 realtzr script. The screenplavs I did see when I rst meeting wltere everyone would discttss what
Iltttl R:m‘!|rttttI:'t sole [hm/11ml rmltl /Inur In his came on were \\’ood‘s and Long's. The prop» was right or wrong ahottt thething. This meth-
r!m|!t't'tnml trtllt !ht'tmtIv~nnctt/ml !)trtm‘ 0rgnnt- crty was called PROBE ONE then. My final ud had ht-en going on for nearly three years
I zulmn tm.<_/I'.\'I()l1‘ BO.'\‘.\'k'II* titr¢'c1t‘rI by Sum script was titled SPACE PROBE ONE with several different writers and itjust wasn't
When I hegan working on m_v rst script working. So during this talk with Peter I said.
Prrktnpult tlhnuglt tl .t/rnuld he pootlrd nu! [Ital Ihts
slur) 0/ rmlru nllers utttl rlrtflers tens mtr if
Ihul fl did twttithe rst thing I noticed was alt
attitttdeott the studio‘sp:trt. They really wanted
“Since we're jttst starting fresh on this. I thinlt
we ought to try sotttetlting new. I think that
tItn'rlnr't grit!/rs! tt'nrk.u_
a chance to show what thev could do in the every week all ofus~ Peter. Ron Miller. mv-
.ll'-B ROSEBROOK area of special effects attd visual images. The selfantl Chris Hihler |Winston‘s son who was
Tltis was my rst project for Disnev. and I Disney people have a great deal of pride in at that time involved with the project. The
have to tell you that when Frank Paris called the fact that noone has ever doneitany hetter ttnderstanding is that he hecame involved
rue itt‘|&ttI\l;lr\' oi I977 I was llahhergastetl. I than they can. So when I did the rst script. after the death of his father] should all sit
htttln‘t ;tn\' kind ol hackgrottttd itt fantasy. which for ottr purposes was somewhat ofa down attd gothrough what's heenwritten for
ltatltft ever really done any science ction. variation on what we'll call the Wood script. that week. Everyone will have read it. and
.tlthouglt vott tatt tell hv ttt\' credits that I've the emphasis was ltighlv \‘isu;tl: that emphasis we'll then discuss what's heen written. We'll
trictl most other kinds of suhject tnatter. I was liratned hy a disaster film. _]olm Hough talk about where we've heett anti where the
immediately pointed out that lack to Frank. was still the assigned director at the titne. We stor\"s going frotn there. and evt-r_yhotlv will
httt he was itttt't‘t'\tetl itt getting sotnt-one who hotlt worked on the story angles for the rst he in sync with e\'er_\'hotl_\' else all the way
could develop character. script that I did. then he was off directing through the script. Then when we‘re nished
One of the rst things that struck ttte on another picture. Sn I was just tttrtted loose for there'll he tto surprises; everyone will lta\'e
TH Ii BLACK HOLE was the lact that I was ahottt seven weeks to write the script. heen creatively involvetl.“ This was an unusual
goingto have to do a lot ofresearching. which approach. httt I felt tlzat the project had al-
was ne hy rue. I‘tn a ttttt on researching FRANK PARIS ready gone on for such a lottg time that the
an\'tlting I do. So I read everything I could get When Hough and Rosehrook got together. hest way fora writer to he in\'ol\'ed with F.llen-
my hands on concerning black holes. in» _|eh came up with the direction that seemed to shaw and Miller attd the others was for all of

to
.
1
us to know exaetlywherethis story was headed. tr/|.t tmrkrtl oer! inln ll sltnnltrtg umlrh ltrlttwtt llte I ' '
and to know it every week. grmrl mltol ttmltt m'tt'rltnmt‘h'r mlletl lfttftlttitt Stttr. N

Attyway. they went for it—and it worked. t‘l|i1'/It/iIl|i‘.tt‘rt1rt1)' mbttlt ttntl /tlm-rd ltmd ttltme
h_t an
Those were \'er_\' valuable sessintts. The_\' went ‘I'mttm)' .\l(L¢tu_qltIitt. ,-Iguttt, lltetlertttltrt trrmr tent"
mt from Iatejuly I977 ttntil nearly Christmas mt/mt/_tirllti-itlt-1141}: mlmttr /nml g1ttm'faittII_\‘ .tilI_\~, on
nf that year. Gary Nelson was coming aboard ltttl alm twxtutl/‘\' b/tttttl. Tltrttttl rtmlt'.t! ltrlterrtt , ,
just around that time. and when he arrived l'|tt(t'!ll and ([11/tlttnt Slur is t'Irrt'rI\* (Ill!!! mid, S
we began to use his in ttt fur further scri t tttmlrttlttllt. uttmu
changes. P P One !lIlI]({7 nllrrttltrttt slttmls mt! in [hr Rnntltmnk 8
Nelson's signin on reminds me0fsome- rtrt I: llte tIm's r[mtn.\'. .4111,-Inil.t n lltet'!tttttt.\'tt't'rt‘
thing that's been ittgtlte back oftn_\' mind for tttttii'ntlttlifh' Ill Ilw Hill!‘ of Ilttx ti/‘rt/mg, ttml Iltr
awhile. Here you're got two major seienee .u'rt In-rtlrrr lhrtlm-[t'r.v teerr mtteil/tug /nelalmmlr.
fiction filtns coming out at the same titne— Ihr€Irm|[s nftrlm teat n'.tpm|.tIli/t‘//tr e.\'1t(lI_t teltttl
THE BLACK HOLE and STAR TREK—and mus! rrmtttn tvtgur tmlil this itxtu'r fm.tI.trrt'/zl t.t
two very different direttors heltning lmth. tt.t.ti'trtlr/ed. IIrtm'm'r. lltrreis slmttgt-t'|tlettrt'!ttsttggesl
Cary Nelson and Robert Wise. And if_\'tm sa_\', lhttl lltr t'[|tmt.\' of llte /i/tn trttr [1/ollnl rqtntl['t ln
here's Wise with all the great credentials he ,\'r/smt and I-'IIrt|.tlmtr at ht Rmrltr/mk ttml Ilttt. _ ,
has coupled with his wisdom and experience
and years, and here's Gar)‘ Nelson. who's .lEB ROSEBROOK
been nominated for an EtntttyforWASHIN(‘,- When the sltltlitl sent tne nt\' copy ol the
TON: BEHIND CLOSED DOORS, bttt really. \(Tl]t| in Ortoher of '78. In nt\' hest rt't‘t>|let—
who‘sne\'erdonea hig-budget feature before. tinn. it was as I wrote it. (Jerry rea||\' tnatle no who get paid for doing it. Gerry Da_\' wrote an
Well. you might have thought that the way rhattgesinthe structure. She probalilv added etttling to the film, hut we weren't sure we
things are going with Paramount that Para- about I0 to I5 pages to it, expanded mute were going to go with that. At'tu;tll_v Peter
ntnunt would have been the one totalte some- scenes. ett‘. By doing that she expanded the F.l|ettsha\\' and Cary Nelson camettp with the
body like Gary Nelson and tttrn them loose characters a hit. She also revised some dia~ ending that we finallr derided to ttse, but
on STARTREK. And the Disneynrganizatiott. Iogue.TlterewasalotofroontIorexpansiott. (}ern' Dav actttallv ext-rttted that in srript
which sort of has a traditional image. would though. Wltat I wrote for the clinttu wasn't fortn.
have gone with Robert Wise. But Paratnottnt cntttpletely nailed down. You t'ottld'\'e taken
went Willi the tried and true director and it and interpreted it itt tnan\' ways. Sn not .-l_/lrr tn-ur/>\‘ /uur rntn, In nprmlttrrrt, ltt-n/11:»
Disne_\' went with the tntknown. To my tttind having seen the entire filttt. I t'an‘t sew whether tlttrlmn ll,-ttgvirrt ttml u.\- trnpl ti-nlm, llll-' Bl.~Il.'K
that's qttirlty. Peter attd Gary interpreted what was alreadv H()I,F llml /inullt llrru tutl ml” u tmrlmltlr mold.
there or wltetlter the)‘ just atltled a section Tltrrr tlul nvtmm, llmuglt. tmr ftmtl h‘I‘I.IlIlYI and
Rim-lmmk trurlrtl rltt.tt'/Iv teillt .\‘t'Ismt, rnerling after I'd gone. rt'rttI— Iltr tltt-ttlt~ttut_tv
trill: lltrynltttg ritrtrlrtr xetwrtl !ll!lt'I I1 terek irntttttg
nu! prnltlrtttx in llte srri/2!. Rnseltrrmk den/I rrlalttv‘/_\‘ HIAN I‘ PARIS -IEB ROSEHROOK
Itlllett-tllt Pt'lerEIl!tt1ltatt'. teltnte1t.t/itttt/tzittgttmttv Bothprtttltteer and ;t director tt~'uall\~
a _|u~t prim'tt>the.u'tttalshooting, therewas
Itflllr/iIm'.t etsttttl mttcepls. Rust-lm1ak]ittisln'tllti.t work t'|mel\' with a writer on a projerl. and a title rltttttge. It was alter I left. but there was.
mtlmip! tn .\Irtrrl| I97-V ttmlltmtulil new I/t_/nlltt THF. BLACK HOLE was no ext"eption_ Bt-lure I think, wine t"orpor.ue thinking within Div
La/Is. Ilut ltmti ufprutltlrlintt, l/1ftr¢ttn'a bmlgel Itt Nelson cattte on. Miller wotltetl t'lo\el\' with ttev th.tl tlu-re rttultl he ti better title titan
past rtlmtg In R/tn Mt//rr. Rosebrnolt. sitting in on tneetings, editing, SP.-\(IF. PROBE. [At one titne. over 5110 alter-
Bltl Ilistttft t'.\'t'rs tern‘ still tntlutp/gt‘ tetllt Iltr rotnntenting and suggesting ehanges. The nate titlt-\ weretonxttlt-rt-tl.I And since THE
srrt/llrtml ltmttgltlIll)?!(I1I!I!ll:'!lt‘!1lt‘L (;rrr_-t-I)tt_t-.11 stript ofTHF. BLACK HOLE was very tntu h BI.-\(II( HOLI-'. p|a\'~ .t dnunatit" part in this
tvlrranIt/TTtrut/mprrnxtelmlmd rrtenllrn/)trmjt"s a cooperative effort. lilnt. it \eetned the lngiral thing to do.
(IHIIJ) OFGL-ISS, telttrhltttti ln‘rt|.ttt(re.tt/til. [My But nolmtlv, to nt_\' kttowledge. has \;|I
rltmtgrtl rtttttlqlt nf Rnrrbrtmkk srri/tl In he tttettnltvl down and written am‘ pages except the writers. .~1I!ltntt_t'lt st r1/thug /mtltlrmt ttntl ulher tit"/an
rnern (mill li_\‘ lltt‘ ttrhtlmlmn rmnmillrr of Iltr
ll‘n/er’; Gut/ti. R(tx1'ltmok's srnpl trttx rlutttgrd ,\1rI.'ttlI's nutrr/II n/illtr (Iygnttt rttrttlrtttntl lntt-rv nhrrmtmn. mtr 0/ Int nrurlt Hm fin‘/lnultltlmtt tlltttlrttlmtts
brill: ullmtlmtt and trttttmott. Iltr/ilm ttm m-i_qt'ntt[l_\
In u/mt tetlh II nerltnn ltr Ptzer 1_/utrplt Rrtllttrtm un
the lItm'Itm‘.t.t of tprrttltrtg l.‘l|rirlnm.t itt t/um‘ ruling
1leln‘dntItvl lurkift. .4I1lmttgltImt‘t1. lltr stem‘ tens
/nlrr rttl tt-ltrn 11 tent dt‘(itit‘ti Iltttl tl tlrlmrletlfrmrt
llte am-rttll/zttt'trt_1z and mnml ufllte nperttttg st'qttrttn'.
The srnte /ittlttml l'i!|rrttl—ltt.t Itgltls "ltetttkltng
rnrrrt/)"' — Irving It) snollt I/ll‘ ttrltr of ltmm'ttt‘lttrts.
"Title ltrr lmutr. Hmrl n/'SlreL " Ptzer mu. "Homi-
wryntt. .\h. Hut," l'|rm‘rtI re/1/tes. "Bttl up ht-n"t
lltr mil)‘ ltmnr I knnte, "
.-Illlmttglt Run MI/In tent n'pnr1t'd In lie /limp’
/nuttlrll /lie rrmnenl nflhr xcettr, mlltvl llte "(.'ltntl—
mitt Iitrlrt " .n'qm't|ce /Ilte Palomino tel, rt/lrr II”.
It‘l|.I tt nut/nr mt'esItm'nI, tmtl ttn_\' lrtmmntg /If /he
trrttrt xltnl llterr tens, ll) tjfrl, tnmnfr nu! lltt'/ntrtlmlel,
Iltr t/t‘t‘t.tmt| tntt 1| tuuml mte. Tltr tltnlngur ul Ilutl
/nun! it /ntrltrulttrlt‘ mmtr, ttntl rr/lrrlr tleurrutr 12/
11

lltr Ilumjt "t'ttIrs"— rmnelltittg lltttl /tll t'mtt't'rtml

I
It‘llll HF RI.-llfk IIOLF trrrr rtllrnt/tltng In tuft-
/uvlttl at grit/l_\ ttt /mmltlr. .4 lllmuglt lltevr ltttt ltertt
lull u/'n'tmIttItn_g lltr .trqttr!tn-, unr um mtlt lmfir
lltul mt/Irv ltnult /l!t'l‘t|l/.
.'lIIIIlllt‘V1!/ll‘!t|lIU!| tn lltr tlnmltttg imp! um mtr
ti} r\rrulmn mlltrr Ilutn lllIl|t"I/IHIL Tltr tlnmlmg
git/lrn rfuwtlr /in! nttr II_t_'ltI nt lhr Rutrltmnl‘. Inn
trrtmrm at II /mol _t_'t1/rte /tluwtl lit l':m:'ttl ttrrllt II
/ttlnrnln turl ugmtttl 1| mum"/r\\' mt/n mlml uung
an ttrm ullttltltutrttl Il\ tlt on I! rm‘. /ll!‘ /uml _emm-
 —r--we-~»—— -

Special Ekcts Department in I 97I.Since then Lee realize the complete spectrum of THE BIA CK HOLE
has worked on nearly every television and theatrical ejfects. As the majority 0[§l7£!7lllY!l¢ was to be devoted

" - feature the studio has produced. witltin and without the Cygnus, Palomino and Probe
Ship. top priority was assigned ta model construction.
-‘K British native Terry Saunders was responsible
v-_-J “' ' for the building and preparation of the miniatures for
HIE BL4 CK HOLE. A I9-yearveteran ofcinematic DAN NY LEE
special ekcts (including a I0-year stint at Columbia, The rst miniatures we worked on were of
where he worked on the models and/irst unit eets the Cygnus. We built two of them at I/I6"
/or M/IROONEDJ, Saunders also boasts extensive scale, going into the preliminaries in late '77
. l
television credits, including episodes of I)RB1M and beginning actual construction around
0F_/l*l~lNNIEandBl:'WIT!.'HED. His mostinvolued Christmas ofthat year. That's when we actu-
projectrrthe Disney studio, up to rtow, ofcourse, was ally started to go to work. At that time things
ISIAND AT THE TOP OF THE WORLD. were kind of slow in temts of production, so
Special mficts work on THE BL4CK HOLE we jackedthem around to wherethey realized
began in the lotterport ofl977. Though the depart- that they'd better get started with this picture
merit was also ajfectedby the tmcertoin attitude with so we could at least hold some crew on it.
which the studio was regarding the film at this time, They said OK. ne, and we went ahead. We
thediuersity of mechanical ejects that would et'entu- then assembled and kept on some people
ally have to be conji-onted was evident. who did nothing but work on models. It was
reallv a recise 'ob, and since some of these
DANNY LEE guys welr]en't witchmakers, they weren't all
As far as our department was concerned. that happy with the work Anyway, we had
we were not only responsible for all of THE from I2 to I5 people that we called our select
BLACK HOLE's mechanical effects but for team, and we just kept them busy right on
Mechanical eects supervisor Danny Lee. all the mechanical props as well. Ourjob was through the year with it. We worked the full
holding a '/2" scale model ofMax. to start totally front scratch, to make models year of I 978 on the Cy us models, more or
and molds, or tojust roll up our sleeves and less. The cost for bothotlltem ran to $I00,000.
postponed actual rst-unit work until late I978, completely fabricate a panicular item. On When you're dealing with a miniature of
THE BL-ICK HOLE’: o1'erall"Iook"was continuing the miniature end of it we worked with all this kind a year before the fact. the rst thing
to be defined by Peter I-Illenshau-'s l977preproduc- kinds of different scales, from I/I6" stuff to they ask you after they've told you to build it
lion paintings. It was immediately recognized that things that worked out to three inches to the is, “How much is it going to cost?" So you sit
two visual elements were crucial to the/ilm's success foot. It's usually the rule that the larger the down at your desk and come up with gures
—the spacecraft and the robots. Among the handtl model the better the product, as far as the that say, in this case, SI00,000. Then you nd
o/unitsthatrundthemseltves concemedwiththelm camera's concerned. We had to produce all out what they want to do with it. We found
from its inception to thejinal answerprint, only one the other elfens too- all the shon-tircuitings. they wanted to y the Cygnus model in the
department wouldbeimmedtatelyassignedto render- allthethings falling, the tiltings, thebendings, normal sense, they wanted to y it upside
ing Ellenshaw's conceptions into physical reality— the steam, the wire-work, and the explosions. down, and they wanted to destroy it. So this is
the special ekrts department. All that came out ofthis department. I think why I went ahead and made two I/I6" scale
Considering the natttre o/THE BLACK H011? we've run the fullest gauntlet ofeffects possible Cygnus models at the same time. They kept
scenario. it's not surprising that the studio's special on this movie. We also put some real money asking me what I wanted to make two for. I
ejferts department was the backbone ofthelrn. On into them. I went into this picture with a told them that we had to have onethat stayed
rst walking into the Disney Special Eects Building $750,000 overall budget for the effects, and together, one that you could photograph any-
you're reminded ofnothing more than an ordinary they went beyond that. It's well past amillion way you pleased. But I told them. “You want
warehouse, crammed with shop equtpment—noisy, now. to destroy it too. What happens when you
open, overlit. Eut then you gradually notice wltat's I should point out that I'm a licensed pow- destroy the only one you've got and you have
beingdone with allthose lathes and milling machines. demtan. And without my license. the studio to get another shot of the Cygnus in its un-
77|ere’s a group ofyoung men painting a shark that couldn't buy powder. The studio carries its damaged state: What are you gonna do?" So
lies clamped to o table, belly up. Hanging from the own Federal license, but nobody will sell pow- it's lucky that we built the two, because that's
ceiling is a beoutitlly detailed miniature paddle dertoastudio unless there‘salicensed powder exactly what happened—we were constantly
wheeler; and there, behindaglass wall, is theojceof man to receive it. And believe me, we used a bouncing back and forth between the two of
the head ofthe department, Danny Lee, lee was the lot of powder on THE BIACK HOLE— ash them. From my past years ofexperience I just
guiding force behind the mechanical erts (and is powders, black powders, rie powders. ash- knew that you didn't go for only one break-
rredited as such in the /ilm), and, along with Terry composition powders, magnesium powders. away. For instance, my theory's always been
Saunders, (involved with allphases o[the miniature Cometo think ofit, weuseda lot ofeverything that ifsomeone's going to go through, say, a
work) were the two key men from the department on this lm. It's been pretty taxing. Our breakaway window, then you tty to go for a
involved with creating the impossible on THE BIA CK biggest problem was that we never had enough minimum ofthree takes on it. Even if you get
HOLE. time to prepare anything. Everything was on it right the rst time.
Danny Lee was bom in I919. Ajler military too tight ofa schedule. Wejust had tograban
service and employment with the Lockheed Corpor- effect by its edge out of thin air and go to it. TERRY SAUNDERS
atiort, Lee worked his way into the motion picture There was never any time to wasteon looking I'm very proud ofthe l/I6"-scale Cygnus
business, on callfor the moment when, as herecalls it, back. models. They really were the result of some
"there wasn't anybody else to hire. "From that inaus- Working with Peter Ellenshaw‘s been ne. ne. precision machine work. It was nothing
picious beginning Lee honed his special eerts skills I think he's bitten olT more than he can chew that wasjust slapped together like you see in
until, by the l960's, his services were in unqualied at one time, though. It's diicult to just give some of these other pictures. We made the
demand Lee handled some intricate stunt work and one man all that responsibility and expect whole thing up, as it were.
irts on ITSA MAD, MAD, MAD, MAD WORLD him to pull it all together. because it's a big We nally ended up with two Cygnus
(an assignment which included designing and oper» job. He's doing it, however. But working with models which were approximately I 70 pounds
oting afull-size, dritlerless. radio-controlledcor). He Peter can be diflicult, because a lot of it's all each. They were both I2 feet 3% inches long.
was also in charge ofspecial mjkcts /or BONNIE up here[Lee taps head| and he can't really tell Except for the fact that there was more top
AND CLYDE (Lee devised a nailboard system for you what's here [Lee taps desk]. So the only and bottom detailing between them—we'd
the/omous machine-gun ballet that ends the story). way you can nd out is to go through a period go to one for topside detail and the other for
Lee ltas also worked on the Dean Martin/Matt Helm of trial and error. which makes it hard. the bottom shots— they were identical.
series (excluding THE SILENCERS). coming up
with myriad secret agent gadgetsrr eachjilm. He
DANNY LEE
contributed to SWISS FAMILYROBINSON. 171E We have our own machine shop here in
ABSENT MINDED PROFESSOR and MARYPOP- Despite the pressure o/a limited ttmeame (or the special elTects department— we've got ma-
PINS before taking over as head of the Disney's perhaps because ofit), theenlire department began to chine lathes, vertical and horizontal mills and

I2
7
soon—andthat‘swheretheCygnusandother
miniature pans were made. ltwas all precision
ll0 volt power supply. We'd then step that I ' I
work. lt was also a laborious and painstaking
voltage down by using a variac transformer. I ve
Job—we put those Cygnus models together
by hand. '
Besides the two l/I6‘ Cygnus tnodels we
,
The thing that took so long was the scale also built a nutnber ofsertional pieces ofthe
we were working with. We were down to such
small materials that the draftsman couldn't
ship. These were assembled in a larger scale
so that we'd have better I
I
definition on them I I
even draw the lines small enough. We had to
cheat a little on a certain amount of it. But
working the ship down to a l/l 6" scale when
it was supposed to bea half-mile long. . .well,
while working with ACES. and because they
were pans ofthe ship wherethere wasalot of
action going on. Like where we were going to
blow things up. We had to go to a larger scale
a
5
m I

it was like working on a watch. Putting it or othemise it wouldn't have looked tight.
together, making it look right, making it come We built about a half-dozen ofthem. We
together so the lines were straight and jibed constructed a section oftheship that held the
together. that was really where all the time . - ,
was s ent.
big Captain's Tower, a segment of the oppo-
site end ofthe Cy us where the agricultural
8
P area is. the power Ellea which was in the center
TERRY SAUNDERS ofthe ship— we exploded that—~and a close
After destroying one Cygnus model for up section ofthe landing platfomi. The Cap-
the show, we almost lost our second I/l6“ to cut and fit and glue together. But there's
tain'sTower miniature was prettyimpressive. still some metal in there on pieces where we
miniature too. It'd been shipped back to New It was nine feet tall from the top ofthe antenna
York in a glass case for Peter's Museum of had to go with a bend ora twist. For instance,
down to the main body ofthe ship and prob- on the %“ agricultural module we used some
Modern Art Exhibit and it got destroyed en ably weighed close to l00 pounds. We not
route. just thejarring in the back end ofthe plastic members that we'd purchased from a
only used it for the nal breakup. but for company that deals in all kinds of models.
truck made it come apart. lt was pretty lacy. closeups ofthe Tower itself.
really. ltcame apart in sections, showed upin That was EMA, Engineering Modules Asso-
Anyway. these were all in *6" scale. Then ciates in Alhambra. We bought stmctures
fourpieces at themuseum. Mike Edmundson. there was our big model ofthe main Cygnus
Mike Paris and l were sent back to New York from them that we used in the agricultural
corridor— that was 56" scale. We also had a center and some ofthe other sections. So we
to repair it. Since it had comeapan sectionally '/1"-scale section of the Palomino made for
we wereable to put it back together in a pretty really didn't have to manufacture the struc-
the scene where Vincent goes outside to in- tures themselves. There was a lot of metal in
short time. This was the Cygnus with the spect the ship when it's in trouble. That had
detailed bottom l‘m talking about—we do the ag module and the others, but basically
operating hatches and things like that on it. we stayed with the plastic.
stroyed the one with the to side detail forthe By the time we got through we'd practically
lm. P constructed the entire thing in 'A" scale. That TERRY SAUNDERS
would have been around 57 feet long. Of In terms of dramatic effect, l'd cenainlv
DANNY LEE course we never would have been able to put
Our basic material on the l/l6" scale say that our '6" Cygnus corridor, the one the
a miniature like that on the ACES model meteor rolls through, was very important to
Cygnus modelswas brass. To nd thetypesof stand. lt couldn't have handled it.
materials or shapes of materials we needed the picture. That was an expensive set. We
for that small scale was kind of diicult for built two ofthem. The rst one we builtjust
DANNY LEE didn't look right, and we're talking about
anything butmetal. You can always step down Since we didn't have to destroy all these
into smaller sizes with wire. Another reason, $30,000 in construction costs each time we
larger K" sections. we felt we could just go did that set. In real terms the corridor was 22
ofcourse, was that Ellenshaw decided that he ahead and make them out of other materials
wanted that brass look—he liked the color. feet long and four feet high. I spent a lot of
than brass. We felt that we could make them time crawling around on my bands and knees
As it turned out they painted it anyway. so outofplastics. materials that arealittle easier
maybe we could have gone for something in there. ltwas done in wood and plastic and
other than brass. But since we had to bend Chiq'made1 maker Tmp- Saunders at work inndr lite 49"

/\
and twist it during the linal breakup, you mile Cygnut romdar, built at a ms! a/110,000.
would have had to stay with some type of
1‘ , q\
metal anyway to get that effect. >

We used a great amount of round and -

square brass tubing and brass wire on the
models. There's also a central steel section ‘t
ninning fore and aft on both models, a hexa—
gonal tubular-type backbone which holds the
miniature together. The only plastics on them
were in the illuminated modules, the side
panels of each of the power centers and the
agrimltural module. Any of that outside mod-
uling was done with plastic so we could shoot
light through it. The stmctural look those
modules had was mostly painted on.
For exterior illumination there were a great
many of the so~called wheat lights scattered
around it. but the lighting on the inside wasn't
done that way. For that we used a lot of little
lamps that are very similar to an ordinary
automotive bulb. That way we got an overall
hue oflight coming through the plastic. We
had I50 lamps in there; we were shooting at
high speeds and you need all the light intensity
you can get in order to read it on the camera
All of our lights on both the Cygnus and
Palomino models were fed by a multiple
wire mass that we had leading right into the
ships themselves. off-camera. They used a
 would probably have beett 200 feet higlt. modication. As it turned ottt the project
You know. there'.s an interesting thing a- wettt through a distinctive evolution. and
bottt our tttetltod of suspending the Probe when Ellenshaw came on it became quite an
Ship on wites. We owe it all to Buckminster actiye program.
Fuller. Fttller had come up with a system of We then went into a series of tneetings.
suspending things on wires and cables that Besides having a lot of discussions on the
wottld hang in the airwithottt any mo\'t-ment pltilosophy ofspace. on what it felt like to be
at all; he'd originally said that you cottld stts- there. the rst thing that came up were the
pend lutildittgs and cottstrttction tttodttles on robots. At that point I sttggested George Mr-
rables using this system and they'd stay per- Ginnis to them. I'd seen sottte of tlte work
fectly still. When we heard about that we itn- George had done in the past—it was good.
mediately got books outofthclibrary to check He and I had talked a lot about space. and
up on it. It was ofgreat interest to us because he‘d done a lot of spare-things in his work
we rouldn't have accepted arty model s\tspcn- He was also quite good at designing robots
sion system that would've moved as little as aitd things ofthat kind. Further. he had avety
100th ofan inch. not with all the stop-motion practical point ofview. I felt that he could get
photography we were doing. Ourmodels had things done. I thought that he was the man
to stay pttt, exactly where we httng thetn. for the job.
I didn't really ha\'e aity particular ideas
RobQts about the robots tht-mseh-es. I did think that
withitt the story fratnework, whether it be
Ittlh the spareship I7IIlIll1lIIYl'.\' well iittderti'a_\'. man or robot or humanoid, whatever, they
!Illl'!Ill!tII /Ill7It'{l la thr robots id'THI-.‘ BL4 tilt’ HOLE. should ha\'e some kind of gravity-controlling
In lrnits of sheer diI't'I‘III)', the robots presented an mechanism. That idea and George were about
t'('t'II greater (holleage than the ship models had. the extent of my contributions to the robot
lltit hirit the .t rrial ehrts department mtild end of it.
begin roitslmrtiort o/atoxiinillati. Iinrenl. Old Bob,
Ihe smtries and the htiinoiioiels, the problem ofdesign George MrGinnis is oti indtistrialdesignzr. Borri
/!Vllll\‘/Jr! of .\tii.\-. hail Io be lllfl. Siirprisiiigly. the titan ti-ho srl Ihe robot in I 929. he joined WEI), the engineering arrrt of the
Our 0/ the mrlt '4" uitlr (lI|_\'
tll'.IIg7l phase in motion was not a special e/ferlr mart. Disney conglomerate. in I966. In the spi-ing of that
lltll an ex-astroriotit. year Walll)isrte_vhadl7e!n int'iledt0seeatrart.sporto-
a cotnpositiou of ttretltane santlwichetl in
L Garelntt Cooper teas pirked as one ofthe srtien lion projert that MrGinnis ttias working on at the.-Irt
between thin ahttninutn sheets, so that when
anginol astronauts jor the Project .IIer(iirjt~ team irt Scimre School Impressed, I)isrie_v hirrd .\t(Ginnis
the dt-strttctiim took place it would look like
I'-759. Boni in I927, Cooper holds a degree in himself Since then Mcinrtis has worked on man)‘
the girilt-rs hail been bi-nt by the force ofthe
l1l'f0IIt1ItlIT!Il ertginreriltg. In I96 I, during thertol projects. irirluding doing the shoti design for the
ttteteor going tlown there; we wanted them to
Spore Motintain Ridesal both Disritjv themeparhs. .-I
bend rather than snapping off like a little .\ti'rrtir)'/light,heorbitedthegIobe22timrsandinso
piece of wood would. The total project took doing became the/irsl.»|rrt!rt'ran aslrortatit to otter selfadrrtitled science/ittiort/ilrrt/1itt—he points atit
200] and SILENTRUNNING as ttcofatioritrsi
its about four months. II (Ioirtrritinist ratinlry (China). The ight was o
iriririoriitrlr one: ttol only did Cooper sew sino/te nirling THE BIA CK HOLE is his rst molioit pirture pnjert.
DA N N‘ LE F" upfront the t'lIlI7I!If_\'S ofa rtriml Ttbctiatt inonasta ries
ttihtlr hewasposstrigotirrolartaltiltidetdl <0 miles, GEORGE M‘-GlNNlS
One of the reasons lirr the tlelav on the
but diiniig re-entr_-v his ori-board elretronir rvstems I rst started designingthe robots ofTHE
corridor set was bt~t'aust~ they gzt\'t' us the
wrong infnrntation. We bttilt the set tutct-atiil nial. Cooper was theriirred to/ly Ihe ropsiile both BLACK HOLE in February ofl978. Iworked
ItIIllt'7 meiniieil (oalral, with illow astronoutjohtt on the project for live tnottths. Actually, it
ther tlt-citlt-tl tltat they tlidu‘t like it that way,
(ilentt barking hint tip rolling lilnefrom Mission was through a meeting that Gordon Coo er
and we hail to rt-do it. We filtttt-tl that setptettce
tiorttrol. Cooper turn! on to iriahr on I22 orbit/light attended which lattded tne thejob itt the Iiarst
with tht~ ittett-or arouutl]unt- itf‘7‘I. We were
on Crtriirii § as (jonimattder ofthe mission. Ht‘ left place. Gordon's oire is adjacent to mine.
doing the tttt-it-ors aittl the tlt~.strttction ofthe
t\’.~IS.4 iii I970aridwasplaredas I'irr-Presidrril/iir coincidentally. It's right on the other side of
Cygnus tuiniaturt-s all arountl the saint-titne.
Research oitd lletiitloprrteril at WEI) /a division of my wall.
But with all the titttt-we spent on t‘ottstr\tt1ing
the Dtsrtijy Organization irt charge a/atiitisnm'rtt I worketl very closely with Ron Miller on
it, it onlytoukttsattntplt-ol'tla\'s to shoot that
parks the arrnnyrn (arnesfrotit I)tsmj\"s[till neiinr, the robots. He kind of calletl the shots on
ttteteor/corritlor thing.
lI'1tlt Elias Disne_\'/ in I97‘. them. And it was a good experience working
l'It~sidt's tht- varittus Cygnus models and
THE Bl.~ItZK HOLE is riot Coppi-r's/irsl brash for Ron. He'.s a rapid decisiott tnaker and he
their sectiotts. we also coustructt-tl a '4" antl a
with .It‘lt'YI(l’/illllllt/illllj, literature. t1Yl!lt'l'lSilItl. Hr gets excited about a project.
I/I6“ scale Prttbc Ship, wltirh was ntostlv When we had our initial meeting about
bt-.t.ss antl altttttittuttt. There \s'a.sotte litmtitutal teas lrmy (allrd in itsarotistillant on lhrjirst S11-IR
TI1liK pilot, and did a guest shol ort art episode of the robots. which Ron and Gordon both at-
Probe Ship— it had a light at the t-ttd of its
THE (.'0l/RTSHIP OF EI)I)IE'S R-I TIIER. An tended, it was tnadeclear right away that they
uttst-iantl tttnttl\t't‘Ih;tt wasn't. Tht-'1“ Probe
adiiiitti-il Bl’t."It' RO(;ERS[oii asa rhildomlodiilt, wanted a small cttte robot and a big bad
Ship was about I2 inches high. We built two
robot. That kind of thing. So I set to work
Palomino tntttlels. too. agaittat '4" atttl l/lIi"- t.'oopi'r has seen STHR HQIRS and 1'rtjayed il. He
using the theory of curves and angles to get
st';tlt'. \\’t~ blew the 't“ one tip. traspn-t't'titi-ilfroin sn-iitg CLOSE !~IN(.‘Ol’NTEItS
hr a srhedlililtg ran/lirt. tiol plans on seeing it when it the tlesiretl effects. With Vincent aitd Old
ll-RR‘ 5'\ll-\ll)F-R5 is rr-rrleasiid. Bob I applietl the circle. the round fortn,
As I)ismjt"s "resident astrottaiil." then, it wos which is very ctnufortable to people. For Max
At'tual|\'. wt- probably bail a h;tlf~tloxt-u
only natural that the studio shotild apprualh htrii Istressed angularity, the straight. hard-edged
Palominos. 'I‘ltt~rt~ wt-re two acttta] tlt~tailt~tl
with the of]:-r of ronstilteiril on their /irstil/-srolr line. It's reallythat simple to establish charac-
working nttttlels. at 't" antl I/lb“ with a basic
§(lt'lI(t'/fllllltl lIII‘l'SlI!II’l. Cooper was itttiolttrd with tel‘ in a robot. A simple form can really work
libt-rglass litttl\' t'o\'t~t'etl with brass. We also
Tllli BL-I CK IlOl.k' an a sparadit basis /tiryears. on a person syithout theireyett being aware of
had others tttatle out of a stt-tic ;t<‘itl/pla.stt'r
brtrtgrst approarhed Rim .\ltIlerti'ltili‘thrtriiltal it.
totttltittatitnt. bi-t'attst~ we lnttl to blow them Speaking of Max. I must have done at
up. Stt-tit‘ ariil is rt-ally anintal rentlt-rings, srnpl was tiring prepared. At this time Iliblrr teas
still pmdtirirtg—th1' projert was still itt its SPA (Iii least a dozen different designs on him before
like it ltartl wax. We toltltltft ha\‘t' hail these
PROBE I stage. they selectetl one they liked and evolved into
hard piert-.s ol ltberglatss antl wire antl shrap-
what’s on the screen. The initial itlea for Max
nel blttwittg up on the set. . .it might ha\'t'
GORDON COOPER was for him to be very tttacltittt--like, totally
ltttrt stmtt'l)tttl\'. So we blew the steric acid
My reaction to the rst script was simple. I nou~anthropomorphic. Sol ftguretl out a Max
titres.
felt that it had its good points and its bad that was headless, artttless antl legless. It was
Tht"t" stale Palomino wcigltt-tl inat about coyered with manipulators. had a big mace-
I50potttttls. I'd sav. The small l/lb" was about points. Although itwas interesting in the spa-
a qttattcrofaptntntl. In tnte sizethe Palomino lial sense, I felt that it net-tled quite a bit of like thing at the bottotu and an exposed son

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 roller skate. All you do there is lay him atrack that would eventually make it possible for a
and roll him on the floor. There were others. tnan to get in and out of it.
The sentrv robots were made out ofber-
GEORGE MCGINNIS glass as well: The guys in it also wort‘ an
The sentry robots probably had the least undergarmt-nt. like a leotard. that was red-
amount ofdetailonthem,consideringthedi- dish-maroon. the same color as the sentry
mensional drawings I executed. They were itself. The leotard helped to protect the actors‘
designed. of course. so that you could lit skin so they wouldn't chafe. And ifthere was
people inside of thetn. any gap between the moving joints you really
One of the thiitgs that was left out ofthe wouldn't discern that there was soinebody in
sentries were the brain-lights. They were orig- there.
inally designed so that they would sport elec~
The “soirieboel_v iii there," most likely. was either
- ironic brains that were visible to a degree.
There would have been little pin-lights with T(IYIlI!I)'il1t'I.0ll[{'!fl1I07lll‘0_/fflgftlptt/’!IllIY!(S
.\IrLaughliii supervised riuririgrsl-iiiiit shoot-
and
printed circuitry all over the brain, too. But, ex-treis
again_ they just didn't have the time. iiig afthe st-ritijv rzibat eiiiil /iiiinaiioid seqiteizres. .4
Theydid follow my notion for the tylindri- professional mime, Mtlaiighlin IIWI bani in 19%),
cal eyes, though. But I'd also wanted to have and b_v the age ofstv irns doing Charlie tjha/rliii
some lights in them that would shine though. imitatiaiis. By the tlge 0/20, Mrtniighliri was iii Pans
And at one point I'd also dreamed up a back- mrially stialyiiig uneler the ivar[e1's greatest f|t‘IIIg
pack. a backpack with an air hose running up iiiimr, Marcel Marreau. After retimiiiig In the United
to the back of the helmet. One nice thing States in I974, he orgaiiizedthrLns.-Irigeles .\lirrie
about that idea was that it would have supplied (.'aiiipan)', ii-hich direrts their permriaiices irith a
the mimes and actors inside the suits with light»-rtoiidr one nflhe rarripaii_\"s mas! irell-hiiaieii
fresh air. They eliminated the backpacks, I routines deals with a siiiridal trriieige girl trying In
think, because they saw GALACTICA and hill herself by jumping iiitna toilet. .\IrLoughliri arid
the Cylons were wearing backpacks. That mrripeiirv werrregtilarpermriers an I)ir/t l'aii Dyke's

llirertar Carr Netsait applyirig aiie of I’i'iimit's move led to some practical considerations. II-i.\'DYK!.'.-IND (.'OMP.~li\!l'. and have appeared
I-‘i-rrarii-Parharri rye dim, eiii idea tater eiisearded. Without that backpack for air they had to cut rm! tiirie to III!!! an the Mere Glll and Milte
those openings in front of the face. It worked Dimglas shairs. McLaughlin's Ialeiilr do rial erid at
ofa bottle. So when we hit the solonoid, the out anyway, I guess. It gave the sentiies an pantomime. .-is (I writer he was riniriiriated n an
interesting character. Emmy mi the l'ari D_vhe I’I'l(!_‘I‘ show. McLaughlin
air would escape and hit a ram or something
The real thing that bothers me about the has portrayed a mbat in H‘oad_v/1lleri's SLEEPER.
else like that. A good pan of it was all done
masks concerns the materials they're con- and was the iriorister in PROPHI.'(."l'—ri 7!|0('fI hr’:
electrically. We were running electric wires to
structed of. When I saw STAR WARS it always mme too /arid a[ Diiririg his stay of TIIE BL4 CK
and through them that would impulse and
drive an electric motor or light or whatever. bothered me when you went into a real tight HOLE,/iam December ufIQ7N iiritiI,4pri'IajI979,
Max had a lot of motors, particularly to drive closeup ofthe CSPO or Darth Vader masks, tlltlmighliri had ei hand irt directing and (harem
because you were then aware that they were graphing man)‘ ii] the sentry and hiimaiiaiei seqiierires.
the various devices that were his anns.
There was also a radio-controlled Max berglass castings. Butthat‘sjust because I'm But he iiiillprabably be best k7l0II‘7| Itlttieteers as the
that we used when we hung him on wires up so familiar with the material. l‘m sensitive to biiltying sentry robot in Iheshonlinggal/er)‘ sequence,
over our heads. The reason we went to radio- it. That's why I wanted to go with the internal Captain Star,
control was because we couldn't reach him. lighting on the sentry robot's heads, because
Obviously. Another reason was, when you're they're fiberglass too, and I think when you TOMMY MCLOUCHUN
hangingsomething like Max oninvisiblewires, put harsh light on them it shows up all the The studio was calling around when I
you just can't get power safely down those more. I'm sure the general public will never heard about the project. essentially looking
wires. You could accidently short-circuit it have that feeling, though. for mimes that would lit the costumes. I had
and, boom! Down he comes. A man who's worked here for years and just gotten off PROPHECY. so l was used to
The controlling unit was the same type of just did some stuiffor Buck Rogers,]oe Cava. working with and choreog-raphing movements
device that they use on radio—controlled model sculpted the sentry from my sketch._|oe really inside a suit. I catne in and they saw that I had
planes, boats and cars. Wejust went out and did ajob-— he was fast and good. But there the ability to come tip with bits of business
bought the unit at a hobby shop. Our operator was some msh on the project. They said they'd and cotild communicate nuance and feeling
on that particular Max was ayoung man who work out the human dimensions after he'd through a costume, and I was hired on that
sort ofjust came in off the street to us, a guy sculpted it. Now, normally, you design for basis.
named Brian Stevenson. Hewas recommended the average man—5'8“-when you're putting Originally, I was the only mime on the
to us because he was supposed to be some togetheracostumelike this one. But the man- project, and I was sort ofin charge of move-
kind ofelectronics expert in his own right. He nequin _]oe did it on was larger than that. tnents and so on. At the timethey were hiring
wasn't a union man. we just needed him at around six fect tall. And my feeling was that. alot ofextras, and they were havingdifliculties
the time. We needed a lot ofindividual people the fanher you get away from the mean ofthe getting precise movements out ofthem. So I
with electronics experience at the time be- average man, the more diflicult time vou're wentoutand recruited about IO mimes ofmy
cause we were working with a lot of sophis- going to have lindin people who'll fit into own, people who I had worked with before.
ticated circuitry then. Brianjust happened to those costumes comfortably. As it was they like Mike Hawes and Don Lewis and Steve
were kind of slimly built. I know I wouldn't Banks. When I was casting. the studio told me
be the guy who wound up being at the end of
Max's stick. have been able to fit into them too well. they wanted people that were six feet tall-
Ican saythat wewereworkingwith at least exactly~to t into the suits. People were
six Maximilians in different configurations. DANNY LEE turned down becausethey were 5‘lI" or6'l".
Sometimes they were a problem. Our wire- The sentry robots were suits of annor, Thereweren‘t any wonieninthecosnimes.
hung Max must have weighed a good 300 really. That's what I call them. We got our The only female mime was Katee McClure,
pounds. and when you're pulling something input from George McC-innis over at WED my ex-wife. She doubled for Yvette Mimieux
like that around on wires. . .it was tough. and then the sculptor came here and made on some ofthe wire and stttntwork. Actually.
his own designs and marks on it. As he worked, Yvette did quite a bit of her own stunts. Katee
Besides the radio-controlled Max. I remember
off-hand, that we also had one on a teeter- the director could change his mind on it. only did very special things, falls and such.
totter. A teeter-totter's nothing more than a which he did. When we nally got the overall When the meteor explodes into the Cygnus
robot cast we had to cut it up into pieces and there's a fall Katee took with the guys. She
balance board; you put your robots or actors
or whatever on one end and then counter- pans so that it would actually articulate. First also doubled forYvette on certain longshots.
we had molds that needed to be pulled and so they wouldn't have in bother her.
balance him or it with a weight on the other
end. Then, by selecting your camera angle, skins taken from the molds. So we went from The suiting-up process for the sentries
you get a floating effect. A third Max was on a molds to the cutting and hinging and adding began with a sort of long underwear outfit

‘Ila
 that was.
purplish
-_
tolor and
- .
_
held ttp_lr\
suspeittlers. The stiit itselfwas liherglass. First
.
Iiill ~ -
IIIHIYIIIILI Thnrrrns _Iias
,
flftllvtttlllfftlllll
,4rmlrin_i ,1 rtrinl I2 Imtrs tit his mmr, and unit
,
[nr tin I‘tIs - -

we'd slide into the legs, whieli really restrieted mm‘, /M A'uhnt'k'.t .§'P.4R'l1-l l.'!'S. Iinrti in 1'42‘, he
your inoveinent. Tll('§'t\Ill_\' had a slight bend Inn uvtrkrd mi tYI't‘! 2*",/ilttu, ittrltulittg ()KI.~i-
to tlietn. Then the hoots were ptit on. The H().\H (.'RI’l)F. THF I.'HIlJ)RE.\'OFS-l.\'t.'IIEZ
legs were attached with a belt and sus leitder I,()(;.-l.\"S RI‘.\' tlllll lhr mm: In be n‘/mnvl .\lG.\l . -
as well. You pttt on il little girdle thiilig that n[]i'nttg TI/I-' I/OR.\Il'L~l. tltinttig .\1izrImi Bmtido
went around your rearetid and front, ;i se )ar- mu! timrgr (.'. Smll. 'I'htmms t1rrig1m1 [hr fI)S1lIY7|t‘S I
ate seetion. Then eaine the eltest plate land for I97.!".t I07/tom Tl’ lIlHlfS!'7‘I!‘X, B.~lt.‘A'SI-tIRS
hael; wlate. The hack 1lZll(‘('Xl('Il(lL'(‘l up over
the htlad. whieh was allllastened in with screws.
.-iT THF WHITF lIOl'SE. !It.t_/in! I)t'.tmfv]iliri
rms TIII-.'R-IRF.\'T7R-IPttrhtrh/i'riIt1mI1rItriritir/I
' I '
It wasn't _|ust an easv titatter of slipping the Hrnlifv .\1iIIr l|Il1fe'.\'[1'Il.tIt't‘ xp1iI—.trm'ii trnrltt
thitig on and off. A whole asseitibl_\‘ process
tool: plaee. It was liltebuildingatov everytiine BILL THOMAS
_vou had to get in. Ron and Carv eaine to nie with the initial , ,
So if there was it srene wltere there were idea for the hutnanoid—— someone in the or-
20 sentries involvediwhirh was the iuaxi- ;tni1ation had iven it to them, and I never I
tntitn ntiinher used in anv shoti the_v ltad to ilitl find out whtil So I then took the basic idea
allow darti near an hour to get all tlte special and expanded it quitea bit, so I gtiess you can
efleets itieii to literally serew 20 tiieti into say that I did design thein. The fahries ofthe graphed the ltttitiaiioid funeral. Aetttallv. the
these tostunies. For one gu_\' the average was lnittianoid eosttitnes were rotton twill, dved. humanoid eostutnes were quite roinfortable.
IO to I5 tiiiiitites if_vou hadatroiipleofspetial The visor was at mirrored plexiglass, so you You were in these very large. drapoliltethings
effetts guys helping _\'ou ottt. Then it wotild eouldn‘t see in throtigli it. The gloves were a that rovered the whole hotly, and then you
take about live ininutes to get out again. de- silver cloth that wasa hitrh to work with. Tlte\' just had that clear fare-plate to deal with. The
pending on how tnut'h help vou had. just wouldn't dye t‘orret‘tl_\'. We initst have visil>ilit_v was verv good.
Ont't- you were inside the rosttttnes the gone tltrough 25 or 30 dye lots before we
arins were put on, which also had very re- eould get a rolor_ atid the reason whv the &
strirted inoveinent. Then the large gloves wettt gloves ended u with that rnlor. that kind of
on. The very last thing that was pttt on was the burgundy hue,pwas heeause it was the only I-'0//nit trig lhr hqgiiiitittgt ttfmiimilttrr mu! mhn!
faee plate. Before that. though, vour mouth. dye that took rmttlnrrlimt. I/It‘ lit‘-\‘l tlr/I"'1"lttlttltt/Y!ltt‘f'Ittt!t1ll‘-
nose and eliin were hlaelu-iietl_ heeause ifthe Imtt n/ t/wt/it" mtlmtnrnlulimi In humlle rt” ll/I'll’
lights hit the tnouthpieee very hrightlv. you DANNY LEE tfmrnil f7'!IIfIl_I1l;7'I|( !7TII'|ll'"lI prnmm-11 by THF
rould see the faee hehind it. And otire the Bill Thomas over at the costume de art- IIl.~It.'A' II()I.I~.
fat'eplatewetit on. it got very hot inside. Thev inetit eatne tip with this humanoid dying. The .tIltTt'S5 n/ {hr ll)/txlru/Irx mntrru .t_tsh-rri—
were usually very good about leaving that off The_\' ntade a little tnotlel with this great faee- lhr ntn/init mrilrul Irrmkllimtrglt that It (It lrrrgrlv
tititil the very last ininute. The fart-plate also plate, one about I8 inehes tall, brought it rrrfmritthlr/or Ilir timr /lntrltxtt r.\w'rtr!tmt u[.t/irmil
hatl to he put in place with srrews. down to ineaitd said. “This is what wewatit to if/]i‘t'l.t Ht SII-ill IIII I(S~ hm! tml gum‘ tninnltrrdlrv
The visibility in the sentry suits was next to do." I)i<tiei tlmirrd. i/‘S11-IR III-I RS /iml rm! 'It't'Il mmlr
zero. It was very very hard to see out, and The humanoid fat‘e-plates were plated with i!'t /mtlmhlr Hm! I'll!-' BI.-ll.’I\' II()I.F tt‘ni1!dti‘!
onee you started to get ltot it steamed up clear plexiglass. We tnade the tnold down fIlII‘r‘&‘Iff|l'II. IfUT]!!!ffll‘(It'll/llllllt’I)lt'I/Il1i|'YIPlI‘!l
whatever vision you had. So we were all sort here in the sperial efferts department. Then n'/mrlnh/r~rti:m'rummi ritlmi mt/lnl.-l(.'I- S' .-ItrIn-
of looking oitt through the tnottths on that we pttlled the rlear plates and I sent tlietn out rtt1ile1i1.'1ttttt‘ni I:[]i't'I.t St tlnttt
/ell rm! mil)‘ In hr
II tt.t
and watching our feet. It's difficult to t'horeo- to a loral vaeuutn tnetalliziitg (‘0IIIp3Il_\‘ that um-smiji V/itr lhr /Elwin hul In trm- /tr 11
tt‘rl.t—
ggaph gltysfthat epnigt see l‘l':l1(‘I' side_ of ptit the inirrored elfert on it. Xf|IIlt‘t'lIt!‘kI|t gitiif;
rtillryftté [hr Ia;If!}'lI['['lt";!17'f
t etti or in ront o t etti w iet e_v‘retrying urn" thr rt irl 1' nrr : I.’ rent in I, mm! rr
to keep in step. It was absolutely rrazy at TOMMY MCLOUGHUN [muff-t immmtmn mu ttt‘1‘t[|‘rf" Htr.\1iiItrSr1ttt.
tiines. That's wh_vl insisted on getting iniines. played the humanoid pilot oftlie prohe
I Hie .\ItIflt‘ Sniti FIIYIIFHI it II ttttiqtir rmrmrtltr
so they wouldn't freak when they were rut off ship that rettiriis front the hole. I also t'horeo- Inn], n r:itri[1irli'r—1lrtr'rit mmrm trhirh lI”lIII‘X fur
frotn the rest ofthe world in their eostuines.
I oi\l_v dealt with Gary and Joe Uoe Hale.
direetorofthe filni‘s anitnation efft-t1s_ helped
inake sure lasers were pointed at their targets]
7"’
Tn II imtstaim In-I/1 7t'li hm/I tltltlti‘ Tttltltlit _\ftlul1_L'fI/III mm flit‘ /ff|i'!_ftI\i mtllltlti‘ ~/ t,I1lVIIt'I/i1ilI'V 1'”/Ilmn .\’/in

in certain instances where the_v wanted the

nioveinents of the sentries or hutnanoids to
be a little precise or sotnt-thing special. I'd
usuallv work with the stunt guys where a par-
tieitlar fall was necessary, or a reaetion to art
explosion on the rostutne was called for.
GEORGE MeGINNlS
also had an idea for the sentry robots in
I
the reception rootn of the Cygnus. I was
going to enclose theni in the walls of the
rooin itself. The sentries would be folded up
in the wall, and then sliding doors would
open up, these tripods that supported the
robots would come down and they would roll
out. But I doti‘t think they used that. as I
reineinber. They ittst raine otit of the darkness.
They didn't go with the sentry robots I
designed ait_\\\'a_v. Oddly enough, they took
my original hutnanoid design and tised it for
the sentry robots. But the hunianoids are not
robots. All I designed were the robots.

T7tr tmrti res/Joiisiblr/'0! dmgrttng Ihi'Itittrtam1t1i.t

tens aim THE BL-I CK IIOLl;".t rostrum‘ rlrrtgnn,
 I
~ lwerks when I lirst got here, altout the things the titne Da\'id proposed it, and, of course.
he had done and sotne olthe things he had a We really (lidlfl I1'(l ll lhl'I\-
tnind to tlo. Ahout 1969 or I970, Uh wanted
to make a |it|tttericall\' controlled large matte DA‘/lD SNYDER
camera. to photograph some of the artwork There was some strong resistance to the
lor one of the shows in Florida called The technologyon this. Harrison wasasupporter
Hall ol'Prt-sitlents. I then helped Uh workout olthe Matte Scan to tlte extent that he wasn't a
sottteolitltesimplerpartsolthatmatteca|net'a_ detractor of it. Now that's in contrast to a
-—- the uon-tnechanical parts ol the control sys- cotiple of other guys who sltotlltl have really
"" tetit. It was a paper-tape eontrol device, very heen pushing for it. They were detracting
rrutlt-_ hut h;tsirall_\' successful. It did thejoh. instead. Saying things like. "Well, hell, it'll
‘i _

Then Uh got sick antl was put in the hos-

pital. I used tovisit him, and we'd talk. Oneol
never work. Computers are no datttn good."
Well, let'sjust say that there are people in the
tlte things we l;\ll&l'll aliout was that matte tnotion piflllfi‘lIl(l\tsll'\'\\'ltl)2|!'(’lIIIl'I’('slt'tlll!
camera. Uh toltl t|u- that when he got tntt til‘ teehnology helping thetn ottt with tlteir ioli.
tlte hospital we were going to go hack to that and there are people wlto are less interested.
uunera and itnprove it. So l said, "Well. gootl. We had hoth kinds on TH E BLACK HOLE.
Fniglad to hear you saytltat. sohurry up and So in contrast tn any of that stull, Harrison
get well." Well, Uh died lielorel had a chance was supportive.
» to get with hint and do sotne olthese things.
That leltahigholeitttertnsolsotnebodywho I)nn Iteerhs is Ihr rm: of Ihr lrtte l‘lI lnwki
was really liorward-looking and had the titne Ilrestzlnt Ulfs rr|an_\' nthrr atltiettemerils. he tear Itlsu
to experiment. Perhaps a lot olthe other guys the recipient 0/an .-lmdrmy .4 I|‘t|Vll l.'t'rt|(atr_/nr the
were forward-looking too, lntt they were l)us\' drsig-n ufthc trtplr-ltendetlpnnler tn the mul- I Q‘lt'sA.
with production. Their evetytlay eoncerns linen mt_Iul_\' 2-Ith. 19211, Itrerks is pretenlly the
I)|rmft' engtnrrr Ihzetd Snyder, tehn /irtt rnmrtarml IIIZI)‘ liaye prevented tltettt lrom experitneut- manager of the Mechanical Engmrrnng Maclttrie
(omplllfrllrel mmem fqttlpmrl bark in I07! ing or getting hold, Shep at the studio, lt"|t(l| manufactures all of the
In an_\' case, l tnade a formal proposal. a hardmtrrultlizedtttthrmnktng ofrrmItunp|'(Iares—
repeatable mlllem movements an rrmlle paitttutgr tnultiple proposal, in I97] to atttotnate all mm!-ms, /lri!tters_ eeliling equtprrtrrt! and mare. (‘rider
The systetn was treated by !|]0|!|l eizrt u/Iltr ltismft the things that I saw people cranking hy hand. Iturrhs Iltr rmtehine shop also designs, serttzres and
Studio's Merltattiml EttgillenttlgMtirhtm-Sltn/Ittrid These proposals contained \'et\' clear |nath- rnamtmnsullo/lhejilrneqtuprrtent urrdatthe studm
WED, the corporate ertgtneerillg arm. Suite /W15 ematical or heuristit descriptions ol how tny and pearnts a stmilarmrtmnn the specialized
WEI)’; contents have been the design, architecture ideas operatetl. As a computer technit'ian_ projerttnn rquiprm'1II|t.teel at the l)|rmf\'IltrmepnrLr.
and engtrteenng ofthe eartuur theme parks. Setwrtzl sottte ol these things looked less than trivial.
lfthe (|ll1(|(I|0lIS, including lltr The Ptm/er of the and lor the lile of tne I t'ouldn‘t understand DON lwF'RKS
(.'nml7ear|, Ilall t1fP!esi1lrr1ts and Haunted .\lnn.t|nn wh_\' they weren't alreatly automated. We had prohletnswith what we were using
rides, prorr|ir|entl)'[eat1m' the beslahrmtert l1'H) I had sotne pretty hlue~sky stullin those ittthemattedeparttnentpriortobuildingthe
product: three-eltmenstonalamrrmled/igures ~ ml)ot.r_ proposals. Included were plans for the auto~ Matte Scan. In I953. when Peter |Ellenshawl
rei1ll_)'—ca/led Audio Anttnatrotttcs trttrrv WEI) mation ol ottr multi—plane camera, the lull rst catnetothe t'otnpany_ tn_\' lather wasthe
.-ludi4r.4m'rr|atronie rlwtu. trtadnilally, isrsl reltertrml automation olallottrt'at1oon cranes, another one who was involved with the desigtting ol
at the WEI) complex tn Glmllale hr/izre lmng sent system which lour or live years later tttrned the system that Peter used lor his tnatte
nu! I0 either roast). In addition, l1'l:'l) tlerigrtrd the out to he almost identical with the Magicatn paintings. And over the years we just kept
exlttbitslr seeeml ufthe mos! p0pttlnrpat'ill|0rts al system, a thing l Called the Automated Stage adding things onto it. We kept doing that
the I964 I964 Ann York l1'nrld's I-"air, Inns! of which had everythingunder cotnputerronu'ol_ until,linall\',itgottothepointwhen-itwasn‘t
teltirlt almfeatttred .~!ttd|a-Armrmtronir (lmrmters. including all this apparatus to llr people in doing a good jolt an\'niore. We kept doing
The members ofthe I)trn:f\‘ Studio/ll'E!) Imm rltte/lt‘ front ol a hlue st'reen—and the ACES atttl things with it that it \\'asn‘t designed to do. So
retponriblelr the rreattun of.-l(.'I-IS and the Matte Matte Scan Systems. we sat hack and said, "What do we want to do
Start were Don Iu-erhs. D(|X'!ll Ingltstt. Bob Ottv, Ar! now? Knowing all the things that the matte
Cnti(h.tl|1tltatIdDat'tdSr|)‘der, tuitlttrl|nrrttlt¢'.'1 l.'ES/ l)tn'id Ingltrlt tea: born in I9-I 7. He (ante to departtnent wants to do. ltow can we go ahout
Matte Start story really begins. ltrxmft-am terhmmtu in l<l(a7anda_waranelnltalf doing it the hest way?" We were aware ol
Prior to ltis |rtt'0lt'em1'nt teith the Ihsmft‘ 0rgan- later /rans-1-ml tn HT!) as a destgrter. lnglish Snyder's ideas, so we went ahead and got a
izatian, Daeizl Snyder was nri engineer trorhtng an became a rhnu'—s_\-stems designer. tenrhing on all of group together to tnake a proposal to inan-
/ire-ronlrolrysternrjizrsubmannesartdrtat'alntrtn' the shute rnnlmls at mm l)lS!l!_\' ll‘orld—c0ntr0ls agentent on the Matte Scan and ACES. We
ships. He was spertjirally hired lgr l1'a/Il)t'smft- Pm- that nmee the sets and synchronize the/igttrer and showed them what wt- could do, showed thetn
!llt(IlllY|S tn I96-i‘ tn do tmrh an the .-lmlur.4 ntnta» emnmtttmtmtsurh exhibits as lheHa|tnledMarlsi0n, what it would costi Matte Scan, l helieye.
tmrttc/rrojects, teorhingtnllt the so/ln-arearulrmrtputer (.‘ounIr_v Bmr_/ambnrre, n1tdS/7an'.\IattnIairt. l1'iIlt cattte in at ahout Sl00,000~let thetn know
systems /ur the nerves! generalmn of singing and Iltr help 0/'11 select team. lnglish also elestgrted tlte we'd done ottr homework and then asked-
danrmg robots. Snyder is l1t77t'!lll_\‘ involved lt'|lll the rlored-rimut surveillance syrterrtt that /hey use on ran we do it? It took a couple ol years to push
new computer rysterrts which will be irtrtnlletl In Ihedark rides, hnpetlly, as he puts tt, "to /teep people that through.
handle the shores and rides at EP(.'O7I an l-'.\'per- frntnjtnnping out trfthent." Inglrrh/irst heard 0/the When you get right down to it. the Matte
imertlal Prototype C0mmunit_\' of Temmrrote tn he Matte Smn m Yl'll1l||IIt the TIIE BL-l(.'K HOl.F Scanisarather sitnple design. Thecatneraou
located on the I)t.tneyu'nrld gmumlr I11 Flnmla. during n Writ In the Burbank lat. the systetn is the same one we've used oyer
If the near sL\~-_\-earprodurttan schedule :1] THF the years here. lt's a Bell and Howell, one of
BIA CK HOLE catches the eye, then the tenaciottt DAV") lNGLlSH the old 2079 Bell and Howell catnera boxes
star)‘ of Matte Smn and .-lt.‘£S grabs yin: by the In I977 was o\'er here at the studio and
I that are used on optical printers. They‘re ttsed
throat: Srn-derrxl/omtardrd the ideas in I971. they were talking about this space pictttre all oyer the industry. The Matte Scan has
where they needed to do tnatte shots over and three axesi a truck, an eastlwest and a nonhl
DAVID SNYDER over again. At that titne Harrison Ellenshaw south. It also has an automatic follow locus.
When I rst started. Disney hadn't seen [head of Disney's Matte Departtnent and son Both ACES and the Matte Scan have auto-
rnuch. ilanything, ofthe types olthings that of Peter Ellenshawl was saying that they were matic locus.
mini-computers mn do. The stttdiowaslacking going to have to get some kind of motion You only need two men to operate the
in terms of technical prowess. That's not to control catnera. This was hefore STAR WARS Matte Scan. a catneraman and a projectionist.
saythat thereweretft a lot oltalented people came out. incidentally. Olcourse David Sny- The cameraman programs it—it‘s really a
there that could tnake the machinery they der_the programming tnanager hereon ACES tnatterofprog-ramming it morethan any1hing
had really hutn along— there were, and there and the Matte Scan, had proposed automating else— and then of course he also carnies out
are— but it was all I9-I0-vintage machinery. an animation camt-rain Octoberoll97l. But his functions with the camera. The projec-
I also spent a lot of time talking with Uh we were busy opening Walt Disney World at tionist is needed in the matte department

18
7
herause the live at lion portions are pmiertt-d, just toolt the initiati\‘t- nn it and said we t'tiu|d
and he has tn tln his joh t)I threading the
.' dti it. And we did. Stt|nt~htiw.
I
.
pro|t't'tor ttp attd getting .
ll all ready to go. B\' the t-tld ni April ol '78 wt- had nur
, .
- ,
Onre the prujet"tnr's threaded and the t"otn- design nailed and nur costs t'a|t‘u|.ttt-d. and
puters pmgratnnted, ytnt just push the start we got an approval on it neat the end nithat
huttnn and nli vnu 2 ti. month. We started tltatttllitettlriti Ltttntl ;tsst'nt-
.|..H.
.
.
mvtnswvntza n..-
hltng in Ma\', we ltad tlte t'qu|pntt-nt up anti

t h 3t
-is
pt rating tn .t-pttm >1 r. ant >\ Otto NI’, .,_ - -
At1uall\'. tht- Matte Sean was sttrh a sitnplt‘ when we got the t"t>|nptttt'rantl were untlt-r its
design that it was rt'all\' all a tnatternlisellittg enntrtil, the\' were shooting ltmtitge with it a
I
tht~t't>|tt't-pt. Iwas sttrtolithet-ntrt'prt~nttertnt
it. Alter that happt-netl I ltelped with the t‘quip—
short time later. It was a retttarkztlilt-jttli of
It-am\\'urlL it rt'all\' was.
do‘
nlettt se|t't'tit>|t_ urtlt-retl parts. wrote the rst I led the parade in saying, “Hev! We can
am nus HI it, aul slmwed th-r 1- le
; w-
mu to program .tt. t
<
~ * WP “rI this.A Iw 'a I th'si th
think we \'e gotNallthe expt-rttsetltat
I ". ' t . l\'.l
W"
wt' nt-ed
'
of technical prowess.
The l'tllIIplll(‘I' tlll the Matte Stan is a nu- right ht'rt' in the t‘t1tt1pa\' without gning oil‘
tnt'rit'al~t‘t1tttrt>| lI\;l(‘llilIt', 3| ntit'rt1~t"tnttp\|tt'r
and renting t>nt- nfthtise things." which was I
hasrtl \\'stt'tn. The tntttutlaetttrt'r\\‘as Sutnntit talltt-tl about at one point, And I was right. In _
I Engint-t'ring in Mtitltttmt. Bt'Iort- it was tttlztptetl our t'mnpa|n' we have a Int of hatlting in tlte
Itir tht- Matte Sran, that ltintl oi‘ t’t1|nputt'r art-anlittuttpttter rtmtrol what withtht'A\tditr 1
| wnultl prnhahlv l>t~ an ilttegrttl part nlia \'t-r_\' .»\nitn;ttm|tit's and what-nut. and we leaned
9 st>phi\tit";ttt-tl nlt|nt'rit'all\'t'ntItrnllt'd n1at'hi|tt' ht~a\'il\‘nnthat t'xpt‘rit't1t"t'. Sutnt-t>Iourpt-oplt~
ttml. such as at high~prt't'isitm lathe or ntilling l'tIll|l!HIl|l/>1.(‘rt/urlmmlr/t. it 1/:uItIn'I hr um! Ill
‘

nta\' have ht-en using t‘titnptttt‘r.s to tntttrnl I'll!-. IiI.<I IIK lI(II I- nm'.L'lt‘:'I| nwtntt um llml [hr
2 tttarltitte or stmtetliiltg ullthat nature. Itt the other tlt-\'it't-s ht-I'ure we put ACES tngethvr.
-

nutnt'rit‘a|-rnntrnl |n;|t'hint' tnnl eld tm/Ittrlmv/Iuit~ utmrnt tmultl nu! mu‘/IIIIIIIHIIIIY/I/llt

l

it's hut the point was that wt‘ could just as wt-ll /rntrt i
known as a bandit. t"tmtrol a tnotnrttt (lI'l\'l'llL'ZlIIIl'l'iljl\ wetottltl Bu! n\utlurm' /nr Ihr .1I.'I'.\' /wrn/rt! mrrtr /mm
ctmtrnl alt h\'tlrau|it' t\'t'|indt*r nr an air t\'l- Illfnnvg/ItllllI/tt'IJ|\m'l urguutzitltmt. Itr ()tt rut,/nmi
171:‘ JI/11/r Smn trut nmnmg um! /multmng indt'r or whatt-\'er.
[nnlugr St'pIrrltht'r, IlI7.\'_ Sltnrllr I/trrnt/It'r, .ll.'1-IS‘,
llitll Imnrt Il'/Irltl. tlrumnvl tt|/:ht.tlmt!r:/ mrtlml
I)|J7It_'I".t /0111//>\‘ nun/Itth-I run/mllril mil/mri—:lu/Iar nth-nt.\ .\'/rrrn Lnmr tt‘!nIr mutl uflhr /tmgmnr
Tit tnrrl I/tr X!‘t‘IHlllI_\‘ |!!l/ItIJ.tIlIlt'1/t'1|l”lll|' .trI In mmg, /mmr:/imm-ni u/trmlvrx In tt.n'II1r.t_\‘t!rntum!
rt‘/zmlablr (mm-m .n'.thvti mix lmm I111! nu! mlhtml Ihr I)t.tmf\‘ t~.\'t'rt1!|z'r.t, [hr [mm 0/ 1lt'!|g!u'fI uml
(I tlrttgqlr. t/It‘!!! 1! gmtl tlrttl 11/ ltmr nu {hr tr! tmrkn|_q nu! lhr
ntgtm-rr.t trim put /t'[I7l‘Y I/tr Jhtllr .\'mn mu rmt- lritgt. ()Hn um! Iilll Ifulktnt, an rrrzp/rim‘ 15/ II'I~‘l).
trmb/rtl, mt'Imltt|_q Smtlrr, Ittwkt, I Irgltsh ttml rlmf i/I/II I/tr tlrugn t/mY:'.\ I'hr utlllrhl um tttpplml
DAVID SNYDER t't|guu'rr Bub Ulla, trltn/irx! mrnrlu Ilttmfy II! IQ‘? 3,
The Matte Stan was \'t-r_\‘ s\l(‘t't'.\§I\tl and Ru/mnltmt 1.||II|t‘!11 III .\'mIInIuIt', ,-I n:/um, ll rln.uvI-
O/In t1rt|_mml [hr ltmlrnmlrr bltrnpt/in I/it‘ .\l|lrI|r/I ttrrml Irlrtvuun ntlrni hull! /or I/tr .t\ttrm (mm-
tnatle Harrison \'t'v§' happy with tht~ matte t't1Im‘m.t umltn 20,00!) l.l~..-1(-'l'I-IS‘ I’.\'I)FR fIII¢
work ht- t'ot||d now dn. When the t"t1|ttp;tn_\‘ /mm (.uhu IH Sun I)tqgti mu] Ihr u'rt‘v:—.t_\‘t!t'r/1 um!
SI-I.1,ttmlts rrtpmitthlt-_ir!hrsmlium Ylltl/[t‘!'lI!!l|’ftI, \|'r1-natmtlrnl tnlrr/utv It at /null In /I|.tm_-v t/Jrrtm»
tleritled tn gt) l_innl_\' ttheatl with THE BLACK tr/nrh tmzt rt tndtlun-_\'t'lItztt‘ lmrkgmttnd tn p/tin‘ /1/
HOLE. STAR WARS hatl ;Ill't‘;l(‘l\'(‘t1ltit'Illtlng [mm ht Nnrlhrnt Pmnmn I.ul1t tn .\'m _/t'r.n'\. Hui
[hr trtnrr-_1r!ti/tttr1i;t_'lt! blur bnrtttg. 1l.|gh1 mlrnng mntln/Il1rrmtt'htm'n tn-rtlnl It III ht/ill lnunlrrin [hr
and tht'rt' had lit-en a lot of PR almut their Ihi: xprttull)‘-dtzttgrteri mmrm ts tf/It! In‘ 1| /mun,
latntnts ztuttmtated t‘antt'ra. Tht-u our da_\* I Ilium rmlt‘/um‘ thn//.
trlnrh trmls all bu! [hr tmlttun yr/Intr In tl tlnp 9/
was at a meeting with Ron Miller atul some mlor/i/tn. 77n')'t'[Iatt‘it!n1rt$'r1nIlrmnytttrnlr/1tm' DA‘ H) SN‘ DIR
ntht'r pt-nple when sntnetnle tttetititmt-tl tht-
Dykstrallt-x, and sntne tii the spt-eial elleets
tf blttrk rtml tt-hilt‘ /ilm Iltul /ms hem /illrml In .~\t point wt“ thuttght til‘ renting out a
tune
YegtSIt'!!/u'_wlIutt'/tgltltttIzlntk, trhtrltt/u‘tist'rt't‘t¢t.t rt-pt-attthlt-—|m>\'t' \\'stt-tn. We qut-rit-tl the
guvs \'nit't'tl the thtntght that we were going to I/tr mallr. .41 [hr plztlr mid mu!/r an‘ mml! :1! Uta
ltetvetngtitltat rotttet1nTHE BLACK HOLE. STAR WARS pt't>plt- tn st-t' il we ('U|ll(l tent
smut’ !iIm'—ttnrI hat-t' mt t‘.\'Wl|II7ltI[ qtmltt)‘ Ihr
And Ron Miller said. “Why the ht-ll aren't we tlit-irt-tittiptttettt lrtun tht-tn. But the\'ga\'t* us
J/xlttttll-_\'t'11ntt'/zrnrrtt is [hr mt)‘ uflltrs/Irrta/t]]i'r1:
using rmnptttt-rs for snme oithis stttii?" And a rt-ntal t'<-t- that was \'t'r\' high. Tht'\‘ then Il)l(l
I said, “I'\'t' gnt something that l wrote
in .~1n.'ll'I-.\' /-inntlt Pnmll rl t'r|1u'kth,iuk VII‘/2| nml I’r!rrHlrm/mu ttlttll/u'.1t I-Smmnlr.
|97| |h3| angwgyg a|[ |}m§(~ qu;-§|jUn§, Am] .41

rrrn n/inutmlrlltt//tturk. Thr 'l"—ittI/1'Pfnhr_§"|I/Illdllft/"III!!!BIlt‘klV!!I!tlI'!fI|//r‘!'|!1t/I|Yt‘l//If/Ill‘.tttr'muI|t1t':Hn Hir

the reason you tlntt‘t have it is heeause you mnlt/tr!/i/rntrig
I didn‘t want to spend tht- mum-_\' for it then."
The upshot was that they Said. “Let‘s do it
now. How soon (an you put it together?" I _
said. “Well. this is a pretty big-seale prnjert.
You're talking about something that typically
takes people a _\'ear or more to do. This isn't a
simple assignment.“ Then they said to mt-.
“No. We need it now. We‘re going to start
shooting in October ofthis year." And this
was mid-I978 when they said this! I thought,

‘\
“Jesus Christ. you just can't put this stuIT
together and make it work in that period of
time!" But tht~_\' said, “Look, ifyou really want
to dothis thing this is theprnductinn we need
it OI]. There tnight not he another one like
this in a lung while. So ifynu think you can
pull it all or partly oil’, go to it."
DON IWERKS
The ACES project was done in a very
limitetl time frame. It was \~er_\', very tight. As
a tnatter nifart, wejnltitigly cutnplained that
the mndel shop had had a couple nfyears to
. do the spaceship models and all nfa sudden
sotnenne had thrown this tnonstrous job at
us. But I guess that that's the way it goes. We
 _'
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IZ!EIIt
lltlllll IIAIEIA Emm 1 g,
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Iuusumuurmmuuumn L mm

\|\ that tht'\' would huihl zmutht-r \\'\tt~n\ lnr man did with tho t’t||n<*ra. A\ lnr as I kntm,
\|\. n s I wriztl \\'§l('lt\. whtrh was ;\|sn l\'‘I! h|\' nut um“ nl thr \\'\Il'II\\' lwin K' usvtl in H0lh'-
vritul. Tht'\' would thrn rent th.\t \\'~u-tn tn wuud tud.1\' \t\t's zt t‘u|nputt~r tn a€t\|.1l]\' do
l'ImtmI| /alum In buihl I)|'sIm"'t -ltnlumulnl (.'|tIn--m ‘ thr |m_u\'t~ fur tht-nt. Thrir uuml nu-thud tn
Enh _\.“h_m '_"_.!_._‘.I n, Ilmlum I." I_)’_I_ H tw \\'h\rh\~'n\||tl h;m- h_t||\ tu\'t~rt-tl th<-in nu»
4",,‘ M‘. mm.“ ,,/M’. sun ||-‘Hm mthlm/II.‘ mu"-""_ strut'||nn unts and ;|ht~n\';\rd~ tht-\' tl ;\]\u
_—
mu\'<‘-tt thrnu;1h;||_utth h\"t'|‘tht-r \hn\'tn|1|tnr
mun", ‘Hum ,0 m,",,m,. \,m|,~" mm ,,, /“ml 1;“. n-t.|in u\\'m-r\'htp tighl un the thmg. W:-ll. lmlthn)1tln\\'n nxwttth unul |t gt-ts thvrv. Nmv
mm/,|,1.-,-i;,-,1mm,-m_ (;,‘,»,~,| 1,-H 1b,," 1",” 15,- ;,',,|,- that w;\m't null <-ttrmtrztgittg \\'t~ hrnught in not un|\'t'.1n th<-.1\(Il-"Srnntpttu-rtalrulzltt-zm
nr|'g'i!t1|lIrIhn|t|_tIIl !|t'IrHnP\'. lrum ||/ |1rIi\!\ uml
11 .-\(§F.S hvrqttitewa hit |('\§ th;mwh.|| tht~v\'\\';\ntt-tl ur(htt.tn' path. it um alm rah \||;|tt' thr in—
rngirm-n/nmlumlu nnzwflun-Im t\‘\l|'m. I'nI|'I|-- mrlirv fora rt~|tt;\l (rt: .\nd it tltrm-<1 nut that thv uu ht-twt-t~n path fur all nf'tlm\'<~ frznltvx that {all
'”""7""""""" """"'“‘ M"! “"11 "‘""f"""" """"/\ /" th:*\' had just <u\|hh\'t do what thi\u|\<'1hn-\, ht-twt-t'n thr prt~—p|t'k<-d kt-\' llmtltt-s. Sm‘ it‘s a
rrmrmlvrr mm. .4u..< .-"~14.../.|t1.u.~ nml guivlr m.~ |tnt)t>'|'m,,,‘. mku H ‘hm. mm‘ ‘hm. Ca" H"
mmrm Ihmugh -_-11.1mm.-//"mm in t/-.,..-_ uunlmlling l)A\'lD l1\'(;l.ISH \h>\\. {mm i-mu“ MW
‘U m_ Wmmm hm,‘
.. ,. ,
,
'“" ht-t\\'t-t-1| lnum-\ '1Utu1 wll. and lnr thv rt'\t M
-

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Th:'rt' arr twu n|;||nr tltt-rt-m1~\ h:>t\vt-t-n

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/lulu um] !!|n||rm,'||l 0/ !h.- mmlrl \I||y|1/ m./» It-In I - ' the D\'k.\tr;tHt*\ .tntl .-\(IFS‘ Tho D\'k\tr;t ('.m1- tht- shut tht-\' um do n t"n|n|wh'tt‘l\' thff<~rt'|1t
mm]1uIrr mu/11 ulm uulr t umrm mrn'rmrnI\ up 1|! zlunvn.
cm \\.\\ .| str | l
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;\|n|\gtIHtt'p\, urn":-rtznn tm'l't“tt\:*nt\_ \\'ht-r:'.t\ But I th\n‘t wtmt tn t~|nph:|si7t- what the
_“ _ H ‘ V uur nmtnr kt-t-p\tlr\\'i|\)1 it until thv t.\mt-rn D\'k\'tr.1|h'x didn't do, ]lt~t";\\|\t'\\hnt it did dn
"4"" "ml" """”"" ""”“ ' ‘ ""”' '\""" /'*"~" )1t~t.\ tn tht~ pusttinlt it'~1 |>t‘in),{ lnld tn gt: tn. was new and htntzutir and. in |n;|n\' rvpvvts.
aml n'g|'\Int!|'1m frmhlrmt /nnwl mm! \'lu!\ |||t'|n/mnllittg Ours i\ .\ tluxrtl-lnup \’t-t'\'o -\'\t<'n\. ~t-nu laid wnw nfthr gru\||1th\'nrk lnr thc- ;\rr('p-
t; mum/min1in|_' In h.- tmm. Mr uulzlrvl lm/I 1|] t|HI|l'f|| tztnrc nl what \\'<>\\';|ntt~tl tn tin. lf)'n\|\\'a|1t tn
httvmg an ittnitr rt-sulutiun <;|p;n’|t\'. Thv
mm'|'!m'1|! mm uumllr Ink,-1| In [hr ||t|tli:‘I|4‘|‘ m u
‘,-L,,m/ Hm, M l.//rm ‘hm mu M,"-,,‘, M“,-_ ‘1|',,||',|;\},,',,,; 1umputt-rkttuwxwltt-r<~Iht-cattm-r.\ i~<|1pp_n§t-(I put tt this \\';\\', thv l)\'k\tr;|lh'x was a .\1hdt*l T
1!,,< ,'1l,4,,',,,, ,m,1,-,1!»-y ,m|,,,- ,,1;|,-,-,,,|'\,- ‘,,-‘-,-,,,,,;,(,- ,,,,,”,- tn ht-_ \\'ht'n-_th<' t.t|n<-r.t 1~' and k<-tipx tlrt\'1n_g .|m| what \\'<- h;t\'t- \\.| muth't'n t'.\r. Tht"trv'~\\'.'/u
/minlimyliw r|r‘li1|1| lwnpmim. Bu! with !h.- \mu.- \t_ lullt'x]\tN|t1g;|\t|lg|<'h';|tttt'Ht hhn unul u grt-at, hut nun dm-~ .\ Int _mur:-. Ba\tt;1||\'_
.\'run. n mm. t||lIr|rr|1'1|lI\‘-|Illllmllrllmmrnl H/Iutml vt-t_\ tu ttx’ .|s\'i 5~Ym't| I mutimu \\'ht-rt-.\\ on thv A(IF,S 1~ murh mnrt- um-1-rh|l in t<'rn\< of its
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in Hunt /m\\HI1r I-0 tmoollllr mum‘ ||t'm\\ mm/m\|'!r\ --“vi. “mu il u, K‘, Hm w.P,‘-- ‘,\m| ifH," had
ulung [hm u.\'rt, ,\|;|“<_m{n.- than !r4lt1|rr1I n_mn' I'|_/"' tun tnurh M zt luatd thvn nut ththft r:';tll\' ,-lnulhrr kn n/l:l|/mu In Ihr .\M!Ir S'mn lrum
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 HIE BUCK HOLE only began lo rxplare llu rapabililies a/Me ACES
irt:xynkn, whose logo (inn!) was drawn in Me aninualian depamnrnl.
In addition to mnlmlling (he Inovnnmu a/Ill: made! stand and modal daily
(aring page. lop), and lllr mama. boon! am and runna dolly (below),
ACES um sophirlizalrd rmnpuler :0/huan Lu tale ova many mclian:
numnally lnanuallyoprmled. inrluding xlaling. winding muard ar mime
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' nunubm, d‘I olvn, pause: [era ll syx lenldnfnan, l'Inli
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:[:d.r and aulalllalirallymuing an any point an Ilu Inaving model stand

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 to get more than two then you can go hack you're after. No way could we have gotten the
and cycle it. But I didt\‘t want to cycle one, so camera down that close because of the basic
I asked for two. camera and drive design themselves.
The whole autotnated camera effects sys-
tem is based on tnulti-platte technology, to DAVD SNYDER
tny way ofthinking. All of us here had been The ACES computer itselfwas purchased.
raised with the Disney nutlti-plane camera, as ntuch as I could. right olfthe shelf. The
so we were asking tltis thing to do everything computerisa Data General Nova III, which is
that the multi~plane would do. In the past. a I6-byte machine. It's got all kindsofoptiotts
when I used to plot nut moves on the tnuIti- plttgged into it that are beittg utilized. like:
plane, it would take tne a tenibly long timeto real-tittte clock ltardware multiply/divide, the
write uttt a fratne-by-fratne sequence. Now, 2'/etnegabyte cartridge disc. and the dual
considering how complex the tnove is, the oppy. It's got 64K words of memory, a
computer can do the same thing in as little as Dasher Video Display terminal and a Dasher
I5 minutes. Even though it tnay take longer Printer terminal. We can develop software for
than that. say one to four hours to feed it a that system over here at WED, take it by
move, once you‘ve done it. it takes over and means of this replaceable, removable canridge
off you go. We added about fottr more axes that I mentioned, carry it over to the stage
[to the multi-plane] and designed a move attd give our stuffa try. We integrated allthe
able model stand that had individual axes of ACES stulfand put it together in Newjerscy.
movement ofits own. We laid out the moves tested it out, brought it to California. and
on the ACES system so that north/sottth beforewegot halfofour tests run production
tneans tip and down, east/west means side- said, “Wow, that looks pretty good! Let us
ways, attd truck tneans a horizontal move. shoot some film!" You know how that goes.
We have several other movements on the So they were shooting film before we had all
system, ofcourse, both itt the camera andthe the little goodies in there that we thought
.-l(.'IiS/.\laIIe Start rngnmr I)at-id Ittglnh. model stand. SowhileACES isa vetyversatile should be in. So each time the studio people
camera system. it's like an animation crane. would come up against something that they
Ifntirluhanh came In it-nrlt all/ttII)t.trtr_\‘Slttt1tn.t except that we have approximately 70 feet of thought was marginal or didn't really work at
or Frhnmn 11/101‘! as1tmr100ttratm‘raman_ II'hrn truck ittstead of what you're limited to in a allor maybe didn'tworkthe waythey thought
the sludm matwl [mm 1!’: nlrl I~I_v/zrnlm .‘ll'P!Iltt’ vertical dimension. it should, they'd say, “Gee, can't we dothis?“
[nralmn In tit /zrrmtl Burhartlt arlelrrts, hr hrmmr The special camera we have on ACES was And we'd reply, "Yeah. We have it on ourlist.
trtenltwi with layaulsfar multi-plum" mmrm work built in Scottsdale, Arizona. hythe Richardson Cive us a chance and we'll pop it in."
Hr twrtluully beramt‘ assnrialnl with l'b In-erhs, Company. He's famous for cameta move
and lhmttgh him teas tatrnelttmi In opltralpnntmg, ments. and ours has got a special 4-perfpull- DAVID INGLISH
tmrr! plmlngraplty and nr|~s!ag1' tmw-Ilmg mam down and a special 8-perf pttlldown. This When allthe ACEScomponentsdid nally
tmrh. (jnltr/tshmzh tearlzrrl an such (latsir l)isnr_v tneans that we can shoot either VistaVision or get here, we knew that it was going to work
fmlumt as PI.\'0(.'(.'HI(). B/l.\IHI. I~1-I NT.4SI.-l. in a normal fonnat. And the camera also has We planned on it working, and it did work
AI.I(.'I-II.\'lIO.'\'I)£RL-l.'\'I)..V.'\’0ll'I11IITEand interchangeable lenses to go along with that Praise the Lord for that. We had very few
2(),0()t) I,F.~lGI'FS !’.\’I)FR TI-IF Ski»! ran tt'ht(/I too, so we can lilm either anamorphic orjust errors, I think something like two wiring er-
he mn an npttml prmlm In/nrr r('n'tt'tttg hu rxl llat. Then there's the pitching lens, which I rots in l0,000 connections. That's just phe
xrrmt rmltl, /ant I)i.mtj\'lrlet'Isim1shatrrallt-rl"Tht' like very much. nomenal. When we plugged the motor and
Jlagtrt¢'.\Itmr,"tvhtrh (.'nu'1/uatth rr/i'rxla as "ttrirlly We rented the ACES pitching lens from serytrsystem into the mechanism, which was
an ll/I/It'll/(1717!/lI7l(|/lll tel-up. " In l9h~l, heratne of Continental Camera systems in Van Nuys, here and had been wired up here, everything
an trt1ltm‘t!t|'t|I lled /mrkage, he lrfl /he I)isnr_v who haveantttnherofuniquecatnera systems worked. I think we had onethinggoinginthe
Slmltnt nml mntwl In 20Ilt (intltttjv I~'nx, trhrr! hr on hand. Wt"d originally investigated a snor- wrong direction.
sl(|_\w1[nr [hr nr.\-I s¢'t't'tt_vmrs. I)m-ing that/zmod he kel system before we got the pitching lens, a You know. on this project theywere shoot-
tmrknl an rt‘t'rj\' r/frrls ptrlurr Ihr xltnltalttntrd nut, snorkel called the Kenworthy system. bttt ing from 7 o'clock in the morning to 7 p.m.
irtrltultng PI.-l.\'FT()FTHF.-1PFS. TORI! TOII.-I! while the Kenworthy isa good system it wasn't There wasn't too much time for us to get in
'IY)IH.'. DR I)0IJ‘ITI.l-IamlR'I.\T4S71tfIOII-ICE. adaptable to ACES. The pitching lens was. and do anything. Plus. if they had a set-up
an trhtrh (.'nurIz.t)|/tnlt hamllnl thv mndrls and did The reason why it's called a pitching lens is that was all ready to shoot the next ntorning,
all nfthr [limit .t/wrtalphotographtr 1-/]'rrts: tl trnn because it will shoot at right angles to its tube. you wouldn't be anxious to go in there and
hon an ().t(ttr. or straight out front the tuhe, or anyplace in move anything around. Because if you'd
By I971, hnm-u-r, Fnx had u-tlhdmuvt its xu/:- between. Asfar as I‘tn concerned, the pitching broken anything, you'd be in deep trouble
/tar! [mm tit tpmul if/[mt rlr/tartan-nix, Ilr mt: lens has contributed much to the success of the next day.
mnturtol ht Rahrrl (iihmut, the Intmjv Sltt1Itn'.t the scale ofthe lm. By using this lens I was But I can relate to ACES as far as the
httttnm In-ml, trtlh an a//7'1 In return tn lhrtld. actually able to set it on the surface of the production demands went too. That system
(,'nurkt)un|h arreptrd, and has been with the nrgan- Cygnus models attd then program theACES had to work every day, and ifthe system went
unttnn rm-r stun‘. so that it movedapapefsthickness over them. down it was a very expensive situation, and
When you get that close to a model it should needless to say, people would be very un-
ART CRMCKSHANK look huge, and it rltm look huge. We have happy about it. Butwe didn't have that prob-
A(IF.S was verv much a joint effort. It available to us any focal length lens that we lem. We were only down for one-halfofa day,
evolved front a group ofpt-oplewhn sat down wish to choose. In miniature photographyit's owing to a problem with a disc, and that was
and had a series of long discussions on the vital that you use wide angle lenses, and we're the only time during the entire period ACES
suhit-rt. There was Eustace L_vcet. myself, Bob actually able to set the pitching lens right on was in use.
Otto, Don Iwerks and the (‘0lrtp\llt't people tltetop oftheline. This gives ttsagreat deal of
frotn WED, Dave Snyder and Dave lnglish. scale, great depth and sharp focustoo. In fact, Irt rantrmplating thrir assrrnblzd system, the
In those meetings we tried to think of every~ we've focused frotn one inch to 20 feet with it. Disney studio realized that it rmtu hadth: most uptn
thing that ACES might eventually he called I don't believe it! datrandmhittimled repeatable-mot/ecamera 12:11
on to do. First olf. we needed enough rootn. ryslrm in rxislmre.
So we were assigned Stage 3, which contains BOB OTTO
the old 20.000 |.F,/\(}UI-IS tank where they The pitching lens isjustaperiscopethafs DAVID INGUSH
photographed the ght with the squid. Then, about I8 inches long. It has an anamorphic The smallest increment that they can pro-
during the design period, I asked the teattt if lens on it, an objective lens, and sonte prisms gram on ACES is I/I00 ofan inch and I/I00
they could comeup witha camera that wottld on the hottont. The tnain reason for using it of a degree. And we're actually ale to do
roll more than 360° around its axis. I asked was to get as close to the model as possible. It betterthan that. We can actually resolve finer
for two revolutions. Now, usually, ifyott want allows the lens to get right down on what incrementsthat that, but I/I00 ofaninchand

22
T
I/I00 ol a degree is whttt we tnztintttitt htr exttetlvtlteszttttepl.tt'e. F.x.tt'tl\’. llvottwattttti I h
positiottittg. ltt sottte rttses wt-‘re t't'§ul\'ittg go HHH ittthes. it goes to l‘).0l tlte next T e
I/Ill00ol.tttittt'h. \\'e't'e:tltlet<ttno\'etttt\'of
ottrttttgul.tr.txes. tltttt \\'ottltl helikettttttortilt
titne. Not V1.02 or l‘).0l)_ hut l‘l.t)|. \\'e'\'e
tlotte tlottltle expttsttre shuts lot perhaps ll
a T
-
ttrroll. :t.\ l;t.\t ;t\.“lh“ tt ~eeottd_ so in I0 \eett|ttl\'
\'utte.1ttgoflh0“. \\'et';ttt tttnn-thettttrth/sttlttlt.
or I2 ltt>ttr\otte<ltt_\', lelt the lilttt in theezttttertt
on-rttigltt. tttttte httelt tlte next tltt\'. tttttl tlotte
a
-
e.t~t/tvest ztxes stx ilteltes per seettttd, \\'e ezttt auotlter I0 httttr\ work with tttt prohlettts ttt
t_rttt'l; at three vleet |ter seetttttl. -.'\‘tr\\' tlttt-t‘s its :tll.
last .t\ .t grip <.tn push. \\e lt.t\e lnur ftet ol 9 I
tr.t\'el on tht- nttrtlt/stttttlt. ettst/\\'est axis. Then
\\'elt.n'eottr7tlli-etttlipertntutenttrtteklorthe
' ‘
Ottr t\(IF.5 ttttttt-t".t has sottte ttlltt'|' ttiee a
'
ratttertt. \\'e also h;t\'e Jill feet of tttttveahle qttttlities.Withintltettttttetuttttttttttt.thet;tttt-
tnttk lot the ttttttlel stand. \\'hi<"h \\"t-etut tttke erzt is sttspentletl insitle Ul .t \t>Le. .ttttl tlte
tlotvn to .ttt\' stage. vttke is \ttp||ttt'|etl the\\'tt\'.ttt .tttint;ttiott \t.ttttl

ART CRUICKSHANK
\\'tI\ll(l he. Bttt iltsleml ttl inst httvitt ' tlte t'.tttt- , .
ertt pointing <ltt\\'tt, \\'herl~ tltttt t'.ttttli~t‘.t would
The ACES ttaclt is laid nttr as an angle he is ttvttltt-tltttt httngs tltnrtt, .ttttl tlteeantera
herattse we had intended to use the rear pro- is stt\|1t'tttlt'tl ittsitle nl'th,tt. Tlte t".tttter;t then \tttriug through the httre-sigltt to tttake that
jertiott system, so we have aimed the traclt htts tlte .tl:ilit\' to do ll 720" rttt.ttiutt while tletisitltt. It'suot tte.trl\';t\ sttlijt-t'ti\'etts some-
straight ottt the door on the Riverside Drive we're trurltittg. We .|lstI lttt\e ;t \'it1ttttl Flirt)“ ho<l\"s e\'e.
end ofStage 3. The center line goes down the pzttt tttptthilitv .ttttl rt tilt t'tt|tttltilit\' that ttttt
traclt and nttt the stagedoonand ifwewantto
use rear projection on a big~screen basis, all
sltuttt lrutn \t|ttte\\'ltet't' ttt the ttrtler of 45“
ttpwztrtl to t t>tt||tletel\' \tt.tight tlowtt tttttl t lettr
DON l“ l‘-RKS
.-\ttother \\'.t\' olirlteelzittg ACES re|i;thilit_\'
we have to do is tarp over outside and we can ttrottutl to the httt lt_ ttpsitle tlowtt il tteetl he. iu\ol\'etl tloittg tttultiple exposures oftlelitti-
ttse rear-projection. We can also shoot into tittn ehttrts. \\‘ltert-v\'<ttt havethese\\‘edges;tttd
the old 20.000 l.EA(2UI-TS tanlt because the DA‘ ll) S1“ DH‘ things thttt \'uu'rt- looking ;tt. Wt~ shot sittgle
rails rtttt directly to the edge ofit. We can take 'l'ht' t .ttttet';t has l)l't'lI tlesigttetl tn :tt't"e|tt .t e\|to\ttt'e\ tttttl then \\'ent hat it tttttl shot triple
advantage ofthefaet that the tanlt is eight feet nutultet‘ttl'ittstt'tttnettts lot‘ siglttittg .ttttl .tligtt- e\|tttsttres ul tltt- sttttte prograttttned nttt\'e.
deep. because we catt go to tlte end of the tttettt. You taut pup itt ;t ltttre sight to lttrtts \\'e thett eotttpttretl those with zt ttticrostupe.
track and still shoot ohieets that areinsidethe through tttttl see how things look. or \'ou tztn luttkittg lttr ;t tlillerettce itt tlelinition. There
dry tank without shooting the floor. pup in .t ltm‘—|ttt\\-t-t't-tl l.t.\et' gtttt. Now tlte \v.t~tt't ;tn\'. A triple exposure Iooketl inst like
rettsmt for tlte l.tser was to tt'.tt k ttligtttnetth tt single ex|tu\ttre, To us this tttettnt that the
DAVID SNYDER .tntl tn help \l.\ get tt level Ul tottlitlettte itt t.ttttet'.t was .thsoltttel\' repettting its tnoves.
As farasaxesgoes.onthecanteraitselfwe rept-;tt.thiltt\' ;tt'rn~.\ ;tll i\\t'\. It's inure til tt
have truck. we have east/west. north/south. tlittgttmtie tnttl tltittt sotttethittg \-tttt'tl \|\(‘ ttn '7'“ ll) 5‘\\Dl'-R
focus, pan. roll and tilt. Those are the major it <l;ttl\- h;t\i». \\'e tt\t'tl tlte l.t~<-r .t lttt tlnring
axes. Wealso have totttrolofthings like shttt~
.»\nntlter.~\(iF.S lunetion tltttt iwen‘ niee is
eht-t l;-out. l.et‘s s.t\' th.tt nut \t.tttt to swing it~.ttttnttttttit', totttpttteri/etl litllow litctts and
ter advance, camera rewind. frame counter. \'ottt';txes itt inst otteplttttt‘. itt ])lt|\t>l' lttittttx x Itttllll-l\l—\'lt'\\' t'.tlt'tt|;ttitttt, Although we ttsetl
all those. But the major axes are seven com- or ttltflll/stlllllt. \\'ell. \tt\| \\t)llltl /em out tlte A(?l~'S fut tttmlel work. with wltttt I've inst
purer-controlled servo-driven feedback axes, (tlllI(’l‘2| to the tttitltlle ol its points Ill tt'.t\el, tttettttout-tl \'ott eottltl ttttttt-i\';tlil\' tltt some
closed loop feedbaclt axes. The ntodel stand not the ttttttet'.t .tt tlte l.tt' etttl (ll the stttge. uite li\’e—;tt titttt stull too. Ol‘ eottrst-. \'ott'\‘e
has got truck. roll, pitch and _\/aw, so there's shtmt the l.t.set' he.ttn tlttwtt. \\hit lt le.t\'e~ .t gut to he ;tl>le to tlescrihe \\'here the object
anotherfour. Soaltogetheryotfvegot ser\'o- ll \'l'I'\' sttt.tll \pttt on the t.tt'get_ then h.t\'e the tttttlet‘ pltutogt';tplt\' is gttittg tn l)l'. .\ntl which
controlled axes that are under computer t'<tttt|ntIet‘ rtttt the t.ttttet‘.t .tll the \\’.t\' to the \\;t\' it's tntt\'ittg.ttttl lttt\\'f.\\t. stttlteeotttpttter
control. right. till tlte \\".t\' ttt the left. ;ttttl tltett h.tt k to Ltttms hint‘ tn tltt that lot tt\_ Ntnv the model
The lens focus is a very impoant axis nn the tttitltlle. Now il the t .ttttet'.t\ tt‘.tt king t'e.t| stittttl is t|lt\'itittsl\ lteittg tlri\'ett ht" the entit-
thisthing. That's an interesting storyin itself. well. then \'ttttrl.t~t~r ht-.tttt'~gnittg to he tight ptttet: whit h lttttnvs zit ;tll times where the
We couldn't get focus equations from the \\‘ltt't‘t-itttttgltt tolte. .ttttl\'tttttlt>tt't lt;t\'t-tolte tttotlel is itt respect to the lens. ll'\'ott'\'e just
Nikon people, not even from them. for the
1;-"51-;_ 50 w¢- had [0 dew-lop |ho5¢ ¢qu;|ion5 .\lmlrl/Iflnlrrnt/I/l\ It tlh.-ll I ,\ 1/1,-“tut,-tit !\ t1/ttrtt-rtttltt//It,- n sr/mt! nmk /t/ntntgttt/rm»it/tn//hrtgnttt m/mn/n/
um-5‘-|“-§_ we had [0 run 3 5;a;i§|i(-3| R-K795. it/uttrt/mlt/ur/trlrl In‘/ntutmttttmlmltimlmmttlmI/trtytrmttmtrt/1/trHum-ntttn/Immlrltlutt/I/mntIhrttnttn/ralI,1?.
sions analysis to get the curves for each ofthe
different lenses that we can put on.
DAVID INGLISH
The ACES systent is capable ofdoing both
stop-motion and continuous fomtat shootittg.
We catt filnt while all the axes are moving or
we can lm one frame at a time. Most ofTHE
BLACK HOLE has been done with stop-nto-
tion, a frame at a time. with an exposure time
of 50 seconds per frante. It taltes you a long
time tn shoot something— 500 frames is 250
mintttes. Sn tltere‘s four hours right there.
Bttt it also can shoot eotttinuousl_V. it cet'tainl_\'
can rehearse itt eotttittttous ntotion. That's a
err)‘ big plus from the of being
able to see what the shot is going to look like
before you even shoot it.
You've read the articles on the STAR ‘PHI
WARS s_\‘stem that said, “We have repeatabil-
ity." Well. repeatability is a quantative ltind of
thing. Catt you repeat to the nearest yard? Or :<,~,'-'
tn the nearest inch? Or the nearest hundredth A
ttfan inch. or whatever? Well. we can repeat
to the nearest hundredth. Literally. It's not
just the nearest hundredth. We always go to
..\..
 __
> discs. attd tlteti from cartridge tliscs to tlte loads that needed to he overcome. We also
camera servos. and hack attd fortlt. so the had some helt drives that weretftsatisfactory.
~ I cartridge discs not onl\' contaitt parts of the and we had togotti differentdriving mechan-
fu‘; real-tittie operating .\\'stt-tn and o\'erla_\'s for isms. We had some gearitig ratio problems,
the Data General Nova Computer. httt ther we ltad some prtihlents in the level and IIat-
also put a lot of info in and tint. ness, so to speak. of the long track. You can
Incidentall_\'. tltere was sotne talk going itnagine tlte prohlettts that came up with
arotttul that one of the Ilopp\' discs was re- stitnething made of ttthttlar steel that runs
sponsihlefot'att.-\CE5tn;tlIitnctiotitliattattsetl approxitnately 70 feet. trying tti keep that
the s\'\tem to go "wild." as tht~_\' called it. \\'t~ totally Ie\'eI on both sides with respect to any
ditl Ita\'eoueortwo occasionswherethecant- Iinite point at the end ofthe stage. That had to
era ran away. if\'on wilI,antI that was tlut-toa he shitnnted tlp, and we had sttrveyors out
tIiscontinttit\' in a tnatlt eqttatiott, It Itad nti- there with a transit making sure that itwas all
thing to tlo witlt the discs. These things tttrti perfet1. We've also got two kinds of shutters
‘ ottt to lie explainalile iti very scietitilit‘ tertns oti ACES. an electrtinic shutterand astandard
T when \'ou in\~t-stigatetliettt. The gtt_\'swho are rotating shutter. anti the electronic shutter
ttot progratntnetl to titiderstattd ACES were just gave us such a paitt itt the ass for awhile
-_' 5‘ prone to hlatne any ph\'sit‘;tl phenonienon tltat I tliittk we nally dtttnped atitl replaced
the_\' saw occuring as ttlTt't'ti|tg tlte s‘\'stt-tn. If it. And we had software hugs. Lots ofthetn.
We also had a lot of misunderstanding
\' the stage rea|l\' got hot. attd ACES did a IIt'ing
tltittg. they'd sat‘ it was prtiliahI\' lit-cause of
the heat. Tv\'picall‘\-. that was net-er the case.
Iietweencatnera operators atid engineers and
programmers. Catnera operators would use
Tht-rt-‘sa|soI>t~t~n sotnetalkthat tltt-rewas a certain word that we didn't get. or tell us
§ a six-tnontlt ACES shut>tIown. That just isn't that they wanted this or that or whatever and
trite. Tltere was never. t‘\'er a delay on the (‘t)\lI(IIl'I translate their terminology into ottr
I)tm In-rrltt. mnttagn nflhr Iiomft .\Irt('t!!tt‘ Shn/1. ACI-IS project. Now. all the feattires promised language. And \‘ire-versa. That was tliflicult.
on ACES wt-rt-n‘t availahle on the very first We had to go to some different naming con-
gtit an actor ottt there walking towards tlte day tif shooting. But we had a I'I(‘II(‘\lIl1lISI\' \'t-ntitins for stitnethings. Itwasn't ahig deal.
catnera atid no wire on hitn. the computer short st'ltedtt|e to I)llII(I it. get it checked tittt httt it was an example of the Iitttnati factors
reallv can't tell where he is. So that wottltl still anti to get it operating. As sotitt as ACES was that you always get ittto wheti you're working
retptire a tttattttal focus jolt. I guess. Unless, capalile of shooting titu- roll of filtti it was outside the engineering area.
that is. you went to a sonar schettie like a |iterall_\‘ takett over Ii_\' production. Sti pm-
Polaroid. This \'ti\I could do. tluction started ttsitig it. and we ctintinuetl to DAVID INGLISH
Here's an idea of how \'tittr average AC I-15 linish olfour softwart- on second shifts. week- We were working with a very compressed
mittiatttre set-up wottltl work, I,et’s take the ends. and wlieli they weren't shooting. These tinte-window on ACES. hut, despite all the
ca.st'tifatiiodelthat'stn-dolllatttl ttot nto\'itig. people started shooting filttt proIiaIil_\' six tti prohlems. we came in on time. There's a
hecattse that's the easiest to tlescrilie. Sa\'t'ott tiitte months earliertltati you norntalh‘ would sense of accotnplishntetu itt that. The whole
have II model \itti|tg on your ntotlel stand or h;t\-t- allowed _\‘ourselfto tttrtt over a prodttct BLACK HOLF. project has heen exciting. es-
sittittg on a tripod or hanging iti front of a tti a customer as a fittished product. So as pecialI_\‘ for IIH‘. as this is the first Iilm I'\'e
hltte screen. Our director. Gary Nelson. attd lntgs would occur, shooting wottld stop. and participated in. And seeing the acceptance of
ottr t'fft'(‘t.\ taint-ratnan Art lCrttickslta|tk] the_\"d go to another stage and work on some ACES by these people who have been in the
would get together attd sav. “\‘\'e‘tl like tti other shot while wt- wottld gti itt atitl Iix what- intIustr_\' for _\'ears and _\'ears is a great thrill for
have the caint-ra start HIT aliottt eight feet ever the proliletn was. such as a hug or sotne- those ofus who‘\*t- been doing the shows and
awa\' atid come iti from theside." That wottltl thing that ltad Iiroken down or a cahle that rides at the tliettie parks.
he Pmition I. Then tht~\"d sa\'. “\\'hen it gets had heen rtttt over or sntashed l)_\’ stitnehotl_\'.
over here." wlticlt would I)l"Pl)§IIIUI\ ‘Z, “we The tntist that we have shut down. that has DAVID SYNDER
want to start swinging artittnd and point the interfered witlt productitin. seems to he sotnt~ Personallvt-_ the must ftttt of all nfit is the
Ietts towards the etid of the rocket. When it wltere lietweett twti htittrs atid one fttll da\'~ fact that I IinaII_\' saw something that I'd been
l ptiiltts to theend, wltich i\ Position 3. we want t’tunulati\'e— dttritig the lengtlt of the pro- pttshittg for since I97 I come all thewa_\‘ front
to go straight down the Cygnus like we're dttt'tion. So six tnonths inst isn't true. frustration to fruition. Now I catt watch the
actuall\' lI\'itig altitig its sttrfat'e." wlticlt is picture and see scenes atid say. “That's my
Position I, So we'd have these stations that ART ('RUlCK5ll"\l\l\ baht‘ that did that.“ A fantastic feeling!
the tlirector wtittld ask for atitl wt-'d literaII\' ACES did a heatitiful jolt. particularly
n
jog the eatnera to eat'lt of these. \\’e‘tI point when you consider that we were using it on a
the catnera to where they wanted it at that daily production hasis during its shakedown F
frame atid foot, atttl those would then lit-cotne crttise. The tinl_\' prolilt-ins we ever had with it
literal points iti space. Tltrtittglt these points. were ittttnediate prtitlttctioit prolilents. attd
we wottld then tnatheinaticall_\' interpolate the\' were ntininial.
their position through the ttseofthe computer \\'hett ati ACES shot was dtitte. I wastt‘t I-"nu! rears rtflrr Richard Lanrlrttt mlrl Ilnb Ba!-
and allow that tlata to liet'titne a Iile itt the uecessariI_\' always there for the total tiitie the bath (I’!pI'I7l|l"Il'l/ Fmit/t Part: ttttllt tz thlch mttl an
ctitnpttter. Then we'd take all those poitus— shot was ht-itig photographed. But I was aI- ttlm, the ttrltml flflitltlflttl 0/ THE BIA CK HOLE
perhaps they were I/I00 tir 2/I00 of an inch wa\'s there to see the original prtigtamtuing was ttttzlertttrty. Ftrx! ttrttl s/tnnltttg began tn Oclaber
t-ipart—antl allow those points tti plat‘ attd of the shot. I tlon't tliitik tn)" approach to n/'!l)7t'l and mttltntmi lltrnughllltrrlt ofI‘J70_ 11;;
rtttt the catnera throttgli that exact sequence working with ttiodels Itas lieeti changed \'t-ta‘ tmle tflhr /trodttrltnrt tent nerltvi tn this lmtgrr
ofe\‘ents.withallol‘itscur\‘es andstnotithing nittch hy working with ACES. I think it's lltntt ustmlsltnnltitgtrhrdttle. Iltttrtx altnnpparrttltn
itt hetween. Itt adtlition to this, the t‘atnera- alniost the satne as when I first hegatt shooting the l1tt‘t‘IS|b' nttd [mgr tttmtbrr :1/' stilt.
nian would have to tell the computer what niiniatttres. But ofctittrsenowl ha\'ea hetter. I-'nnm (111!/tt'tl(t', Hit‘ rzr/tut/ph_\'.ttc1t[ etttttmtttnntl
length of exposure time he would want. We and more sophisticated ttiol to work with. 0/VIIlm IX tznt one oflhe mus! mtitstbltt l'fP7!l!!|/J.
Itad t\'picall_\' lottg exposure titties. some of I)rtttt'tt tttlu lite drama, [hr drlnth 0/ [hr selling
theni itt the tteigltliorltood of2(I tti 30 st-contls DA‘ ID S'\\ DH‘ tttttttllr go uttrmltnvi Bttl tfmt ztrlitm mt’! frrttrmi
per frame. at stuall I-stops. I'd he the lirst to atltttit to the prolilenis mlhttt mt r.\'t.t/ing Inmltmt, Iltrtt il hat ttItm_\'5 bent
The cottipttter s\'stt'|tt h.t\it'all\' opt-rates that wetlid ha\'t'with /\(‘.I-IS. But. again. when /I/untml, tlrttgrmlttmltnmlrttclrtl, rttrtt I/I/tz‘t‘n'tt't'!
off a cartridge dist" atid lloppv dist \\'\tt-tn. \'ott ltiokat tltetti atitl conipare tltenutnlierof hut nullmughl nx In ltmt tl gut lhrrrttt lltt"/irtift/1t(t'.
Wt-go front a (IRT tertttittal through what we proliletns against such a short shut-tlown per- ,-Ir/ t[m'rItir.t are ttnlartntttlv mt-t.tth/ti at terll mm
call an ACES editor. atttl pttt our so-t'alletl iotl \'ou'll see wh\' we were so proud of the nnltth/rt'.\-n-/tltntt it Ken .~Itluttti, hath to cmflrtbttlnn
“take lile" onto lloppv discs. Then we tlo a project. For instance. the tttass of metal titi In (I specic fmijrrl and as rib/rris Ii[gt'm‘mIt:t'd
whole httttcli of things that go to cartridge thisthiugprti\'itIt'd stiitielitirreudottsittertial .tlttd_\-, Hotttetter, I/te S(lIIt' 0/ THE BL-i(.'K IIOLE

24
 mahes its physical settings highly noticeable. and this want to move too far to the fancy side of |
impact is mostly due to the worh of/ohn Mansbrtdgn things. So about ye years ago we all went to Now!
Disney 's resident art director. the_]et Propulsion Laboratory for an interview '
john Martsbndge Lt a tall, enthusiastic and (lb- with a Dr. Millikin there. who seentetl to hein promised on
solutely charming mart. Barn March 20. I917, he
rst became involved with the motion picture business
charge ofthe place. We asked hint and his
assistants a lot oftechntcal qut-stttms, and he
wefemt on
as a messenger boy at RKO in I 9 I 5. From Ilia! story- told us what_was possible or itupussihle for
booh beginning, Mansbridge went on ta work not only what we had in nund. Black holes being what ,
at RKO, but as an art director at Fox. Paramount they art‘. an unknown quantity. got thetn very
and Wamer Brothers. He become interested in design excited about the whole thing. They were - I
while a student at USC. and studied at the Ba|Lv's quite ettthttsiastic. And another nice tlting a
Art Institute in New Yorh, where he rerettted the about all this was that I had the orc;tsion to I I
archdecturalgranrtding which was later to become an
important mndation in his /ilm worh.
meet Gordon Cooper. the fnrnter astronaut.
He gave us some technical advice on the sets.
It!
Sharp-eyed credit watchers will see M a nsbndge ‘s He vsas also an interesting man to talk tn.
rtame appear as Art Director /or the I956-I95 /
season ofthe syndicated SUPERM/1 N television show. GORDON C()()[-YER capable of shooting
Htlsrst/eaturewasa I95 7weslern. TENSION/1 T
TA BLE ROCK, with Richard Egan and llarath)‘
l gave the production people a little input
on s acecraft control svstetns. cheelted nut _
it
Malone. Between I 958 and I960. Mansbridge tht-itiheriorinstrumentationonthe Palomino.
worhedfar Disney on a sporadic basis, but tn I 962 he
settled in for good. He has since been int-oltted with
things like that. I tried to give them wine - ,
general itleas on the ltintls of things _\'<>u'tl
everything that the studio has produced. Hit rst nd around a s acecraft. Then we tried to -
television episode rr the company was JOHNNY extrapolate frontlihere to envisitnt what they'd
SHILOH. and his/irst Disney feature was THOSE look like itt the future.
CAU.OWA Y& Mansbndge has been nominated twice was. “Lt-t‘s he tlillerettt.“ We tried to stay
jar an Acaderrry Awardtm rt Direction. on ISIA ND JOHN M’\NSBRlDGl'- a\s'a_\'from looking like e\'er_\'l>otl_\' else. Not to
A TTHE TOP OF THE WORLD and BlfI)KNOBS When we finished the Palomino. and had lieliltle 2001 or ST,-\R WARS. but their |ninia-
AND BROOMSTICKS. In I968, hebetarne heatlof all ofonr computers antl rt-adouts antl things tures all lonkt-tl like Mattel toys. An_\'botl_\' (an
the Disrteydrt Department, one ofthesmallest tn the put it. we called oyt-r Gordon (Ioopt-r. He tlraw a ltnx. This brings a little bit of Hib
business. Martsbndge has only/iee drajters and ltun made one or two changes antl said. “Jesus, it hack, l1\' the \s'a\'. In our rst thoughts on the
sheteh artists wurhingjizr him, including Al Roelo/It. looks better than some of tltt- stull we had in stun". tttteulithe tletails t'<>|tt"erttt-tl this explor-
hilt assistant on THE BM CK HOLE. Apollo!“ atnr\' space station going out into space to,
Because afhispositton, Mansbriiige was intlalved ltupelttllv. lattd on another plant-t and colu-
with the compkte evolution o[THE BIA C It’ HOLE. .-lspret-totislrrtoted, theI)tsmft/n'QbIt'ltml, at the tti/e it. Well. in order lot these colonists to
am Hibler to Nelson This association also includes beginrnrtg, /leerrmlthentw/tll look n/thrtrprmlt/ttat h;t\'e the tit-t'ess;try equiptnent and support
a knowledge of the /ilm 's /oundalian, the bedrock on ttmlcialeletrtrrttv/orits stt((t‘Is. Ilttttttnlhts n‘_t/7t‘t‘l lnr that. we thought that we'd design our
which any ptoduditrn will sinh ttnat'ailable- /hat Mansbri¢lge's t'rmIrthtttmn.t tern‘ mttntl, ir tl spzttesltip so that tnodules could he dropped
money. teas he teho transjemvl Pt-trr I:Ilt'n.thtttt ‘t tlettgn ull it, tntttlult-s that cttultl he depttsitt-tl on at
ronrepts tttto tttll~s(a/t' three tltntetttmnul rrultt). plztnt-t'ssttrlacetti sttpplvtltetn witltwliatcver
JOHN MANSBRIDCE they net-dt-d. l-‘rotn that idea we e\'t~ntuall\'
THE BLACK HOLE is the most dilcult JOHN MANSBIU DCE tatne up with our rst tlt-signs forthe Cygnus.
and expensive lm on which I've ever worked. Our starting point onTHE BLACK HOLE As lar as set huiltling itsell got-s. as zt rule
People seem to think that a large budget opens
up your breathing space, but that's not true. lJ!h‘(t1tr (Jan .\'t'lsutt and l)m't'Iur it/'I’hnIugrttplt\ Fmnh Phil/i/is tort smlloltlt ltttr up II that of thr Palomino In-n
Because, as you increase your budget. you rtrtiptttgttlttttgtt full—.t|'t|lr tn of/hr tjvgrttis trtnttt ttlttttlnt Ittirtng /|lrI|trt_t[, tltntln/lily‘ th-nht trltt ltultlrtt In tlnttlt.
also increase your problems. You never pad
the accounts so that you're at a point where
you say “Hey, I'm going to have a lot of fun
here." You're still very worried about what
you're going to get for your dollar.
Frankly. I'm amazed that we came in un-
der budget on our sets. The only way you can
establish a budget in the rst place is by ex-
perience, and for many ofus thiswas a brand-
ncw ball game. our rst space picture. Speak-
ing of space pictures and science ction. the
momcnt that Hib [Winston Hibler. the lm's
original producer. who died before the ltn
was made] did the rst interview on the project
l started reading science ction. Real fast. I
took out a lot ofbooks on it. and found I liked
it. Very interesting! Anyway, l hope l'nt not
telling any tales out of school, but we had t “-
$3,225,000 to spend for our sets. That's usually
the complete cost for one of our pictures.
I rst began to actively work on the pro
ject in I976. We then started buildingthe sets
about three months before shooting began in
Ԥ
I978. When production started we were on a
I2-hour work day, and as we got into the
problem areas we sometimes worked on Sat-
urdays and Sundays. too.
From the beginning of this project we
were concerned about our approach on this
thing. Hibler was very concemcd about the
truthfulness and accuracy of it—he didn't
 There were a few areas that pttlsed on and ofl

I
on it, but it was nothing that wottld pull your
e_ve away frotn the acting or the scene that was
going on. ln other words, it was kind of a
subtle throw away. It took us eight weeks to
_' rig all those lights. We bttilt the pant-ls of
% plexiglass, and then painted thetn with dif-
ferent values ofuilor. We then operated thetn
tnanuallv, with abottt six people, nffto the
side of the set.
All kinds of little vexing details popped
W" '8 V. I up on that Cotntnand set. When we got into
"°' ' arranging the look of the hutnanoids who
~ / were seated at the consoles. attd the look of
Schell's comtnand console, we also lottnd
ourselves searching for futuristic-looking
chairs forthetn to sit on. And since there was
also a 20 year differential between the Cygnus
and the Palomino, we had to bt- very carefttl

'ttt|t']*tr|-~- is, in suggesting the period changes on the chairs

between the two spacecraft. So a lot oflooking
and researching went on. We found Scht-ll's
chair locally. and we entletl up ordering 30
humanoid chairs frotn a cotnpany in Milwau~
kee. And wt- had to lool around a hit with the
elevator there on the set. Incidentally, the
elevator on the Cygnus Cotntnand set was
rcvolvetl by tnan- power, just like the old T\'
Enterprise bridge elevator.
Art I)tYr(l0t'_/nltrt Mnrrrbndgr Ihotcr u/]'u pn-pnuluiltmi uimlrl n/ thr (.‘_t'gnus .\’/imluig thillrn trl. The tlestrttction of the Command Tower
. /1unlit! III ngltl In /rlltnc Ar! Ilm-tmr AI Rnrlu/< hnliling 1| Fitntlr imirku/I , if limrnl
- st-t also took sotne doing. We went .
back in
and rigged tht' control panels to explode ottt-
we first make cardboard or wooden minia- feet long, and stretched frotn one side ofthe wardly. Then we riggetl the platfortn whiclt
tures, depending on what the subject is. With stage to the other. We erected that on Stage 4, ran around the side ofthe set so that it would
this method we can gi\'e that much more and this was only a representation of its o\'er- collapse. We also weak-kneetl the elevator on
detail to the director. We usually dothis in li“ all length. It tlid present a bit ofa hazard to one side and tipped that over. The Captain's
scale. or, if that's too small. we'll jump up to ottr actors in that they had to clitnb tip the Command Desk was then rigged on art in\'is-
i M“ scale. Sometitnes, you see, directors won‘t wall of this thing when they were battling the ible track. so we could have it slide up against
l
quite understand what they" re getting, even ht'Hll')t robots. But everything went well.
' We the window atid pin Schell against it. Then,
from a sketch. Sowe will malteaconstruction also installed a fully-functioning air-car on when the full size viewing screen fell, we took
as to what that set will look like on the stage that set. It stopped atid went quite rapidly. a take of it falling, stopped the camera. laid
that should give thetn an idea of the angles the screen on Schell and then picked up oti
and attitudes and choices ofwhere to shoot. DANNY LEE the action. The exterior destrttction of the
Now what we tried to do in our set desigtt was The full- scale air car was towed by a cable. Captain's Tower was, ofcourse, done in mini-
to accentuatethe scale. The Cygnus is reprt-- The cable itself was attached at a very low attire.
sented as being a half»mile in length, and I poitit onto the air-car, right down against the
think it‘s supposed to be agood ‘Z00 feet or so track base, and then ran ollthe end ofthe set DANNY LEE
in height. So to help accentttate that scale we where it ended in a hydraulic air-device. So The destruction of the control tower set
thought we'd just opett it all up. Of course, when you pttshed the button, the hydraulics also ttirned ottt to be one ofthe largest jobs
the central corridor on the ship goes a long took over and pulled the car along. for the special effects department. We had
way towards doin that. We had a design The car itself was basically an all-altttni- originally planned to destroy a miniature
problem trying to t that set on the stage. by num construct. with a platfortn provided for tower antl then blow up sotne pieces ofthe st-t
the way, particularly in height. Ottr sound the cameraman or director to sit on to film in isolated cttts. But somewhere along the
stage was only 40 feet high. We had to get the actors. The chairs on it were nothing tnorc line the director decided that he'd like to
involved in building halfthe height of it atid than some aircraft seats that we modied. destroy a full-size set. That meant that the
then matting in the rest. But ottr overall effect The entire sled ran on tubular tracks with V- process had to be controlled with trip hooks.
was trying to open up all ottr sets, to make type polyurethane wheels. To stop the car we lots of squibs and fireworks, breaking glass,
everything as spacious and large as possible. used a shock-cord arrester system that would short-circuiting instrutnents— and all in full-
We used all four sound stages on THE soften the blow of slowing them down. But size. So that caused us a little concern. lnde
BLACK HOLE, hut as far as sets went we wt-‘dbouncethetn rightup, inthe50 feettltey pendent of its construction we spent about
could onlv utilize two ofthem. It was a tttad were traveling, to 25 miles an hour. six weeks rigging all the destruction details
scratnblc-.'The moment we finished a set we until it nally all fell into place.
had to strike it and tnove on to the next one. .l OHN MANSBRIDGE
And Nelson was pretty well breathing down The Cmmnand Tower, tirolist-n-army or JOHN MANSBHDCE
our necks some of the titne. We really had at bridge or whatever yott want to call it, was 40 We also had those large windows on the
huge problem because of our lack of space feet tall and 80 feet across, and open on one Captain's Tower set to deal with. Since the
for so many sets. side. That was the set which liatl the largest tower was supposed to be the equivalent ofa
amount ofwork poured into it. For example, 20-story building, if you looked out of the
Among the great number ofrcls used/or THE there was an enormous wiring problem in- windows youobviously would be ableto seea
BLACK HOLE, a Itandtl stand out ax the most volved with all those readout panels. We had great deal of the length of the ship. They
mechanically complicated and dramatically impor~ about 25 of thetn, and each one required tlecided t0 lJl\K‘-5l‘"'l‘" ll\l. and catne tip
tanL Aswillt othnlerhnttalnrperlr oflltzproduclion, more than a mile of wiring. with a really large one, a screen that was 72 by
the realization tithe elaborate, tll-smle rpacerm/I We also tried to stay away frotn the coii- 38 leet h|gh.)to deal with the problem. That
set.1ion.t required an imaginative cooperative errt tinuously blinking lights that you see in so bltte screen is very ntobtle. It hangs frotn a
many space pictures. We httilt a computer track ttear the ceiling, ts back-lit, andvcan be
JOHN MANSMUDCE board ottt of those readout panels that was slid along the entire length of the stage. We
The main Cygnus corridor sct was I25 always lit, attd ran all the way around the set. also used that screen forthe dining rootn set.

26
__

\\'lIl\l\ also li;1\ .1 l;1rg1' wi|i1l1i\\' linili inui i1. .11i1l picrvsl.1l|i11g;1ll1i\'1-rlli1'pl.11"1'wi1l1i1. l1 ‘W f‘ ' h e d
P I
Biilh1li1'(I1i11i111;1i11l’l'1i1\'1~rs1~1.1n1llli1'1lin|ng \\‘;1.\ (l('\H"\lL'll(IlI 1l1'rl>_\' 1l;1\'.
ruuin w1~r1~ li11il1 il11- \llll\1' \1>11n1l 11:11:11 l111-;1s;1||;1rc;1|1"h;1||1-11111’. 'l'1ili1'g11iwi1l1.l
e a0
1111

;1ii1l\'n1i11n1l1l\li1l<~lli1-liigli|111'\1'r1-1-iil>;11'l; li.11l 111 pin 1h1- Pi'1>li1~Sl1ip \1>1 11p 111 .1 lil.11l.
;1n1l liinli l)(’l\\'(‘(‘lI 1li1-in. Thai u'r1-1-ii \\'.1> r1>1i11i,\1'l1i1'l1_.1ig;1i1i, 1n;11l1-il.1\\'L\1'.1r1l llI\l\|ll)l.
1irii;i11;1ll\'1'n11s1r111'11'1l 111 |\l$l li1- 11s1-1l ll)|'ll1(l\l' Tli1'n “'1' h111l HI l>11il1l i1 i11 l\i\'U \l'|7ilI'.lI(' \1*1-
1w11s1-11, li1111.111-rw1'l'11111i1l1li;11\\'1-11i11|1l11\1- llUIl.\. \\'cli;11l;111ip;11i1l;1li1n11n11 11-1 iiun (ll
11 lnr wiiiu nl ih1- inini.1n1r1- \1'l.\' 11111, \\‘li('l'1' 1h1- ship. 111;1inl\' l)l'('£l\lSl' ii 1\'.1\ s11ppu~1~1l in
li1-iii! l1'(‘l i;1ll;1n1l \\'l'1U\llll1IIIl)'|_{1i-H) l1-1-1 up
1li1'1'nc<~1l1'1l11|;1rg1'11‘r1~1~1i11i\\'1>rk \\‘ill1. ()1i1-
MTl'l'li was lli1- lair! ihzn
l>\'-pr1>1l111'1 11l' 1l1i> l11-lur1- \\'1' hil lllt’ |';lllk'H. 511111-1111 ii 111 li;1ll d ‘d ‘J ‘t
liaiigiiipglruiii iln-1'1'i|i1ig. “'1' li;11l
'1i1i1‘1'ilw;1~ l'h1- luiiiniii l1;1ll'1>l‘ll11- Pr1ili1- Ship \\'21~ 1111i- I I
inl1;1\'1'i>i1r1w11whliiiill11p rigln l1-1-1 nil llll' ~1r111 l1'1l\\'ilh .1 pnr1i1111 ul'1l11~Cyg11u§ l.1111lini;
llniir. (Iu1n1' in lhink 1il'i1_ l)l'('ll\l\l' ul 1i1l11-r pl.11l1irn1 li1'1ic.1|l1 ii. Tho nip li.1ll \\'.1s j1|.\1 .1
sp1-1'ili1';1|i1ii1> um, ;1ll ulimir \L'l\ w1-r<~1'i1gl11 1un1in1i;11i1i1i nl 1h1- li1n11ini ~1-1ii1n1 ul 1l11-
l1'1'11illilivlliiur.Th.11i1i;1d1'i1;1wkw;1r1l,.1»l}1r PTl)l)(‘ i1s1~ll'. Now 1l11~ ;Il'l(l|'\_ who 11-1-11- 1111 I
;1.\ huiiiilig w1'n1. \\'ir1-.~. l1irn111\111l'1li1->1-al11i1>, lnnl |ng111lin1l1— ,
P1-1ip|1-l1;1\'1->;1i1l1h111THE BL.~\(IK HOLE ing up ilic §i<l1-nl'lli1'\1~1\\'1i .\1-1'1i1i11s in 1ir1l1'1' -
§(lI|\(’\\'lIi\l \i111i|.1r11i20.()()lI LE.-\(;l'l-LS l'N-
ix 111inakc1l11~ir1-s1';1p('.Tl11~yw1-r1~1111m11mp1~1'-
DER 'l'Hl-L Sl-LA. Tliv wiinluw in 1l11- dining .1Ii\'1' 1l1iring this \1‘1|111'n1 1'. .1n1l i1\\'.1\1i'11-.1\\'
mnin §\l}.{){(‘\l§ 1li;11. I lliink. B111 i1 1l1i1-~n'1 ni1lli1-in. I-'1ir\11'rg1>i liiil1\'1l11-sl1.1rp1-1|)g1~11l.1 \\'1'r1~1il1'1l~\\'1'r1'.1ll111.1p11-11~\\'i1l11li1'i'<~\11il
h;1\'1~.111iri>[l;111gl1\]. Tli1'1linin1: rmm1\1-1w;1\ |"\ll)l)l'T gir1l1'r1li;1l1n11i1'li1i1l)'l1;11l11‘1>1111>111l111l Ili1' 1ii1'1li.1i1is1n. l!;1>i1 .1ll\'. il11' izinililr li;11l
‘.23 l1'(‘l1l(‘(‘p .1111l4()l1'1'1;11'r1i<s. ll w.1.\ 1111ru111~ u111_ 11 gir1l1'r lli;1i mu \’11pp1m-1l 111 li1- killing l\\'1i li;1\1-s- .1 \\'li1~cl1~1l l>;1\1~ \\'l1i1'h >111 on 1h1-
1'h;1i11"1-11ig1-1;1w:1\'limin1li1-1i11~1'l1;111is1i1'luuk on hi1n.;1n1lii111i up lii\llH’1'l\l';\il .1l1i1. H111 il1"II' Mill llI1' li-W‘ \\'|H'f<* lli1' iziinhlv li1'-id
nl'1l11-1'1->11>l'1l11-1l1ipl1ir;1\vl1i|1-. W1-1ri1-1l11i 1-\'c1i wiili |li;11 lil‘ was \lill 1h1- 1-p11u1n1~ Ill ll\1'll l>1-1111111-1 _\‘Hlll <1-1111.11 p11in1. ll \'H\I 1.111

>i1|1- wi1l1 .1 \‘i1-111ri;1n ll1l\'11r 1111 ih;1i um-. I 1'1i11p|:r.1li1Ill. \’1~\|-ili/1' 11 l>I1>1>iii\ki1k ~l:mdiiii.z mi -1 piv-
lhink nnr i\\'11 <l1-1"1ir;1|nr~. Frank M1'Kil\'1~\' Spczikiiig ul ll\l)\l' g1r1l1~r\, “-1- riggi-1l ;1|| * lll1‘lHHl1'lli Pill! éllill l>fl>HIII!~li1'l& l)(‘lll){ lh1'
;1n<l Rngur Sliuuk. di1l 11 ni1'1' jnli lli('!'1'. I1 1h;11 (l('l)l'l5 1l1;11 l1~ll1>n lli(* P|'1Ill(‘ll'UIII ;1lm\'1' l>.1>1-,1111l11-111r;1l1ol11ni1iwhi1l111>11i;1i1i1~1l1li1-
r1-;1|l\' l1.1a ;111 11rn;1i1'. p1'ri1i1l lr1-l ;1li1i1n i1. Ili(‘ .\1:l. We 1";1.\1 Z\llll!(I\(‘l)(‘1|lII§ U\ll\Il|'\ll)lil'|‘_ giinlilc il\1-ll%.1n1l nip nl 1l1:11
\c1' than 1111

Ax 1'111npl1-x :11 \1iin1- nl lli1' Cygnus 11-1\ ;1.\l\.1i1l,;1111l1li1-11|\vis11-1l1l11-1111ipi1i2(i1uI5li l)|'UlYlYl\ll\ l; i> li.1l;1111 mlpi1*-p;1n*lli1-
.111111l11-r
11-1-r1-,1l1n1igl1.i1w;1s l'1';\ll\‘lll1' Pal0min01h;11 l1~1~| |1~11g1h>. \‘\'1- gm up 1:11 1li1' 1;1i\\';1lk\ ;1111l mp pi1--p.111 I11-in); 1l11- \1'l i111-ll" 1h1-ii \-1i11'1l
\\';1§ili1-1111i\1i111ri1':111'.Tl1;11w;1s.1li1|l1- \(llIIl'- fl|1).{l'll 1hi\ illlU\‘(‘ llll‘lI| l|\' .\11~p1-111li11g .1]]11l11 li.1\'1-;111>11gl111l1-.11>l\\'h.1i11|1i11k1'1llik1-. Now
lhing.l1'l1i11'l1'||1'1n1.Ilwaisiilll1~1~1;11'r11<\:1|11l 1111 \\'ir1'.\. \\'li1-11 1li1' ship %1;1r11~1l 111ll.1p\1|1i,5 ul1'1>11r\1-\vi1l111111\1i1111-kimlnl\l;1l1ili/1-ri11i-
lh l'1'1-1 i.1ll, 111-;1rl\'i\\'1i hl1Il'iL‘\ high. (j;1n' \‘1-l- :1r1i1ni1lilwni.w1'jn\l11n;1||1li;1i1i\'<-rl1.111gi11g 1l1'1 1l1<~1-1lg1'\1>l _\'U\lf s1-1 1irpi1--pan. ilw1i11|1l
~1i111»r1gi11;1ll\'ihuiiglil il l111il11'1l l>l.1n1l_ 111 111- 1l1-liris l<i1>\1'. \\'1'11<1-1l !'\llIlI(‘I' 1111 1h1' \\'.lll\ nl |11»1 11p n\'1~r. Sn1li1~l1\1lra1uli1 1\'|in1l1'r\ \\'<~r1-
gni than lliing \1i l)Il§)'l1I(Illl|l}{ \'l)ll wu11l1li1'1 1l11' i1111~1'iur s1~1s1l11ri111;1li1~l1r1-;1k—11p11i1i,nil» \\'l1.11 i'UHll‘lIlll'(l 1l11~ g11nlil1- h1~;11l and \1-L giv-
l)('lll'\'(’ 11. ll \\';1\ \'<‘r\' i|1i1~r1-siiiig 111 l1mk;11. lN'l' \'Ullll!lll\ ;1n1l 1111-1.1lli1 1l1i1h 111 \ininl;1I1- 1111.111»piuliiiignrnhingur\\'l1;111~\'1-r1';1p;1liili-
\\'1~ l1;11l 24 11-I1-\'isi1>1i IIiUlIlll7T\ i1is1;1ll1~1l in i1_ 111:1! \'ilir;ning. ripplin|;1'll1-1|\\'l1i1'l1 1‘;1111l11\\'11 li('5. 'l'h1- li\'1lr:1nli1 1 ll\l'lIl5(‘l\'('§ l'lHI\l§l(‘(l oi
1'-kll ;\1'i|\';111'1l Willi 21 1lill1-r1'in ini:1g1', n 1h.11 ili1'l(~111gilinl1li1-\1-l. 'l'li;11\\'.1\111.111-pn\\'1~r1-1l; |1i111 I2-in1'li 1l1;11n1‘11-r l"lllli\. Tl11'\' r;11i lnnn
wlicn _\'1i11 p;1i1111~1l .1r1n1n1l 1l11- 11-1 \'11nr 1-\'1- ii iuuk 1\\'1> 1111-11 hank Ili1-r1- \li.Il&lIi].[ 1111 1l11- 1l11-li;1\1'1>l ll|l'
gi1nl>|1- nnii 1ip1111li1-11111l1~r~
ciingln 1l1ll1~r1'1n
11 ini;1g1~ 1~;11'l1 111111-. Ii look \\':1ll\ 1u1l1i ii. 1~1lg1~>1>l1l11-11-1 p|;11l1ir1n. I1 iimk lwn 111011 111
linir1111-111111>p1-r;1i1~lli;1i.Tli1i\1'\‘i1l1-111;1p1-\ .\'11\\' i1111l1-r111-:11li Ill1' pl;11l1ir1n 1111 \\'l1i1 l1 1ip1-1.111-1li:11;\'1i11li.11l1n11~p1~r1»1in11i1i1mlli1i1:
1h;1l “'1' 11111 ihrungh ll\1‘ nniiiiuirs \\'('l'1' 1l1'- 1h<' s1-1'1i1>11;1| 1-x11-riur Prolw 11-11 \;11 \1'.1\ ;1 1l11- 11111\'1-1111-in 111 nn1- <l111-1 iinn ;1i1<l .1n1i1h1-r
\ig1i1-1|liy1ii1r:1n11n;11i1i1i1l1-p.1riii11'nLW1-r1111 l;\r|:1' -\'1'r\' l-ll')1l'*glllllil('/l\\'llr.l\lli1 11111-111 111.111 11>n1r1illi1ig 1l11~ 11pp1>~111~ 1lil'(‘1l|UII. I1

ll1<‘llI ihrnugli :1 1;1p1'-|ii;11'lii1i1- ;1| 24 lps an 11ni1liii1;1lin|i1h;11~i1n11|;111-1l1l11-1'11ll.1n1lp111l1 w.1\ .1|l 1lun1' \\'lllI w;1u-1 pl‘L'\\lli('. Tli1-r1- \\';1\
ll1<'\"1ll>1“ wi11'lirn11i11'1lwilhil11~1';11n1-r.1.1111l 1ii1l11'(Iygn11s. I'h.1|\v.1~1|1nl1'.11'1>1i|i.1p11u11_ .1l1111n I illp-1 in llI1l.\l‘ I1111-s.
nnl lln1"i11;111-. .-\s .1 11111111-r nil l;11l. ;1n1illi1-r
c1i1np:1|i\' 1';1ll1'1l \'i1l1-11 P1111; w.1\ \p<“1ili1;1ll\' l)"\"\l\\ ll l‘ .lOHx M'\l\~\“Rll)('l'~
ginililc \\';1\ .1 |<~.1l l11l11. \\'1-
liir1'1li11 pr1'\'1~1n ihai l'(Ill(I\'('l'. Tl11'\'\1~111p;1 Tli1'li\1l|'.1ii|i1win1l11-gi11ilil1~111111—— \\'l1i1 l1 Tli;11 h;11l 111

|r;1il1-ru11iai1l1'1l11' Palomino M)\|l1(l 1111151‘ .1n1l

11i1>11i11>r1-1l ;1ll 1h1- s1‘1[U('II(‘l'h 1li;11 i11\'11|\-1-1l1l11' II1r/uII- 11 1111- /vuhr S/1|/1 1.-1 1 11 11/1 nililn-1,_-ml.-11. .11/.1/1.1.11/11./nmh. _.wm!-Ir1.huhiillim,-.I1/In1.1.1!-11.11111.//1-1111
1n1>1ii11>i's. Tl11~ 1~1nir1' Palomino ]lHl|('('l was
l‘illli(‘f ;1n cxciling 1‘li;1llc11g1', rc;1ll\'. \\’1' 1,5111

;1\\';1_\' li'n1n 1l1.11 \'1III\'l'llll1)lI;|l lnnk.

DANNY LEE
Th1“ 11\'1-nill (‘1IIIlPl('Xll_\‘ ul lliis BIACK
HOLE pr111l111'111>11 is \\'ll3Il r1-;1|lv\'xi;111<l.\n111 in
n1_\' n1in1l. l-l\"1~r\' s1-11111-1111 nil‘ I.'\'l'Ill\ was .1
ni;1|1ir 0110, r1~;1ll_\',li1~1';11is1*0l'il11~pli\'\i1;1lsi11*
lIl\'Ul\‘('ll. 'l'li1- Cygnus l s111'l1;1liig \liip1l1.11.
\\'lll'li \'n11 w1-r1- working 1111 thc $1-15, llll'\' l1;11l
i11li1-liig.lam..»\n1li11111:i11\'1';1i11*s1l11~ s1'1sh.11l
Ill 1111i\'c. W1'\v1‘r1~ w1>rl1i1ig Willi r1i|li11gn1rn-
1;1|>l1->, iiirning l'l('\'Z|l1)l‘\, ;1ll 1l1a1. I-I\‘1-r\'il1ing
VVRIS1 big and l11';1\\'. The Pr1ili1' Ship sci was 11

gnml cxiiinplc nli 1h.11.

JOHN .\1/\NSBRlD(}E
l')11ri11i:ll11'\1'1|11<*ii1'1~\ \\'l\('l'('lli1‘P3ll)I1IlI‘l0
\ll!Tl\‘4)T\ .1r1- 1-s1'.1pi11g 1l11- Cygnus. 1h1-1' i;1k1~
nillurllivPr1il11-Ship,wl11~r1'1illl11'll'§l1r1~;1ki11g
l(l1IM.'. Well, wv w1-r1- iniu lll1' Pr1il11' Ship $1-1
;1li1>111 1hr1-1' lI\0I|llI§ li1'l11r1- wt slini i1, li1-1';111w
il v\'.1s.1ll an (‘(lHi|‘lll(‘."ll(‘ll. I1 111011 us six wvcks
111li1iil1l;1n1l;1l>1n11 1hr1~1~ w1~1'l1s111 shunl. W1-
.1ls1il1;11lm1‘1i111l>i|11- dry i1‘1' and \Il'2lIII 1'|l1'1"|\,
!1
wind 1n.11‘hi|1cs, 1h1- s1'1 r1i1'l1ing and mlling,
>
H

I
 going last enottgh to worry about eentrilugal
force moving it in the lirst place. It was a very
heavv unit.

ART CRUICKSHANK
We shot the Rolling Probe with a high
speed Mark ll, eranking at live times normal
speed. Three different methods olshooting it
were etttpluved. We either tnounted the catn-
era inside the Probe so that. as it rotated. it
lixed on the people, or tht'_v euuld take
sta_\'ed
thecatneraoutsidethe ship and then rotatt-it.
We also put a rottttdie~routtdieon the eatttera
right ahove the set and rotated the camera
itself.
B_\' the was‘, the interior oli that set was so
t"r;tntpt-tl tltat the actors had to slate each shut
thetnsel\'e.s. Tlte tlireetor or an)'hod_v else
couldn't lit in there. So when the eatnera went
on. wejust sltut the door antl ltad at it.
JOHN MANSBRIDGE
As they were aetnal_\' photographing the
outside olltlte Rollittg Prohe at various titties.
wt- put in a hig hacking on the inside ol it.
thanging the eolors lrotn wltite to stnoke tn
retl and hark to white again to suggest thev
thev were going through the hlaels hole. It
was a sitnple solution, hut it worked line.
l'Iltnnt_t' I/tr lttl/titling Ill!“ it /tn/t'futttt|gr H tlll I/tr Rttlltrtg Pmhr trl, trim/I t/mu nmtmil /hr Ill hm like ll tttrmt ul ntlr Th1-\' §h()| footage and footage and ltmtgge
olithe Rolling Prolie, lit~t'attst- they wanted to
rent it lrotn Warner Brothers. wlto. il l re- ittg Prohe. This was the set tltat was httilt lor plav around with it and have a lot olililtn to
tnentlter t‘orrettl_v, originallv used it lurtheir that sequent"t- when vou see Forster. Bottoms. experiment with in the optical de iantnent.
.\lll'l‘ll\'Y ON THF. BOUNTY rentake. Mitnittex and \'intent ittside the ship itsell. So for tlavs we saw this spintting ellett at the
(Letting it onto ottr soundstage was an Because they have entered the hlaelt hole, the dailies. You'd walk ottt olithe screening rootn
operation itt itselll. To hegin with, it weighed prohe'.s going tltrottgh these itteredible gs'ro- nthhing vottreves. It was il\'(‘D’t|\l('ZtX\' feeling.
ahout seven or eight tons, was 30 hv 40 leet seopit" eontortion.s. We designed the Rolling You know, l aetttallv got in there antl sat in it
and ahont t-ight leet tall. ltwas just atttonster. Prohe. whivh was t'ontplete|v separate lrotn tttvsella lew titties, inst to see ifit would t'lt-at
We hatl to truck this thing in, all in one piece, tlte other Probe Ship sets, like the old harrel- t'\'t'I\‘l)t)(l\"§ lteatl when the_\' saw it on the
at .tho\tt 2 a.tn. so that we could eonte in roll ritle_vouusetltolintlatatnusetnent parks. sereen. lllit wouldn't have tleared _\'ottr head
tltrottgh ottr parking lot and ottto the sound- Bztsieallv. we t'onstruetetl it so that where tlte we would have ltad to start tlesigning it all
stage with no trallic pt'ttl)lt'ttt§._]ttst ltattlittg it at tors were sittittg retnained stationarv. httt over again.
tlte two tniles lrottt Warners was a ehore in the walls re\'ol\'ed around thetn. Then we pttt
itsell. Att_\1s'a_\', wlten it linall_v got here, it was thetatnera on top olithe set and revolved it itt .-lrm!/trr ti"! tr/ttelt /igttnct tn the lm tent Iltr
lilietl olltlte truck hv two huge eranes. Then the opposite direttion. so vou'd get the itn- Sltvoltttg (iallrrt, tlrttgnrtl ll)‘ .\lurt.t/tntlgr In hr *1)
we lountl it wouldn‘t lit through the stage pressittn that you were tunthling. That little /i-rl tn tltmrtrtrr. But, tit lt‘l”l lltr Lnttttttttrttl Tottrr
tloor. So we had to knock ol'l‘al)out 2 inches goodieeost tts $89,000. We huilt a tnotlel ollit itml Pmhr .\t'!t. lhr nmtt ttixtttg tmtxlrttrltmtt tlettll
front the tlooriatnh. which we later t‘('pl1tL‘t'd. lirst itt our Art Department. and then went to tetlh Iltr hmik-up II, (hr Cygntts.
attd tilted the gitnhle on its diagonal to get it the direetor to show hitn that it roultl work
through the door. Once we had it in we then (;ar_v intniediatelv said, “Gee, let's do it!" So JOH‘\ MANSBRH-)('l‘~
had to weld steel girders onto it to hold it to hased tnt ottr little ntodel we ittntped rigltt The stgrieultural set took up ahottt three»
theProheShipset. .-\t‘tttallv\'.eottsiderittgwltat ittto tlte l'ttll-sizeversiott atttl ntadeit work. lt fourths ol the stage we httilt it on. We had
we were working with. we tnade incredible was ahout eight leet tall, six leet in diameter, quite a varietv olilive trees antl \'eget.thles itt
ttttte on it. We started at 2 ;t.tn. antl ht‘ 7:30 atttl had, I think. a nieelv detailed interior. there—lig trees. titrus trees. tropieal plants
a.ttt. that satne dav we were reatlv lor the We aetttallv ran itttoa lotolitttecltattieal proh- attd ('ot'onut.s. We got all olour stull lront it
production trew. lettts on it. tltottgh. All toltl it took us about lot'al t'otnpan\', ll &- l) Nurserv. lthen super-
:\s il getting it itt the door wasn't enough. two ntonths to httiltl. vised the laving out ol the plants. whit h took
we were |to\v aware that with tlte gitnhle and ahout a week to do. lt was kintla satl. Alter all
ltvtlratttlirs and set itselli we were lating a l)’\N‘\\ LH‘ thatwork, itonlvtooktltreedavstodestrnvit.
horrendous weight prohletn. \\'e were going We ltttng the Rolling Prohe set on a rotat- \\'e had sotne lightittg prolilettts on that
to have to he verv earelul that notltittg got ittg central halattee, sothat itwoultlspinlikea .tgt'ie\tltttral set. l1t't';tt|sedtlIittgthe linal hreak-
.twa_v lrotn tts. So to tlistrihute the weight we earnival ride. lt was tlrivett hv a live~horse- up .t |neteorite’s supposed to hit the topol the
hadtoshorettptltelloor.\\'eputanadditional power General Eleetrit speetl-controlled tttotlttle: you see .t retl glow and then e\'erv-
ineh atttla ltall'ol'pl_\\vootl lloorittg down just ntotor that was hooked up to a large sprot ket thing sudtlenlv turns white as it l'ret~/.es over.
todtstrtliute theweight ol this thing. \\'e\\'ere .nttl t ltaitt to provide the rotational lorte lor \\'ell. that involvetl a thrt-e-|ight~t’hatnge set-
workittg with .t Int ol tonnage. But the results it. lt looked like a gigantie l|iq't'le chain and up. lrottt n.ttut'al to red to white. 'l'hat got
were vervi|ttpt'es.si\'e. l'his wasoneol'thel'irst sprot ket. The attors sat in the tenter olithis totnplitatetl, We tlitl the lreele lttll~st';tll'.
sets I‘tl ever seett with .t gintlile set-up ulthis so-t'.tlletl pivot poittt that was rotating around whit h also nt\ol\'ed sotnt-work. ()ttr painters
kind on it. even'thing else. Tltev retttaittetl eonstant l>t~ got in there and p.tintetl e\'en'thing white.
tattse we ltad thetn on a .sh.tlt intlepentlt-nt ol even pttt lrost on our people. And .tlter the
It /IhitII¢t/ /'IlI~ liI.~l( KII()I.f 's trlt, hon rt rr, the actual tlt-vit'e that rolls. Not onlv thtl the lree/e ltits. the gt'.tvtt.ttton.tl lort e ol the hole
um tliimlt nttl titlh it/ntrlttulurlt fmrr/it//mitt-r, ll walls t'nt.ue, hut the wltole thing tonltl llip had to sutk up .tll the plants and even .t
//on ,-r In trtlrtgttr Illr mrilutntiul/\ mtmlril um] In over itt .t Mill‘ rirele. To stahtli/e the thing we touple ol rohots through the hole tn the rool.
I/I',I_L'/H I/zr t/11/tl IH ll” u/ u\—lhr Rt:/ling Hui/r. stradtlle-legged it. t't'.tlt-leggetl it, .uttl pttt tr“ l'h.tt's wlterewt-eut lroot lull—si/eto |nini.|tut'e.
di;ttneter ttthttlar steel pipes on it. The weight '
.l0l l N .\l.~\I\‘.\BR[[)(.l-_ ol the thing really kept it lrtnn walking aw.t\’ .-t/Irv umrlt tt.\ mm ii] int II/I rmrul It 1!/1 [III
.\I\ l.t\’ot'ite set was what l tstlletl the Roll- lnntt us, pltts the lart tlt.tt we regtllv never got it Ill.-lI.A' /I0! I- , \l/trtt/milgft n-ml/mi l(I”|I'!|'lI’I'll

28
fteat !)'pt!alt1/Itiiilty:]Ihi'nIIirr!aIi'ti!stnt‘nIt'i'i1ti'tlIi
Iltz /iltti.
types ol things he wants. [At
I
I
JOHN MANSBRIDGE
GORDON COOPER
The one st,. eni~ I knoii
, ...il>oiit \sht-re a little
. ,
survivors make a
The one thing that remains in my mind ilI"IISIil' lit'en.se was taken III\'t)I\'t'(l eostiiining.
Iroin THE BLACK HOLF. is tlte anionnt ol‘ This wasiii thelinal portiotioltlieliltit. wltere
work that went into IL It was really horren- the \\ll'\'l\’Ut'§ are trying to tiiakeit to the Prohe
dous". just a huge challenge. I'tn surprised Ship E\'l'I'\‘IllllII{ is lireaking tip aroiiiiil iheiii
that it came nll :i.s' well as it did. I expected iIII(l at the end, the\' iii.ike a iti.nl straitihle 3
tttani‘ more prohlettis. We hzid thettt, hilt utiisitle the Cygnus witlioin tl spare snit on. on.
they seemed to get solved. They're just all Well. \\‘('1|Il know what happens in at \'aeiitnii.
part of the hall game, I guess. With THE
BLACK HOLE. ihuiigh, we were pla_\’ittg iii a
pretty big hall park.
:\li\\\‘i|)'. we were trying to ((IIII(' iip with soine
kind ol (‘III(‘I').{L'I\('_\'. plastit'-itillataltle hondl
torsotliiiigtliatwoiililsiistaiiilileiiia\'at'iititii.
t h em.
Bitt it got tlowii to the pI'tII)ll'|II that the attors
& (IIIIII-.l\\'i1|IIIII\\'('III'lll('III.llIllllllillhkglill,

isord
and it was a little t'i|iiiIiersoine. So we had to - - - ,
Mttrh 0/ Tllli BL-I CK HOLE’: 1I(/IIIII Illkzli
plan Il1IlI!!It't'Ig,IlIl‘SS raridilitnu. .-Ix riuh the tlllllltlltl
D/II'"(’-II'DYk turd in Ihe /2m}erI ti rtmutig Ihr larger!
('(l;|§l on artistic litense. It was a |I'JItI(‘>III_l_l_()I'
the re;tltt\' ollieing ahle to toii\'e\' the iiiessage
ol their plight. A realistit tlepietiitii ol that
c
zen nrhmwi In 11 tmijur pmdiirtimi tilts I!|l'1I'!I|l7[t‘ niistake. ol ioiirse. woiiltl have letl in smite
bmkztballgatne teqttmrr 0/ THE .4 BSE N T M It\'I)E I) serioiis prohlettis Ilaiighs]. had soitte prohletns with the wire-work on
PROFESSOR siirrly mlrs at it (lot! nitrite!» it/1). Na! the Palomino set. We hail to watt h oitt for
mil)" tern‘ {hr itsimlnt-fnllirig nrlnr ijrls turd. bit! BILL IHOMAS ilie eleetrieal lines that were roiiiiettiiig all
as /Ins Itretipn-|»|'i;tt.t/)' riot,-,1‘ w'miaII_s‘ rtwjs‘ m'm- ii] The itistntiies look simple, lllll the\“re the video units. and we toiildn't liatig the
Iheprttuwtlmbolitrimtttt/tuirdsutm':m1rf]lnIii!imt" not. I hail to eotiteal all the .ipp.ir.itn.s iliat wires oiitsideol the set lieraitse nl the tiattire
d:'t‘in'. Ort TH!" BIA CK HOLE. preprtraliotiforthi‘ was eoiiiieetetl with the wire-work iititlerneatli ol thingsi the walls li.itl to wtlil otit. Sn what
ietrr ii‘/trk prtmwlerl ltztnd in Itmtd ieilh the rmtltntt ilieiti. You design arointtl that. \'oii'\'e got to wetried toilowaseotnettp, at't'ossaiitltlirongli
of milittnri t! [Irv cltrintrlert. le1t\'e eiiiittgh rootii lot‘ the wire lielts. That's sit|t|L' (ll otir reilings. 'I lie wiri-~work then he-
tlie lirst thing that enters .ni_\'oiie's inind oti t.nne ati iiitegral part ol the si-i. Aiiil it hiil
GORDON COOPER this kind olpirtiire, what's going to he prat'ti- some ol the tracks where we llew U\lI' people.
In eoiitetnpnrary iiiui‘s - clothing, there ral. What will sta_\' in plate when they somer-
are a lot olltuttotis and Iolds. But ilyoii were saitlt tltrongh the air? \\ll1t|l won't piill the D’\l\N\ Lu"
on a ship in space aiitl wearing the clothing ggiriiietit otit ol shape? The Palomino set was ll\lllI with a low
we tiow have, everythitig would he liangittg in <eilnig_ so we li.itl to de\'ise ;i spei i.il tratk on
the wrong plaees. Yniir clothing wniild get Jo“ x '\l*'\l\'5BRlD('l‘- that to h.iiidle the wiit~—work. I itntie tip with
caught iit (‘\'t'I'_\'llIIItg. Sn, as I was III\'l)I\'l'(I iii .\'ot UlIl\' did we lI.\\‘t' ItI\\'Ul'I'\' tIl)tl\lI wiring what's t';illetl a liarn-tliior trat k. It's a I‘-trat k.
cotilerenees on wardrobe. I let iny thoughts oitr people, lI\l| there was also .t ttetnetitlons .tiitl it jtist lit-iatiie p.irt ol the o\'erhe.itl Pltlllllr
ahoiit this sort olihaggiiiess he known to the attiotiiit of wire-work ilesignetl lor those ru- iiig. \\‘e went in and niaile little tra\'elers that
prodtietioii people. They then went to the hots. \‘\'e;il\s'.i\'sirii~tlttitlesigndoot\s'.i\'saiitl would lit inside the thing. aiitl we tieil the
other extreme, and now I think that the ward- openings so that we toiiltl get the rohots wires iiisiile the ir;iik iisell.
rohe is outstanding. It's tight. tailored. and through theiti. i\‘lan_\' titties we got totliepoiitt The most people we ever hail tip on the
vet-_v good-looking. It‘s also vet)‘ lttitetiiiiiiil, where we (oitltlti't get thetn through, soihi-\"tl wires at one tinie were tliree~ that was iti the
There are plenty oll plates to pnt tliitigs oti h;i\'e toeoittetliroitgh on .i teeter-totterinstead. Palomino power eenter. That was a t'li.illeiige.
those t'0SI\llIIlԤ. and they look as il'thes' would As lar as the .it'tors were (t)|\t'l'fllt'(l, we There were poles in that set riiiiniiig tip and
keep _\'oii warni when _\'oii waiitetl to lie. Bill
Thoinas did an exeelleiit joh on that. t /1'!/Hlltltlfl H\t‘\ 1| Q/I/I111 /nllilt it/t l|I|t r1t!'\ It ttrt tItII'l1‘pl|IlI!I!I1l0 llrt1I_qi'_ lI\ Ill! IIIVIVIIIIYVII/y‘lI mum! lttl/I'It'\.
In//I n-ul mmlr/\ u wtr lint/I 'l|‘iIIH\! II iittelr 1 t'V\!ntt ti lI\ [mi UIIII” In Imiiir Ute i itrmttt imtlml I/irrliutittnti ttnwlnl
BILL TH OM/\S
The\' didn't want ;IlI\'lltIttg that Iooketl
like In-sterda\'. toda_\' or tomorrow. 'l'he\’
wanted ver_\' sittiple tailored oiitliis. So I tlitl at
Int oI'skt-telies. we hail iiiore ttieetittgs. and it
litially got down to the point where I got what
they wanted.
One thing that ilitlii't worn‘ tiie too initeh
ahoiit the eosiuines Ior tlte Palomino (T('\\'
was the tlil’Ieretitiation in eostiitning the sexes.
\Ne all retnetnher Unisex. how ItI\lL'lI it's heeti
talked ahoin the past lew years. Bttt it never
really raiight on. I doii'i think it will in tlte
liitnre either. Sowhiletheolllwhite tntilorttis
I tlitl lot For.ster and Bottoms are similar to
what I designed ltir Yvette, there were tlilIi'r-
enees too. stieh as the pinkish eoloration aiitl
ilarker-pink sleeves. It's ins‘ thinking that while
gentler itt tlress will reiitaiii tlisllllglllslhlllll‘.
the lashioti tletails tlietitsel\'es that are toti-
sidered IIIZISCIIIIIIP and li'tttiititit' tna_\' ehange
iit time.
Bin let's Iat'e it. While _\'on do tr\' to keep
an idea in the hack tilytiitr head pertainiiig to
what people tttight he wearing in the littitre_
whett you do a si'ient'i' lietioti show _\'oii're
really jiist going along with the sttir\'. As 2|
designer, your rst interest is to the proiert:
\'U\l go along with _\'iinr protltieer and do the
 aiitl niaiIt- tht' iiinsi oli it. wasn't Iikt-wt'waIltt‘<I Illltlll1(‘SIl\l3lIl)l\l)liI\(‘I, I

hiit wt'nItt~ii would lli\\'(‘ in rt'sh0ni lltt' 5P('(I€lI

t~llt't‘ts. the niiiiiatiires. (‘\'(‘lI ii gruat (I('E.lI ul
thi' li\'t- artinii. to iitaltr it look .spt't'iat"\ilai' on
771m": 1| .v!nr_\‘ lhal llufr Irll mi /hv Hurhrink Iol uf thi~ §L'I“t'l‘II. W('Wl'\'t' L'0llSl3l\ll_\‘ cxpcriiiieiiiiiig.
lliv drn ti"It‘7I 11 iniing. iunbillmu xluriio rmpIri_m', hiit liar the innsi part it ran sinonihly.
rliu/iiig Ill his aiiiii1iiin!1_wni!_\'il| Ilirlhsmft‘ agmii:ii— It was an iiitervstiitg, and rxliaiisting, job.
lmn, bmughl his g1-i'ri'izri(r In Hh/I hnrisr "Sari," Disnc_\' ll(7l'S an ('II()I'I!Ill\lS aiimtint of story-
Immfi‘ gmllt" mimmiis/ml. “i[)'mirriri'1:im‘p!llii'n' buzirtling on tht-ir pruitwts Imliirr iht- I_IIlII§
(nmlilmiii you prnbiihly .ihmiIdri'I In‘ Ibllfklil Iuw. t'\'t-r got \tiitlt'rw;t_\'. and with a prnjvtt lilti-
I'm: knnir um! I kllllll‘ Ilia! i! Inkrs an mrful In! 1] THE BLACK HOLE. this Sl0l"§‘l)UaI’(lIl\gj\|5l
Izilrnlnl _qii_\‘.t pulling Ingrllirr la gr! Ihrsr uim'i1'.t hit the: ceiling. W0 nittst hat\‘t' had dost‘ in
iiiadr. Bu! lIii‘piibltrilm'n1‘!kiinnx Iflirillliift kmiir L200 S('])ilI'l(' sturylitiartliiig ('ll'lII(‘l1IS on
I5 [hr namr 'I\'nIl l)isriify.' ThnI'i lhr rinnir Ilml this. Thi' t‘tiiit't-pis til the §l\tlt$— thr .spt'cilit'.
imrigi lhmi inln llir Ilirrilrri. mid !ImI'.i [hr rimm‘ IlI(II\‘IlI\|;ll slt0ts—\\'t'ri' tlrawn arniiiitl tht‘
Ilia! will ll1I|'lI,\‘I hrii-1' In (D!I|t‘V/I!!! mi H"IIl[i'l'|‘Y u'r spring of I ‘I78. Most nl'tht'ni wt-ri' t'0iit'rrii('d
110. "
with (‘II(‘L'l§.
Hm! lilllr lulu /n'1rr!I_s‘ i'il(1ipiiiluIi'i I/ii"/ii/r q/ As far as ihc (IIf(‘('lIUlI nlthc spt-rial (‘IIt'l'IS
the-I)iiinft IIIHTIIIY lI‘Iiil:'nIhi*r.iIil1lmi II|t|_\‘ rniilirirlv wt-nt. I was alwiiys. ur ill lvast trit'tl to be.

/nil Ihr llll!!Il' rrfa lIl!|‘(l!I!‘ llb(II'l‘ .'i1m'i /il/r, ul lhr iii\'0l\'i'il. What iistially liatppciivd was that
Bilrlmii/t iliulm ilii .iIiII. rir1ir1_\ I‘ )‘mr.i 1|/Ii’! his Pt't<:r [I'Illt'iishaw| would ltmk at tht- stor_\'-
t1I'/h, “A Walt |)isnc\- Prutliit"iiuii." ‘I‘!im' arr buaril and wniild than know where the shot
' l’.\'(:‘/IIIIHIX In I/in nilr, but 1hifi"n' sliglil nnri. Tnkr “'35 going in gt). Ht"tl then lino up thi' t‘llt't1.
Rahni S/l't'fVI.H17L irlm S!'I‘!lI$ In haw rlmirlnl mi the |I|IIIIal\lR' or whatt-var, with ihc ('Zll'lI('l'3.
\
,
in/iiiilr riiinihrr n/Ihsmjt fmlimzi. Infarl, rmi.iirl1'r- At that puiiit I'tl coitus 0\'t‘r and look at it. and
mg hit slnkirigly prnlifir nu!/ziil afIJi.iiiiji' luli i()Ll) t'itlit'rapprn\'(‘ it or suggest iii0dilit'atioit.s, ill
I'El.l.I'.'R. Tlllf.-IBSI~'.\'T-.\II.\'IJKI) I’ROI"E$SOR. It-It that it ('()\ll(‘I hr tl0iii' at liiilr l)(‘ll(‘l'. Ynti
st‘t', its things cliaiigc, as \'0\l get farther awav
ll"'”" <"'”"""-“ "H"/"'1 M‘ C)'K'"" "'"""‘l 0", 3"!‘ SON OF I"Ll 'Bl3I'fR. TH.-I T 1):! R;\‘I'.'II l.'.~l I. (H111
JHR)-p(;pp'L\'5_ ,,/1)"; !]|1l1I(\‘-"|lI*l'7-Il- l1'SPI' lrnin whm “W drew in‘ ml, om“
and ap'_
|l'm'i Il”!ll"Il‘t{ In hrr hip riml hi! hrnd Ii/Inn‘ Ihrm In /It.
whlr Hui! $[!'l't‘!|I1| "my imrmla)" hr looked bark mi pmurli tht- IIIOIIIl‘I\l whvn that drawing will
:ii1hi_imluiIrv'.imm!si1rri'i¢1I:Iin'i1/in I'i'!h¢'n'Imiuii he pli_\'sit";ill_\' rt-alizrtl. you ll3\'(‘ in iiialtt‘
(Il)\\'|I its lull lit~i).(hi. aintl IIIt'\' \\'2lIIIl‘ll iIit~
II! n'/u1in'nhiziiri1)'— mi1_\'u hrimlil 0/ri-i'niII_t‘ .n'rli tht-st‘ iiintliliraiioiis. The-i't"s a ratlical (lilIt‘r-
.itti>rs in hi~ i|I)lt' in gt» umiuui this pnlr in AI
wt-igliilrss t l)Il(IIlIl)Il. Sn I tlri-;init-il tip s<\ini-- II!‘[I(lt‘X III!‘ hrginluiig In /nkr IIDIIII‘ ofllu‘ mlin. "IF t-nt't' I)('l\\'(‘t’ll thnsc twt) siagcs. unly Ixcraiisr
thing I t'.i|lt-il ii ri|tiiitlii~-rnuml— iitiihiiig tn lmllum /lllt‘, /'ll'YI, .trrui.tIahrIh1s.- ask IHI)‘ nirnihrrvf lIIl' raiiiii-ra is 3l]l('l(7(lU inttt'h lIN)I'(‘ than yuii
tlu wiili tho <';iiiit'r;i wltirli wits ii i'irt'iiliir II1i‘_1fi'lI|‘!‘tI[/Illh/ll ii'Iin1Iin'rIi'd .\I.-IRI' POPPINS. ilIIlI('IpIlIl'lI in a pariiciilar shot nr. vict--\'t-rsa,
uml Ihr mlvli I17!‘ /m'Il) IIIHVIII gmul lhul !Ii:f\"'lI "I_\‘ ht-rziiise it's Iiahlr in (In It'ss than you antic i-
tlt-\'ii l' liiiitgiiig ITUIII IIIt' Palomino piwvi-r
ti-iitcrrt-ilingiiiitlwlii1'lit-iiaililvtliistnhaitg "II'ri/I llisiilftx“ paictl whcii it l'tIlIIt'S iiinr: to get that rhoi
thosv lIll'('l' pcu|i|i- Iriiin ii at lI\l' saint time. Thispm:/i/irpniilunz:Im‘ii1'1ri'i'ni 1na]]r(! (iuijt ilnwit.
.\'r/imi. Ihnlirrrloraj Tllk RI.I(.'K H()Ll:'. .\'i'lsuri, Tht‘ t'lIi't’is rnttglily hrukctliiwii intti thrt't'
I~l\‘t'ii with thi- ruiiiitlit-~r0iniil iliintgli. things
\\‘l‘H‘ ruinplii 1|lt'(I. Ynii hittl to rig ilirtnigh -I I, Iirgml /in mm‘!rlirrrlingjbrIi‘/e'i'isimi II! l‘Ihl nitvgnrit-s: tht- iiiiiiiitiilrvs, tht' iiiaiir and lah
\lII\'\‘;l shi\"s;i |I\llll’\'\ iinil guilinnigli ttI\lIl- nu II.-III. (il~‘.\‘ “(I'll I'R.~II'I~,I. IYllIlIi'i|//_\‘. /its work. and thi- t-Il_t‘t't§ that wrrc haiitllt-tl on
uumwmirni Ilirri um Fmrili Philli/rt. his llIYl'(/(I7 0/’ tho SOL An t-xaiiiiplv ol that lilllt‘l' tli\'isinn was
it-m't~i|.{Iiis in |.{i\'i- lIll'|II tho ;ihi|ii\' in t Iuiiigv
[rh/Ilngm/Iht rm I'IH.' IIIAIIK IIOLE. i\'l'lXl"l.§ nl/tr! in lIIt' tlcstrtirtimi tlIillIk' Captain's Tower wt.
.iltiiiiilt~ ill\(I pusitinii. to risi- iinil liill. 'I‘h;it's
11' rrrdili mrliuli‘ l.()I'I-.. .-I.\II.IlIl.'.'Ii\' S'lTI.I-I. Wv Iilini-tl nit it I()I'i\lI(I\ll 25 iIiA_\'s. wt-nt away
irii'k\'. Ini'i';iii\t- i~\'t-Wtliiiig has in i'iin Illlll
\'t)\l|’ rt-iiiriil |ii\'<:i—pniiii Jlltl i'ni|ii~nii| ul lIlt' I'll! (iH().S'I' :I.\‘IJ .\IR.S'. .\Il‘IR, I'IIk' .-I.\'I)I' [ruin it liar ahmit a iiitniih WlIII(' the (‘ll-(‘(15
(.'HIf'HI'!I .\'II()ll-ll!!!’/li'!‘_\‘!‘lIYS rm (;FI'S.\I.-IRII pt“uplt' riggul it tip and t':iiiit- hack in shunt its
st"! .iiiil ihi-ii Il1|t'l1lI\'t'f .iiiil (luwii in thi~ llimi;
t\'Iit-i'i- \'tl\lI' tutiiiti-i\u-iigliis ttllllflll thv iip- .\‘r[inn iiliuziirrrlnl I‘IT7't lIIISIII.\‘(i'I'Oi\': III:- tlt-siriictiuii Wl\(‘II lI|t' t-l'l't't’ts pt-nplv W('l'('
III.\'I) 1.1.0.8-I'I|”()()R.Y,/I)!Il‘hI(/I'Il'll‘III!IlIllII' !‘('iIlI\' int it~ rt-atlv lur tht‘ liitzil. internal.
.iii<l-iluwii inniiuiis
Altliiiiigli \\‘l' nu iisiniiiillv piii llI('lll nit ii Ildlt‘/I /nr IIII Inini_\ uml Ilir IJin'(!or'.i fiiiild/1] iiiiplusitiii/t'xpliisiuii ihzii took (‘\'I.'D‘lIlIlIg out
lt't‘It'f-Il7I|t‘I'. iiimt nl uiir \\'i-igliilvssiicss with .-Iuimui iii hri! rlirrrlnr, mid TO KILI. :1 COP. iiitu drop .sp;it't‘. 'I'h:tt was tliiiigcrotis. E\'t-r\'-
mm!/n-r VIII!/IFIIIIYI IT murir n-Iur/i sl(irri'd_/m" Dim hotly hitd iuwviir hartl hats aiitl ht‘ \'t~ry aware
lllt' ;ii"tnrs \\‘l|\ (Il)IIl' in llving piiiits. W0 Ilhlllt‘ ul the t‘li;iiit'c.s 0I' suiiirtliiiig hitting ihi-iii.
thu P-Illls uiirsi-|\'<'s. whiili ;iri'ii't iiiiviliiiig Iiiikrr. IlismirI/imlrinilviliirrprintIn TIII-.'BI.~I(.'K
II()I.! ii IN HI!-..-IKI' FRIIM II II I977 Imriifi‘ F.\'t‘t"_\‘I)t1tl)' t'Xt't‘pl iht' actors. olcmirst‘. whit
Illll tight-littiiigl>liit--iraiiis. Wrnii lIl(‘lXI iliiwii.
put liiriiig iii llll'III sn \\'t- tuiiltl snug Il\(‘Il\ tip /imluti III irliirli 11 mnlhrr uiul iluiiglilrr i'.\'(/iiirlgr i'niiItlii‘i In‘ wt-ariiig >;tIt‘I_\' Itvliiit-is. Thore-
/Il‘!,tl!1IIllI[|!‘\'/IIVIIIIFIIIITIF0YI'|I!Sl‘H‘hlI'l'[”|llI“(ID wt-rv ii roiiplc nl ;it‘('iili-tits \\'lIt'll wt- W(‘I(‘
guuil.iiiiltigli|.;iiitliht~iipint\vuprii'k-iiuiiits Iiliniiig lllill. Nothing l('ITIl)I\' st-rimis.
mi ll\(' hips liir \\'|l't' .iii.itliini~iiis. Th.it \\‘;l\‘ .\‘r/smi'i nr Pmdiiirr Ron ,\Iil1rr'i rimlnbiilimii In
I'III~ HI.-I !.A' IIOLF arr bring iliglllnliii /hi! nsiir Bi-sitlcsilivt'I'It't’iswi>rl1_itnil I iliiii'i Itiinw
lllt'\' ('.iii rull ;lI'U\lll(l iIlI(l \tl|IIt'|'§i|\llI. ili l|Il_\‘l)l)(I\' has rt'iilI_\' IIR'lllI()IN'tl this. I thiiili
\\‘i' tlltl it Int 0| \\'ii't--wnrl; with lIll' fUl)til\ ll! ll‘!!! 1|///iv .tIIi‘!'!ll[ irrli Imm. _\'llIl im' |Y!t'IIl'l/ In
miil u/Irinr. in-ilrfilh .\'r/mi:/Millrr HI.-I(.'K H()!.I: John Biirtfs st'iiri- Iiir ll\t' Iiillll is \'('l'§' vxcitiiig.
;intl iiiiiiiiiiiirt-s itm. Sniiiviiiiii-\. thuiigli. ll\l'\'
(IIII\\l\|)t'lltIIlH'llIHtIl'I\1lIIll|'l)I)0l>lb\'IIIl'1lll\ urlulr, in I'nlinm~ Q X» 2. Jttllll saw iht' pii'iiiri- ill lvztsl l\\'It(' ht-Iurc ht-
\\'0f('tI ii. iiiiil wi- h;itl llITL‘(‘ ur liitir int-i-tings
ul ihii K imli-\ ihiii Iiiiil lIt'l'lI |\;iiiiii-il l)Illt' in
("\R\ NLLSON with Iiiiii tin it l|(‘IlII'(' Il(' ;it'tii;ilI_\' gut lII('
hlt-nil iii with ll\t' I)l\|l' stri-t-ii wnrk.
()lIt' thing ihiit siii'pri\i~il iiii- zilmtit iIii- It';iiiit~iii<m lllt‘pl'(7it't'l in IIll(‘N()\'l'IIIl)l'f iiiiisicliiiililtiwii. Ht~'s\'t'r\' ilitirmigli. IIt';i|sn
ul I977. Ii wits rt-;iII\' Pvii“r's pri--prntliiitiuii tisi-il ii hig on Il('\lI'll. 'I'ht-ri' wt-rv ‘I2 pit-it-s
\\‘ii‘<--wnrl; was llit' ;lt'I<\f\ .llIIl\l(ll‘ tuwiirils ii.
;ii‘i\\'ui'k. \\'hit'h I ihniiglit liiiitiistii. IIHII iii;itli- \I\(‘(I lur lli(' suirc ol THE Bl.1\(IK IIOI.F..
\\‘i~ hiiil shuts \\’Il(‘l'(’ ihi~_\' \\'t~rt- going in aiiiil
|IIt' llt'l'I(It‘ in iiikr tho iissigiiiiiviii iii thi~ lirsi My iuiniiiitini-iii in TH I: BLACK IIOLF.
mil nl sti'.iiii. llmiiiiit; 20 Ii-rt ;iIm\'t- the s|.i);i-.
\\'(|l‘LIll).{\\‘IIllIIIII-\t';Ill'l'1)I)tlI\IllIIIIII-IIIl'. .iiiil pl.itt'. Priiiiipul |iliut0gr;t|wli_\' ltml: I35 il.i_\‘s i-xii-iiili-il past thi- i-nil ul lirsi unit shimiing
m t)|\. Nuts; \\'I\('lI \‘<>ii'\'i' gilt .1 ruhui \\'nrl;iiig in iuiiipli-iv, I In-lit-\‘t'. whit Ii was iilmiit six ihrniigli in itiiiii;iiiiri- |>liniugr;ipIi_\'. KIN‘ \U\llItl
iiiunihs.Tlicliiggi-st H'l|\lII'(‘lII('I1lZIIIIIIlIlIl(‘\ l'll('(’I5, llit‘ tl\ll)IIIIlg7 right ihrniigh It) lIlt'
with um. lii~'\ iiisi .i <liiiiiiii\1 Ht"l| iln wliiii
uii THF. BLACK IIOI.l'I \\'il\ sinipl\' l0].{L'I II\(‘ i-nil. I <utililii'i wurluiii ii liillll lilzi-this Iurtwu
\'uii irll him. Biit must iii tors tlim'i liltr lmiiig
s|I\]I(‘|Illt‘(I\|1lIIIII\t'.IIfHlI\\'IH'\.l|lItl\\'('II.lll pii'iiiri- (IU|l(‘. \'i'.trs. llIt‘II iiist mill; iiwiiv illlll Il'l it gt: on.
During lllt‘ |);l>I t\\'u\'t';ir.s llI(‘I't‘ IlIl\‘l' In-t-ii You Iiiii>w. wiili .ill iIii- i|iI<\iiii.itinii I ).5;i\'i-\'nii
.| Int ul ih.u (Ill this \I\<\\\'. I wiiii|il|i'i |il;<' ii.
tliniisziiiils til‘ |II'l)I)I(‘lI\\. hiit wi~'\'t' iii;iii;i|.(t'il Int‘ \'U\lI’ l.isi |\\\|(' l‘I:2:4]. I iliili|'i ri-.il|\
lllll t)lIl .NIt)I\ .iiiii.ilI\' vitjoyi-tl il. t'spi'i'i;ill\ III\'IIIIOIl wh.i| I tliuiight I'<l ){t'| nut ul IIIE
.\IIlIHt‘\l\. II|>i'giiiii<-;iiiil Iluiiniiis. Thi'\' f(‘;lll\' tuii\'t'nuiiit' itllnl lllt'llI. On 2| pirtiirclikvtliis
(mt |.\m| [Ill‘\' (IIII \lIII\l‘ pi'i'ii\' h;ur\' \\'Il'(‘- \'U\I\IltItIllI\ll tlii-ri-iiiit-chit‘.iliciiviitiliiiilzzit IIIJ\(IK H()LI-'.. \\'i~ll. i|\ IIl\‘ thiiilliiig ih.il
\\'ui'L Inn. ll ;lII\‘llIIIl)L li.|tl liiippriit-il. ihi-\ it lIIl'lI(‘XllIIl\'. lIll‘lh\‘llIlTl'SII0l>I it.'I‘li;ti‘silit- thr ii~w.irils uii .i liliii |iki' this (tHllt' I;||l‘f.
\\'.i\' ii i.s with ;tii\' kiiiil 0|‘ t'llt't‘ts work. It \\'llI‘l\ it's liiiisliril .inil iii t<‘|I|l'lI its .i iii-;it liliii.
Ullllll Ii.i\'t' Iit't‘ll liiirt. IIIII llIt'\’tIItI .l],{l)lYlI juh

30
But I don't know what THE BLACK HOLF. Il'II1llJ u'|1l|lln'gm|lr11n[v||n'." H'haI Srl||(h|'l[arg¢‘lx I
will do for |n\' nwn carver. In lIIl‘ll/10!! 1: Ilml llIl'.'I7!IIII||lIl1!I Ii|||l|l|||g1|lsa has a a
I u'1n||l|‘Y/||l, /hm‘-/Ivar sla|rra.n‘, and lhal |I 1.1 alxn
[I11 aung In Ila ru azluallx mm nrllng Ill |lnmh|h'r
n .

u IO n Iuml nnslalgm — |I n‘n||mlnI rm"1|/'||¢|!h|||gl|'s.t Ilmn

[hr [mtg-(m"I'||lI|n‘|l. wlrr/n - ulrnl |‘l|‘1I||‘I|I|UT .Y(l|!NIlY I - ,
An|mation al!|'ml|‘|l m rm rum.»
. >

It's flnlshd
1
ad 1

Slurk au'a_\" m anr rrflhr mar|_\ r||bln‘ha/rx aflhtx

mrlzbtmllm/| lm.vp|lal/srl|aaM‘ar1:>o|| (|‘1|I|'Y!J_/m‘Hale', a
:1/In prml||rlian n'ra_p[ml III .\Iarrl|_ I979, Ihr
' I

yN
lrnk Irm'|'r|g|m'~i1s zvrlxwarh— 0p|'||1'rl|l[Il|m1~
llr. Iflulr the" /ahars 0/ vanaus rl|'par!nu'nls had
vl|m'!ur 1;/'11-I an|m||l|m| erfls for Till. 131.4 IIK
II()l.I-.. lllt'1l|‘.Y!71ll|'.6llllllifl/I15 a "l1|\u||I ||u|iL"
hul lns xprr|||/I)‘ u lhr hll-ml|||g 0/ lll‘|‘—|l(l|UI1 mlzlgr
N t
arr!/a rd !lu' ml ||n|l slmalin tl was rlunng llus
pox!-pl]r€l||(/turrf/rrnod 1,\Ia!(h g .\'ax-nnbrr, I070, mlh !I!||7lllll|‘ll ejfrrlx. linrn junr 41/1, 19;", ||| a
al lasl 11'/1011! lha! Ihe‘ mlm !)|m|j' sprnal cmfrdx small Imrn rlrar.-Im|.Irha1, Mn l1|gun_ Halr /rantt
appamlus tras brouglll la bra! an TH!-I BL4 CK his !)|smfy mats In Ilml I!lIHII|'IIl ulzrn hr,/irx! mu‘ ,
HOLE. .-llmas!|'m'|)'or|!(0nrrr1||‘d(arr:/zlaxrzrrlaflhr B.-l.\ll?I m :1; g|'m'!al rrlmsr. I Ialr um I T. II nus
zrmm /zarr nu std ll|( 1| ammg l'7|!l-l1_/-ll!|‘< an |'|‘|'||l hr Il||1|‘|l|’1tTIlI|'S as "all/|1u!ln'|||_|;'a n‘/|g|m|J
_\e'ar rlratlltnv b|"n|a:I ranrlurlj lha! lllr rrnrlr pm- e1\'pm|'||n'. " Aflrr m'|ng IL~I.\lBI mwz 1|n||‘s III
dtmvl um a] a n|rpri.m|gI_y hlgh q||al|($'. .4 mung [hr lhY|‘|‘1l_\‘s raml ln‘ sllll l|‘(|I1l||'s aml rn/nu Il /|I rrrr_\
(l€!|I1Im’11l5 |n1'aIt'rrl |n Ihn phax! uflhr aprralmn /mxxilr/r np[m|1||||||\l Ila/r lIl'l'IlIl‘l[ Illa! lm rlmzrr 11/ nu'nlm|| hrlping Iltrarlors ann !hr|rl1m'rs whrn'1hr_r
xrrrr Ihosr lrhnpradllrnl Ilu' apllral and sound rrrls, rarrrn htlll ||ln‘||rl_\ lwrn |l1'l¢'rn|||ml lgv ll all I)|rmj\ m-rr slzppoud In.
|:\'_[1la1|a||s, Ifllklll phalagrapln-, mallr painlmgx and P!ad|||'I|/ms. Hulrk /in! Illxmfr amg||n|r||l um un
antmallun. PETER P/1.\‘. Ilr alm rIlI!lTIl1Ul|'|l In I.~II)I'.-I.\'/) JOE HALE
II’: !(|t‘lI(ll_\‘ |n|po.mbl|' In hmr llu' narnr “lfall TIII: fR.4.\IP. IOI ll.-I !_.\I.~! TIOXS. SI,I-'I-'PI.\’(} \Vv'\'t' done last-rs. lawr I\il§. III!‘ E5P(‘II6('l
IJ|smfy" n'|Il|n||l asxartaling 11 n'|1h "ar||ma/|m|." BI-LIl"lT and alhrrs lnmrr urllrhmg an-r In Ihr on \'in<'(‘nl's 1*_\1~s, ruckct lIll'\I.\l('l'$. 1'It'rIriCal
l)|nujrb|||l1l||s |'n|/2|n'0||lh1'1nar'Ingrar1aan, and |n l)|xIufv l|'l|'|'|.na|| vllazm, u]'n'h|(l|luwlul11;»/nruxzl/u|lrl\" rllrrls. lIll‘ Pa|omin0 nmnilur ¢=lIt'('ls, and
Ihrflrarrss ralml !lu'pmrlurl|u1| a/ranm1|'rr|alan|n|a- ‘0. trlrluzlmg I'll‘ Llulmg Ibu l)mltr.thm1x| H|.s /Irv! I1‘l(‘Il'('. But you know, I actually(‘njoywurking
nan mla a popular arlmll. A ml aflrr Ihr mnrpany e1\'prr1r||(r l|‘Ill! ln‘r~arI|u||/mt!malum |‘4|IIIlI!||rIl|a|| on |I1|'.\:t' |i\'r‘-artinn lhings more than I (I0 nn
llHtl1lll't'V.Hl‘(l|Y|l0lI‘l‘t'-(|(11lI7l/llllli, il tras |m'|'|I:|blr mun‘ on Ihr lmll-m 1/I'al||nng nu/1 aml 1| |'ur1um| .1 strnigltt Ciltlll lralurv? Cannon features
Ihal a {\‘lIllIl'S!J afllw ltvoforms n'aul1l n'rnl||aII_v nu‘/I n Ihr TI‘ [2n'||m-n' /5/ Ihr .rl|ul|n'< I'O()T. Ii!Ii('SOIOI\g. Iwason SLEEPING BEAUTY for
Ialtr plan: THE BI.4l.'I\' IIOLE Sh0l|'(!lI|'I lhal l1'IIlSTI.E, PI.!l\’I\‘.~1.\'IJl1()(),\|_ Ilnr/ir.r/mrimm lnngvr than pracricall_\' anybody elsr in IIK‘
blr'ml|||g: |I1l||'|'-arlialt xrgrllmlxarrran|l7|n|'du~nh nl r|m'ma.irn[n‘ nrhzrh also tron an ()m|r/. Fmm studio, lmtr years. and did most of the sc-
lhr hmd af errls |uh|rh lhr Slll!lI||'S ,-In|ma!|a|| llu'n‘H1|l|'has ranwlvul humunI|n'a(Im||/amnu|- qtlrnrcs nl lI1(‘ Three Guutl Fairirs in their
Bnzlzlmg |x/amm|1/nr. [tan mrhrb¢'n|lm-v|[s|||'hpr(yrrlxat .\I.-|RI'P()I’PI,\'S. Iinlv cunagr. And I gm Sn sirk of drawing that
Tlu' n|am'fra1n lhr ald l~I_vpman .4n'||||:‘ Ilmlms BF!)K|\'()I!S AN!) lIRO0|Il.S'TI(.’KS, am! !’l.'TF'.\' mum. nl‘ drawing c-\‘t'r)' llillvrz-nt angle on it,
la [hr 1par|a||1 nnr Burbank lal begun m mnrvsl I)IH(i().\'1Ihn'|‘'1|l|m's nl||rl| Ilalr my‘. |n lrrms n\‘cr and over again. I like a fast prnjrrl.
1|n|nrd|al('lr [allarrmg Ihr (jhmlmax 11/1919, and 1/rr/ani1nal|an, tn'n' mnrr ml|r11u|ll_\ mlrrpllrlzlnl Th;||'s (m0 of III1‘ rvasuns I was on |('l('\'isi0ll
was runlplrlrrlln I940. Tlu'pmd||(1|0nn'||1|-rafllzr Ihan TIIE BL-IIIK H()I.I-L so lung. And I like working wilh llw u'rh-
nm‘ Ilmlla was [hr .4 n|mal|a1| Buillling, |rl||rl| trax Om‘ a/Ila/|".v (h|¢]am.\!1|nls rm III1: BL-ILK niciana in thc I);\(‘I; lm. Whcn \'(n|'n~ working
In hausr lhr rannus ||n|n|r|l|a1| and ralnrra rl!parI- HOLF :1 I)am' Lanphrr, n‘l|n.rr /ir.t/ 1| ml: nn 1| nn :1 c:n'|nun )'uu‘r(' kind of sluck in your
nu-nlx n1'|'tlr!lfar1l|r nnaalh ass|'n|l|l\‘-/i1|:'-1_\‘p:'pm- I)|n||f\_/mI|m' ran br .n'rn Ill SLI-fl» PI.\'(.' IiI~'.4 I 'IT. 0III<‘|-_ sining at )'nur tlrawing Imartl day acr
rlurlwn {VS/4'!!! rvhlrh pmdnml lhr (arIaanfra1||n's Ilr has ru||lr|l|uI|'|l |'[/irfur nmr!\ rnv) llmnjr tI;t_\'_ and you dun‘! gel lo knnw that many

and sham. llh‘ n|||lli-plain‘ ramrm ts slzll m Ihr 1|!||n|a!nlprn]rrI nnrr, |nrl|||l|ng Ill1- XII OR!) I|\' pcnplv. But \l\'IIt'Il _\'n\| wurk on .1 |i\'(--action
lnnldang. Tu H‘-'|(ll 11, you rrmslrslpan Illr||1|ghlt|'r| THEST().\’l, I0! I).-ILM,-I I'I().\'S, aml I'III-I RFS1 l'ilm~wt~ll_ it's Iikr I'm in two studios, really.
msrfllrmrxbrarhr!nIg1|1|rn|p(\'man|_ ,\'alrmnplrl1'l_\‘ !.'l‘l1RS. Lallphrr ||‘||.\ an 1'//i'(Ir anmmlm /nr I'll/‘ It's fun uu Iw uhlr It) jump hark and lurrh
m|pI)'. Mas! 0/ /hv/laar-span‘ ls rawwrl hr a sin-I BI.-IIZK IIOLI:. Tag1'lhrr n'|Ih almul 1| |ln;|~n am— Iuctwvcll |I|r:n|.
gralmg, an-r I|'l||[lI a |'|'.riIar mus! pass, and /mm Inalars and ass|vIan!s_ Halr nml l.an[:l|rr hm||_|yl1I My i||\'u|\'1'|nt'n| with THE BLACK HOLE
n'h|rl| |.u|||'.r a (a1|lIm|0||s slream af u'ar|!| air Ilml t'!.v|rn|x af llu‘ unm|ag|||||l|lr In llll‘ srrrrm rm! In ru;||l_\'I1t-gunnxl lI1('§('l. TI\('f('2Il'l‘I.'t'l”l;lIIl|)l't)~
grnlly /rm‘: ||n_r tlusl from your rlalhmg. l)|sI||f)"s
p|'rm|u|l 0/]iu-1 nwr Ioralrd an lhr Ihinl and lap/luar ll‘urk|ngl|gh1sm| P|:rr'v lmrr|n'rrm1|/rpnl 1| hrn unumzlvrs ru|!|/|l|||||r|I llml ullln‘1|/Illrmlnn|n|l\I1|I|[l\ unsml.
nf lhr hullrlmg, xrltvrr .mn-In-lan' aml !.'.\‘rr||l||*1'
SI||rl|u l’m|l||n'r Run Mtlln non‘ ha: his. Wlmt
|¢m|pI|/ml [hr .~In|n|alia|| B|||lrl|ng was a/sa aIr-
('0Il¢lIlIlI!!|‘Il, a mn'|'l1_\'al1h|'!nm'. I 1| fad, tul|rn Ihu
llmt-||||z|sr|r|l re-r|l|lal|ar| I)'Ilt'1ll was rs! inxlallrrl,
.
. \
\>
I)|s|||f\‘ um xa m||n'rm'1l ow! Il|1pau|b|l|!)‘ 1|] m|m'- §l\
hmly aprnzng a ll'l7lll0l|‘ and Irlllng m xnnu' 1luxI—
n'h|(h plays h/ll n-|lh rrls and ll¢'lll(|l|' ¢q|||pr||rnl-
‘ Q
‘T \ \ \
lhal he‘ had all Ihr u'imlan' rranhs tn lhr builzling

L a
.

1|‘IllIIl‘!‘!l. ‘~\ ,

lirrauxr I)muj;"s/ir|1|r|(|'s al lh|s I|1m' ||‘1'Y|‘Jl||1h[), \

'
._

Il||' bank ¢.\'1enzling Ihr loan an n'h|rh 1lu- (amplrltan 5

a/'1lu' .-I n|ma1|ar| Builzling rrxml shpulalnl Ihal {hr '

xlmtlurr had Ia hr so zlmgllrll so 1l|a1, ||| rasr of a ‘K \ §

/
. »
_ 1

loan /l)fft'llllff. I! raulzl |'as|l_r hr rn|m‘rI:'1l min a - L

haxpllal In rls urn |m'n|-rs lliurlmnh rl|Iln'I llaw our \

aIIh1'l|rm'I. llmx. as RtrlumlSrh|rh|'lr1|'srnln'x In his ‘ ,~,

V
.

laugh-m||nl|':l, rrran||nemlr|l [W1-§‘ lmoh Thr I)|sn:f\ 1‘ I- _‘

I'|‘m0n, lhr .-I |I||naI|a|| Hmlzlzng ":1 am‘ a/Il|r mlrlrsl
nlt/in‘; Ia be‘,/oruul an any nmt-|r lal. l‘h|' n'nIm/
zumzlar on mrh af III lhrvvjlaars n about In'|n' /hr
normal n '|1l1l|. Ila‘ b|'!1|'rIa!n|mllr hrlls and u'lm'kl|a|rs
abaul. Srallrrrrl along |l arr nirhrs Ihal nam|rl||_vx
halal ljakr and (ar|rl\‘ Yllllfllllt, ln|I Ilml rauld mu!)
xrrvr as n||rs|ng slalranx. I-.'nIrann' Ia nghl xharl
1| mgr,’/'0||r an nlhrr sulr 0/Ila‘ hallruay, arr /llarrll ul

rrgular |r|/rrvals. . .117mm) muld be Irmml inla

I
I a
' OK. When yott shunt, try to bring it tip that
far. Point ynttr body in that direttioii."[laughs|
out a way to accomplish what had to be done
on that scene. For example, ifthere were big
I also was on the set lorthe ghts between guys lighting with lasers, there was the prob-
tlie lully tin't'liaiiical rnliots. like that nal leiii of levels oi action, ol plotting things to
l't)IIl_I'tIIlIJIlllll between \’int'ent and Max. height. There was alsoaprobleni olcombin-
- Soniething like that, where you have two rt» atinns. til Iiow long we were going to set tip
hots lighting, is just a matter of eyehalling. the strip and how the lab would utilize these
You get beliintl thetti and make sure they're strips to get the ellects that we wanted. And,
, at the right angles to use loryour ellects work olcourse, there was also the basic problem ol
later on. design. worked ottt a Iiallltlozeti dillt-rent
laser designs bt-lore Peter l‘.ll(‘l\§lhlV\ and Ron
DOR F‘ LANPHER Miller narrowed their choice dowti to one.
' One nl the interesting things about this
project is that we tiiti|i't tise any rotnscoping JOE HALE
on it. Alter Joe directctl all the live-action [really like ourlaser beams. They'\‘egola
seqtteiices that required aiiiinatton antl the little more body to them than your tisttal
liliii had heeii developed, we used a plioto- pencil-thiiiones. lalways tried tti respectthem,
cetiures that have to be taken there lit-lore static method for determining how we were sothatwlieiitheywereshootingtowardsyou,
you ever get on to the aiiitiiating entl ni‘ it, going tn animate any given seqtteiice. Ante you really feltthem coming tip hotantldaiig-
procedures like keepingthecamera tied tiowti. ally, working with stats is much more accurate erous. They're really exciting with sotiiid.
and there are certain things that you have to than rntoscoping. First we‘d just stat every Titiiiiigoutthelaserhitstheniselveswasalitiost
reineinber, such as the fact that you can't lraiiie nliilin in the picture that was going to a job ol' choreography. At the begittttittg, we
lollow locus. So I had to be right on the ttintain anitiiation. We’tltlieii print the pho- tlecitled that we weren't just going I0 have
camera with the crew tti make sure that they tostats titt the niulti-plane animation crane. them goiitg bang.’ bung! bang.’ like they did in
shot it exactly the way it would have to l)(' and when we went back to shoot the nal art. STAR WARS, which I thought was a hell ola
shot. Otliet\s'ise. when the st-tsare stnickantl it was shot oti the sanie crane. That meant lm. by the way. On STAR WARS they were
the actors are gntte, there's no clittiice lor ti that the registry. the alignntent, was perfect. just squirting lasers alloverthe placelike re-
retzike. Ifvnti‘ve iiiatlea iuistakeall yotirghosts hoses. When you tlo that you really doii‘t get
conie hack to liatiiit vou. You're stuck. JOE H’\U'- any impact outolthem. Theyjustwentcrazy
The iitaiii thing I tlitl with the live-;tttion l'|it reztllviuit ;t ti-cluiically minded person. with thctit. That gels very titonotoiious. So we t

unit oiiTH F. BLACK HOLE was tnwnrk with I really have tn coiieeiitrate when l‘iii reading titiied out all our hits instead. For example.
the at lors and get them tn actually aim their edge nuiiibers to make sure I‘ui tint making towards the end ol the lm when they're
laser guns at the right target. I grew up playing any tiiistakcs. I'm inst no good at nuinliers. making their getaway, about I2 sentry robots
(Io\vlio_vs anti Indians. like all boys do, so at So I devised the simplest, iiiost l'ool~pronl‘ come nut oti a catwalk atid start ring at
least I liatl a hit oi‘ expertise there. But some way oltioitig things on this project; I worked them. Well, each robot has two gunsand each
til nur actors didn't. Yvette, lor example, was out a system where I knew l couldn't go gun has two barrels. So you've got 48 potential
always shootiiig at the ceiling. She was going wrong. shots being red. aiitl all at approxiniately
hung.’ at a target over hereantl it was rt-allv nu Alter I got a rough-cut of a reel I'd go the sanietitne. Ilweliadiftheen carelulwith
the titlter side til the rooiii. Now. 0I'I)ZlI\iIll\'. thrtntgh e\'t'r\' scene nlit. Wliere\'er there was that it would ha\'e looked like garbage. You've
the r;t\' guns had liatl little lights iiistalletl in gniiig to be aiiitnatioii I stopped the inovieola, really got to choreograph your shots so that
them so that everytiine they ptilled the trigger looked tlirutigli it, and llliitlt‘ a little sketch of they'll work for you. One instanceolthat kind
the light would go nn. which was a gtititl idea that scene. I'd then record the scene number nlsyiiclironization occurs duritig this catwalk
lieloretlieystartedtlielilin. But tliosepenple and etlgeiitniihernn that sketch and go onto sequence. A laser hits a sentry robot in the
were just pttlliiig those triggers all over the the next shot. Eventually, I'd have a whole chest, anti as lie‘s falling he accidently res
place. It would have wound tip like STAR little sequence olsketches built tip. Then I'd atid hits another sentryiii the back ontheway
WARS, where yoti were lncketi intn having to Xerox them and send out copies to the process dowit, which tiiakes lor an entertaining little
animate a laser beam everytitue sntiieoiie lab. the film editor. aiitl the animator who nioinent. Incidentally. for those scenes where
pulled a trigger. You'd have had them shooting was doing the actual animation on the lm. the guys in the sentry suits had to Iall down, a
into the ceiling, into the oor. all nver the The exposure sheets ofthese sequences were special rubber costume was used.
place. They were even shooting each other in then sent back to me aitd I douhle—checked An even better example ofwhat I mean by
the back ol the head! [laughs] So the lights them against the numbers of my original choreographing occurs when they nd Max
went. sketches, to make sure everything matched blockingtheir way out ofthe ship asthe Cyg-
I had to he on the set every day for every up. Photnstats, large black and white blow- nus is being torn apart. Now, Max's hide is so
sliui where the actors tised the lasers. They'd ups, were then made ol these scenes. Then I tough that lasersjust bounceohim. So to try
call and tell me or I'd get the call sheet and did the animation layout by placing large to keep this exciting and to build up the
have to be out there and coach the actors on sheets of tracitig paper over the stats and sequence, I started out with one hit on him.
how to point. I also worked extensively with tirawing what kind olellects I thought should thenacoupleolmoreare red and-—whaml—
the gtiys who were in the sentry suits. That be in that shot. That was basically it. Max gets one right in the lace. Then he starts
was iinportain too, because they did so iiittcli One funny thing about all this is that since charging at our heros and they begin to realize
shooting and it had to be tinted just right. I didii‘t have a scope lens oti the movieola. that nothing‘: going to stop him. But they go
You see, ifyou're doing a western and a guy atid all the scenes I saw were subsequently for the crotch anyway. They give him three
whips his gun out and goes bang! it's all done squeezed, everything that I turned out was quick shots to the groin [laughs], and even
so fast that it tint-sn‘t matter where his weapon sqtieezed in all my little sketches. Instead ol that docsn'tcIo anythin . So they take nnelast
is pointing. Because it's just a blur. They cut round robots I got tall thin ones. Ijust draw shot at him and take ol'The point I'm ttying
to the gtiy who's shot aitd he clutches his what I see. to makewith this is thesenseofconstructionl
chest atid lalls over dead. But on TH E BLACK
HOLIi wt.. were . '
using a ye._ frame laser, so
DORSE LANPHER Top: om 4”" umtdtd ..mm..o/"IE
ran." “gt:
that when they pointed their ray guns vie had When Joe had done his layouts, that s BMCKHDLEMMMMMMMMH Mm M,/hnhdb,
to aniinateastraight laser-line right outolthe wheti I got to work. Say I got an assignment ,,,,,m,m ,,f;,,,,M,,,,,',1,m,,,,,,,,_ 1/,|1,1;, ,,,,,,;,,m,,", mm,
muzzle. We could cheat a little bit, but their Irom him on the lasers, which were pretty there was no mart bmeatli tlizgleaiiiiiig mi ikjrt liutmd,
aim had to he pretty iiitich on target. What iinportant._]oe would rst give me the expo~ W(lIMi<lMdP1IN"I¢lIl4'lZ¢!w1ll'0ll¢r11ll¢'MI/¢'"l"l1
tiiade it dillicult for the sentry robots was the sure sheets and the photostats ofa particular °/M“ l"""'““"dou 5°Nb"“h."' "'”"""' b§""?'h
lact that those damn suits were designed so sequence. An exposure sheet is the sheet that
theI. men inside couldn't see their hands. we keep records of all our drawings on, and C
ygvtiu.
A
tll-it aleszrtwri 0 Ihe air-_ tit be was
-
n Ml
. . .
Tning to get a guy to shoot at a target and he lhllkll also has the tiistmcuons for the t:tmera- ,1”, p,,,,,,m,m ndgl
,,,,,., rough tlie Cyginu. tut blue
caii‘t even see his guns. . .you're saying, “Look man on what he has to do with those drawings. mm, busing, W”, Mmulb um; 1,, [gmpqgg 9|, @401,
down. Can you feel where I‘ve got your amt? Then I'd take that and sit down, try to gure with a miniature air-tube and uanaiu tuewi 0/lite ship.

32
I
i
-r""'
I .
--1
.
.».
T
‘ 5
And that seemed to help a lot.
\ These little touches are like background
music, _vou know. If you've done your job
right no one's even going to notice them. It'll
look natural.
7‘-t‘. DORSE LANPHER
I »
The other day we were figuring up all the
animated effects we'd done for THE BLACK
,a »
HOLE and we came up with an estimated
200 scenes. That‘ll probably be closer to 250
‘J before we're completely nished.
r
ll’"
.
I, The one effect that really concerned me
_.'I I‘
the most was that scene where the Cygnus
’ \ res up all six of its engines. I was worried
W
‘I about coming up with an effect that looked
big enough, because those engines werejust
»'

a
/ .
‘
-
.--
,, '
‘
,
,
.
i
A
4. r.
enormous. For that one particular scene I
originally came up with a I4 strip segment,
which the lab then had to combine and cut
down to about eight strips. The reason for

El
that, I'm told, is that when you have something
I l -H ,_ , I like I4 strips you just get too much light
pumped onto the lm. The nal effect has a
J white-hot streamer cooling down into a long
.1 ~,:1Uiat."l blue atne. It came off, I think.
jar Hale and lhz rlnijyboarrl draining; he irindr a/litir arltun It'|]lll'"l'(I rrqiiiriii/1 addiliiimil aitiiiiiilinii rrrlr imrlc on [he om" handy [he favome sequent:
I worked on was Reel I0. That s when Kate's

tried to put into the scene. I started offwitha those scenes. For example, at one point I been taken to the hospital, which is a very
single shot. and as things got more fmntic I think they're talking about the gravity ofthe enomious set. and they're going to turn hi.-r
picked up the tempo until, pretty soon. they black hole, and you can seeacounterwe drew into a humanoid. There's an electrical effect
were ring those lasers every six frames. Every to measure that. We had a rough schedule on there that they use to focus on the foreheads
six frames they were gettinga ve-frame laser those monitor effects. They had to have a lot of the humanoids to re-energize them, and
hit on Max. That's what I mean by chorec» ofthem and they had to be designed so that Kate'sjttst about to be lapped by it. Then the
graphy. they could be limped, although not all had a rescue party comes busting in and they blast
I also tried my best to take advantage of loop on them. We were on those Palomino it with a laser. That was fun.
the little accidents that occured during the readouts for about a month.
live-action shooting. At one point Max made JOE HALE
a little turn to the left while they were on the JOE HALE You know, ¢-v¢-rvb0d\- want; in do that
set. When I saw that on the moyieola I ran it When production rst started on THE one great lm. Everybodyin the wholeindus-
back and forth until I found exactlythe point BLACK HOLEthere were originally going to try would like to do that one real classic. I
where that turn started. Then I put in a big be about half as many animated effects on it don't know if THE BLACK HOLE will be
laser to hit him so that it looked li ethe beam than what we eventually wound up with. But that kind of lm, though, because I've been
slammed hitn around in that direction. I also the effects were really plusing the scenes so working on it so closely and for so long thatl
tried to nd places where someone ducked much that, everytime they found aspot where honestly can't tell. That's probably the only
real quick, so I could ptit a laser over their they could use one, theydid. Forinstance, we sad thing about working at Disney. You see,l
head and make it look like the_v were trying to put little electrical elds on the sentries‘ chest- used to really look forward to the next Disney
dodge it. I tried to add little bits ofbusiness to plates after they were down and hit by lasers, f('3[\||’(‘ before I came on board here, particu~
the lm anytime that I thought it might be to suggest that they were shorting out. And in larly the cartoon ones. But now by the time
effective. one scene Vincent pops out ofthe Palomino something comes out that I've been involved
on an EVA run to close a hatch that‘s been with, I've seen and worked withthefootage so
DORSE LANPHER blown open. Well, they used a tiny model for many times that—well, it‘sjust not the same.
When they were lming the live-action Vincent there, and when vou saw the dailies
laser sequences, they attached awhole lot of that's exactly what he looked like. I'm not
squibs to the actors and robots to create these exactly sure who came up with the solution to
miniature ashes and explosions, to simulate that problem, btit I think it was Peter Ellen- Uiiqiirsliaiiably. siiinr ii/Iheinnrliin/un1aiile[?m
the laser hits. You know, sometimes I wonder shaw who suggested that we put a little elec- 0/'TIlE BI.-{CK IIO!.£ are l'Vt'!1I¢'d In an manmitir
wh_vthey put sound effects over squibs in the trical eld under Vincent's feet to make it iiiimberifinallepaiiilings.AppmximalrlyI‘0iiiaIm
look asthough hewere magnetically attached are included iii Ihe lm, breaking all prior I)imry
rst place»they make a hell of a bang on
their own. Anyway, squibs are not always to the ship. So just that little bit ofanimation rmirds /iii lhts S071 nftrnrh; TIlI~.' LOW.‘ BUG and
accurate. They don'talways go off when they're took the curse off that model and made it ill.-lRI'P0!’Pl.VS~ Ilismfv/iliri: iiiilrrlnlhrir use

look like a full~scaled robot. of inalle /7!lf1If!!IgS—01If_\‘ had #0 and N0 inallrs,

supposed to, and sometimesthey don'tgooff
Another scene where they weren't going mpi'rIit~rI_y. Iii flI1'lt'|lY!fS iz[.\IaIle Ilepartmml Head
in the right place. So we've animated quite a
few ofthose in order to enhance the existing to originally have any animated effens at all Hrmirmi Elli-iishaze milto rhaiigrd '||.I namii [mm
was when Perkins was killed by Max and P.S. lo Harriraiiir this prnjrrl In avoid ranfiuioii
hits. We've added new ones, too, to make the
lasers more effective. thrown down into this reactor. They didn't IN”! his/alhrrk namr), I50 iiiallrs (0IISIIlIlI(S “a
Next to the lasers our biggest work came want to have a big bloody thing all over his hunk"
chest because they thou ht that that might be The hum! oflhr mam drfiarliimil is nriall and
with the animated things we did to keep the
monitors on the Palomino set alive. Actually, too much for a Disney lm. So theyjusi had iiiiassiiming. ll'rpai1 afa miiiplrx 0/Slllllffilfllllllffi
him fall on down there, and then they had tl|f(l'lf_\‘ behind the thin-/liiizr ml~bn'rk .-Iiiiiriaiiaii
Joe designed and laid all those out. Those
were the little things in the screens that were some little squibs go off. Well, when the squibs Building (in ilx I/Mllvtr, ifyoii will). Ilegiiiiiiitg a1 a
went offthey lit up his chest so well that you I940-S[$'f(Sfg7I reading "(jainrr1i"zuhirhhangsabarr
tracking stars. and telling them how much
could see that there was nothing wrong with a lung, Illl‘, ri/mi-air miirrelr rnm1Inr,_yoii head
fuel they had left, and so on. We did about 40
him. It just ruined everything,just ruined the msl, passing zuiitilimir behind which pilrs nf/ilm and
ofthose. That was about the rst thing on this
lm that we did do. Before we started on whole scene. So what I did was to put in an rqiitpinriil 11!! dimly srrii. 1‘hr.’\IalIe Depmrinriil is
electrical eld, one that just wrapped all a- on the Ir. "IV"-"1"'|1 '1/I/IHer1_\'dnti‘rL iiiar/mi by
them,_]0ewent throughthe script and tried to
round Perkins‘ body and covered up his chest. Ireo imn dmm. Brsidv amt is llte nhiqiiilmir rad
visualize what they were going to need for

34
L
i trrmnng /tght. On I/tr mvntzl hangs rt st t rierlztrittg
POSITI l'FLl'.\’O VISITORS. Insi1it'thtiZtilt'par1tnt-til
ii’; mu! ttmi qtttrt. .-I nti tlttrh. 'I'hrn' rm‘ no tttintlun-s.
II‘.t tl In:ttm' stghl I ttrltsls ntarking trtlhnttl ti Imrr
his nsstslant. l)at'id .\Irt!Iing[_;- ts/tnttlher key member
o/Ihrpmritttlion Imm. .4129. Mallinglv tsrtlso one of
Iht'_totttt_t'e'sI tttembers 0/[hr I)tsmfyfaItttly. Hrjotned
[hr slntim tn I ‘J77 ttftrr ttllrntitng lht‘ Lax Angeli‘:
I

of ttnlttml ltgh! Ar! (.'t'nIt'r (lollrgr fttr I)r.tt[_'n and Ihl tfolortulo
In lhr /in! it/'Itm stnnll rtmms. Ihrrr tm' rtfrtt‘ Ittstilttlrttf.-111 and (,'ttlrtm1IrrStttIr I’ttttwsiI_\'. nthrre I -
Ittrgrvfrttttml glass /tlttlrs stuntltng on mtrls. .\It1IIt‘ he ntztjarrd as a /i/tn slttdml.
t1r1t.tIs/mitt! tltrrrtlv mitt: nnr sitlr tfthrglttss, tfvptrrtll)‘ "l'ntt knmr. tI's no! ttrrt-ssttril)‘ stylish nmttnti the
ttstttgttt'tjI1rs. On lhr ttpfttltilrsttir 0/Ihrg/(115. tt /tim' sltttltn lrt mills like/iltns, " Jlttlltnglt said, "hut I do.
nf .trtttti~ltIt1sIrtl tttrlttlr ts hrltl In Ihr ‘z/11;; hy stttltr I 'tn tt higttt. I/rtwfiltnt, nnzltr me !ht'rt"s no better I
rlrrlnrtls T/tr Itt‘t'-ttrltnn hlttrh ttnti trhtlr plnlv is
Ihrn rrttr-/trn;t'rlrtI ttnlrt Iht'etrt'lt1h‘, anti. t'irtl.'t.'— [hr
ft/an" In he /hnn tn lht‘ s!tttiio.".~l Y/it'll/flit’. open and
lnIt'[ltgt‘YtI. .\1nIlingI_\‘ is no slmnger Io the readers of
t
htzstr In-r ttrltnn/tttrt/It‘ fttttnltttg is min/I/i'Ir. T/trrr ts lhts tnttgnzittr. Bestdrs his sln/ting rarer arlfor lhts
man‘ In Ihts />rtm'ss. ofrtzttrst‘. (II I-.'lIt'nsht1n- tat-p/ttins.
.1 /urge tntrmr is pnsilttntrti tting [hr glast
tstttr. hr nits also rreettlly n‘pn'srnI!ri V01 9 N0 I)
tt‘|Ih his/211'-/zrotlttrlinrt art fin FLESH GORDON
1 them.’
/nttnltttgs so I/tn! tho‘ ttrtts! tntt_r rhrrlt /hr rt/lrrml II. 1t SI. ‘ mi//tan project which has been rtttltlly
llIltl|Qt‘lY/It‘,-Ypl'(/ll't'(77075 nr nlh/Imh/t’YI|_t. Fmme ttmirnrrilh-tt by Amezan-International‘: Samuel the studio lnr it. With the Matte Sran there's
hlmr-it/is and sin/is tf/ilm mlrtlugtting Ihr rn1tn_\' Z Arho never any problems with jiggle nr fringing.
IiI.1(.'I\' HOLE :t'qm'ttt‘t's ttthtrh n'quirt' mrtllr ntarlz Matting!) was first hired at Disney by Hamlron The computer tells the camera where to go on
httng ttn Ihr tt'/ttle‘ tt‘tI”S. ,1 n|0t'u‘n[et sletntis tn one Ellenshaw, because, a:DavtdpuLrI'L "lmwtltatthe cad: pass. and each pass is then made perfectly.
mrnrr and tilting mm/In-r mill U7!’ mrb holding a opportunities weregreathere, and justheptbugingI it's the hero of the department.
[ttrgr nttnthrr tjl/tr ht/1 glass paintings. The setond Pete ttnlll he gave in. I
was ltuk) to get Tlieinitial nutinn lntthe Matte Sean wasn't
mom has ttnly ottr[ttnrlimt.- tl holds the Mn!!! Sran because not only is Pete the best matte artist in the what we iittally ended up with. At rst. the
(.'mm~nt ttntl [hr m‘n‘.tmY)' rtnn/tint-r httrdtt-arr. industry, he is also a tremendous teacher. owe him I machine shop here thought that the_\"d try to
.\Itt!It-pnirtlittgx nrr um! r.\-Irttsitttly Ihmuglttmt more than I tron etter say.” Matting!) is mrrenlly in adapt a entiipitterizetl drill press. Sinre this
THF BL-I (IK IIOLI-'. ntnsllrn Itntrh~ttps or t*.\‘Ien~ charge 0/the matte workfnthe studio’: neutfanlmj'/ drill press was originally designed tn malte an
siuns n[t'.\'tslttt_q srls, tt flint/t’n' nrrling Disney’: hoor/SF/ilnt, A WATCHER IN THE l1'OOI)S. endless I1lltI1l)('I' nl holes with an endlessly‘
alttltttlr Ihttl H11]!/t'J ttn‘ ntm‘l_y [inks ln'Itt'n't| one It's a prqect that Matlirtgly rls ntt|_'t mtsr stttnv preeise separation l)l'l\\'('(’lI them and rnuld
nmtm-nl rtfttrlton anti lhr nt'.\'l. H(ttt*e't't'r. there are i1lleYesl—and eye!rron's— in the /irltl. vntllessly repeat the seqttetire. they thought
tt/so rt ntttnltrr of stunning tnttlh‘ pninttngs tt'hirh Ali" rttnlribttling to Ihr look of THE Bl.-1(.'I\' this lIl;l(lllI1(‘l'§' might tnalteagnnti foundation
ltt‘mtI!t' st‘! /zit-(rs tht'ttttt'It'rs.~ Ihr "Et|!mnn' Io the HOLE tt'.'ts l)rnn Ganakzts, who tms hirrd Prter lur the Matte Scan. M\'l)l' it would. Th:-\'
0hIt'H‘I]/I17?" ttntl the "Big l’tnlm'[lrt" tnttlles are F[lt'nxhtnt- nrttrlt 20 years ago. Gantthrts. 4*, has tlitln't do it that wa_\'. though.
In sttrh r.\'ttttt/2/rs. The pm! nunthrr of tnrtllrs
11 also tt-orhni on olhvr tnrtt!t‘—he(ttj\' [)isntfr prqvrls. ll we'd ever wanterl to make moves on a
/mtiltttt-tl /Ill Iltr /1/tn U ttrk on /hr nttt/14' /ttttttIttt_q.\ tnrltttltngM.-lR)'POPPIt\'S THF LOl'EBl’C and matte helnre. we'll have a guy inst sit down
\1t1rIrt/ tn _/nttntm I117‘! ttntl tttnltnm-tl Ihrttttgh IS].-1.'\'I) :lT TIIE TOP OF THF WORLD. and (lo it frame hy frame. Ynu (‘O\|l(‘l never
()1 Ittltrr tt rrr nntlrr /hr grttrntl \tt/it-n‘t\ttttt tt/ 74' .-ls has bent [am-iottsI_\' elnphtzsizrd. Ihr Matte have dune that on this film. Y0tt'tl have gone
_it't1r—u[tlHt1rn'snn Hlettshmtt tt't'rr)‘ottt‘ rt! Ihr sludm Smn ts nm't1/'I'I-IFBL*l(.'l\'IIOL!~."sntoslttn/Jorlttnl crazy. Anyone working with the lrat1te-l>)'-
sli/I rttllt hint Pelt"). .-lllhmtgh he hatl tttttlrhnl his Irrhnttlngtrrtl hrmhthrottghs. rt far! ttthizh [hr malt! frame meth0t‘l would have taken a week per
/izlltrr/mtnlnllhts I-Illettshrttrjr. srtttl htstlhn ar1t.tIstl/\‘ apprrrtrtte. matte. at least. to get a little mnve in, and
m't't'r t'n(!t!tmgt'ti him In pain/. ntttlfrtr u (Phil! tl then. ilthey made one mistake it would have
in-trtrti ht‘tt‘nttltit|'I_/Ptlltntthittlht-rtnlu Ihrsptvtztltzrtl HARRISON ELLENSHAW ll('(‘ll all over.
/it'll! 1/ ntnltng tttttllex. Ilt‘ rtltrtttinl l1'ht1Iu'r (.'n[1t'gt'. l rt'al|_\' thinlt that the Matte Sean was the
tnrtjoriiigttt[tsi'rholng\'tttt1i srrwti tt Ihm'—_\'ear slrelrh lI\ll(l\’8lll)|1 nn this prtiieet. It was an itlea we'd DAV] D MATH NCLY
tn Ihr Ntttjv {IS an otrr mtlntarti rt hwttft rrtttsrr. always wanted to implement inr the tiepart- The Matte Sean is really helpful in that
mttkittg lhm‘ /rt/it to l'tt'Inant. At Ioosr rntls rtf/rt ment, and when we lmttid uttt we'd be doing an_\'time it moves on a painting. the painting
/ntrlng Iha ttnlt!at_1'. Fl1t‘nsh!ttt'hl‘ttYtlIh!tIttttopttng THE BLACK HOLE and the tremendous looks that tmtrli less like a matte. Mattes have
httti rmsrn tn [hr I)tsnt'i' tnt1IIt' tlrparltmvtl. Bit! hr mimlier ni mattes that went altmg with it, we tratlitimtally stoml still. and to get ltlO\‘l‘I!1C‘|‘ll
tttitntls hr mu hmlttttt tthtntt lttkittg Ihrjob. used these factors tn get the bttdgetittg from on them in the past you had to he able to
".\I\‘ /itlhrr ntttt tt/trots n-ry stttlrtttl tn his
/irlti. bnlh tn lht'_/i/nt tt|tIttsIr_i' rtntl itt his stpttmlt‘ Attttttttltntt t~/wls tltrrrlurjnr Iln/1' /1/ttls II ltnrr ht! nn n tltvttrtitttntally slttltlr phnloslnl tttttelrfrtnn Ihr/nt fmntr.
prtfrssitm as ttn ttrltsl. "hr stttti. ")'nttktttt1q[u'an1/0

I‘
at ‘on! zrhttl ttntr/alhrr hns tltntr, /tnrltrttlttrlr he's tt
IU(t't‘SS, Inwtttsr Ihrn yrnt hmtt‘ rtotrhrre logo. " .'\’t-m'r-
Iheless. in I972 Fllrttshntr tit'rttit'tl Irt gin‘ I)t'smf\" ti
si_\'-mrtttlh tr)". Ht"s hrrn there stnn‘.
:1 [mt .\Ittltf\' ttrhtt tlttl [hr tnrtllesy/it! THF SP)’ 12/’;
ll 'H(7 l.O I ‘Ell MI-'! It ‘ns tn rhztrge rflhr tlrprtrlrtwttl
ttl lhr titttt‘, ttnri tl ts .\Itt/tfr trhnnt Fllrttshatr at/Is. "rt
great Imrhrr anti the tnttn tt ‘hn frail)" shotrrd me hon-
ltt pttinl. " .\Itt1tj\- It_'/I lhr tlrprtrttttrttl ltt'tt_\‘t‘(1Y5 n/in
l;'lIrn.rhtttt".t an-it'll/. and ttt 29. Harrison tmx ttntdt‘
I)r_[2m1rm*tttrt/ llmtl. Hts rs! jtth tts hmtl
rirprtrtntt-nl trrts titnng st.\' ttutllrs for THE .4 PPLE
#the
/Z.
I)! '.HPI.I.\’C G.-I t\'G I If/lrttxhztzt‘ 'srsI tttrtrlt tzl I)is~
ntfi‘ mtltr BI'fI)I\'.\'ORS .-l i'\'l) BR()O.\lSTICI\'Sl.
Hr It/ts stnrr tvorlml on 1'ir1tmI!\‘tzllIhe I)isYt1f\‘/ilms
rrqutrtttg ntnllr mtrh. I-.'Ilt'ttshnn' has also been tn~
tvtlrrtl trtlh Ihr math‘;/or THF .\l.-l.\' WHO FELL
TO Ii.-lRTI/. Iilfi l‘l'ElI.\'I'f.§‘I):1 Y the ts nil! happy x
mlh thr qttttltlj ttflhr llll/1‘! ttt rtlhn nflhrsel and
the rnttllrsn SI-IR I11-1 RS ttntltttltng [hr by tttttu .

/itrntttts ntt1IIt' 1] Ihe I)mIh Star‘: Itorlor Beam

I’tntw Tn'n(ht. Ht‘ ts rttrrrttllv at trarh on the S 714R
UPI RS 5t‘t]m‘L THE EMPIRE STRIKES Bxl (fK,]i7Y
trhtrh ht‘ and an asstslttnl tt'i[lht1t'e‘Io_12r0rIttrt‘ ~10 I0
<1! tnttllrs in about s|.\' nmnlhs IIIIN.
.4 /lhttttgh E//rttshmu is Ihv hmti 0fIh1de_pm1me'ttl.
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 I

_\inn' unlr unr h||I/ 0/ Ihr Ohu'nu|Inr\‘ \r! mu rm-r (I171!/I'||4‘Il'!l. u

mullr /~||'n!ing nun urrdrrl In \Inm- Ihr nlllrr hull in :1 rnw-nr unplr nn
.\lu\-imilinn Nrhrll ul Ihr mnlml rmnnlr during (hr .\||-Imr .\‘I|auu1 I. ll
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Tn qr! Ihr hliulriuu r//rrl nn Ihr painlnl Imrkgmund lighl fmnrll. 2

mm mnlinn r\']mu|rr 0/ Ihr nmllr /minling mm mmir whilr
imliviJm|/ Iiqhh I|'|'r:' mmlmnlv nlurun-(I Igv In/rr. .1 nulhn rlnm
nnglr /m Ihr \n'1|r rum /ilm,-1/. um! 1h,~ mullr /"liming m rnmfrmilr i1
mu nrurlr mnljllrlr 1;’! whrn Ihr rlrrisinrl mu mullr In nlil il nul.

Srrrm 5!! in Ihr .\In|'n (fnrvidnr involvrd Illr rxlrnwivr usr 0/mullr painting; Kim‘! nn/Y smn/I /nll-smlr
urlium n[1urI| u mnniw xrl rouhl urlrmlly br rnmlmrlni. rvrn ulilh a 82!! millinn bndgrl. Fur Mr
/inn! rnnfrunlnlilm llrlnvrrn .\ln.\' and lhr I'aIumin rrrm I4) nnl_\‘ a xmnll srrlian n/ rnlzmlk and rul
3 Iarfrnulin mu Imill. David .\|nIIingI\' pninlrrl in Mr ml In add III! virw 0/ Ihr dungrrmu (Imp hrlmu ax
Old Ball Irrlrrrd ]rn'rn|in!:\I_\' nn lhr brink .\'nIr Ihr whilr /Inch o[_/mrjrh Bnllom‘\ Inn-r hi! an Max
liglllx up Ihr wall whirl: nun Iluill as a xrl. bu! nu! III! (tiling uvhirh is an rlrmrnl 0/ lhr mallt ]/ninling
adrlni lalrr. Th! mall! painling run!/or III! !'fT!! anglr an lhr rnmpmilr lhumn I H. whirh
llrpirlx lllr mrrirlor slvrlrhing In in/im'I\‘ in Ill! 0/rposilr !li1!(Iiu7|_ whunu in hlark 1I|r r.\'!mI n/ Ihr 1!! Imill.
 7
basically an industrial tool. And Ed has had a the miniatures on Stage 3. A numlter olitintes
lot ofexperience on an attitnation camerai we pro_it-etetl the black hole onto llte star-
he‘s been a cameraman ltere at Disney for ‘Z0 backing that was behitui the Cygnus. Tltat
years—which proved to be qttite invaluable. wasn't really frottrproiectiott in the clas.\ical
When you see some of the nto\'es on the sense,wltt-reyoulrottt-pt'<tiet‘ttltewholeltack-
mattes in this filtn, you'll tttttlerstand that it ground. lieeattsewc only front~proit-ttetl this
was truly at creative process to learn how to one particular segment containing the blatk
make a shot look like a camera tnove and not hole onto the star lieltl.
like an industrial move. Tlte tlisadvantage ol rearprojection has
Also, our projeionist Don Henry, shottld generally been the lack ol quality ofthe action
be mentioned. He is an extraordinary worker plate. lt goes ntuslty and gets poor resolutitm
and a great person to be arottttd. and as a result. when you go from production
footage to a rear-proiectecl |tI;tll<‘—sltut. you
HARRISON ELLENSHAW usually recognire it.‘ Becattse it's soft. Nut
Ed Secek‘s an itnponattt man tn us. You because tltt- painting's bad, hut, generally.
see, he has to specifically program the Matte because the image is soft.
Scan. It won't “in»between“ like the ACES
can. You can't give it station points on a tnatte DA‘ ll) MATH N('l‘Y
shot and then stand back while the computer The traditional problem with rear-screen
nds the smoothest way frotn A to B. You projection was that the generational jump
have to letthe Matte Scan know exactly where was real bad. Your rear<screen section got
to go each time. That'swhy Ed is soimponant. real grainy and tlupey. But Disney has been
l tell him what l want on a shot anti he goes abletoget around that bv separting sltohinto
ahead and figures it out mathematically and YCM masters.
does it for tts.
HARRISON l'.LLl:l\'$HAV\'
-"fl"! ""511 C"""l1Yl'|Y1l‘ lU"'"' 5""-'|*f1 DAVID MAT]-INGLY Makittg separation tnasters for dupes is
We—nteaning Pete, Deno Ganakes and quite common in the industry. In opticals, if
repeat your move live times on even the sim- liwent on double shifts forthis film around _vou want to achieve a good tlttpe you use
plest matte. You had to put it on a lathe-bed the Spring of I979. As the footage staned separation tnasters. But it's quite unique for
and move the camera in teeny-weeny incre- piling up we got behind, so the dottble shifts our work here in the matte tiepartment he»
ments, like an eighth ofan inch at a time. And helped a lot. F.vet'ythittg got caught up. One cause wt- use them for re;tr—proict‘titttt. I would
if you fouled up one exposure on the lathe problem with the Matte Scan. though, is the he hard-pressetl to give you an example of
bed. . .totally gone. Pete ntentionedthatthe programming. I think that everyone who \o|nel)ttti_\‘ else in the itItlttstlT today wlufs
simplest move on a matte would take a week. works with cotnputers must eventually be doing tltis sort ofthing. What's usually limited
Well,withthe MatteScan.averysimpleshot— driven crazy bythefactthatthey'reabsolutely rear-prniectiolt in the past wa\ the fact that
such assomethingwith one plate. using YCM unforgiving. When you have a program that they just projected a straight color print. autl
masters-will only take us an hour to do. A runs two pages, it's hard work checking ottt that's where you get into trouble. Ifvou break
very complicated shot, like the Entrance to the whole damn thing to see ifyou left out a down things into separations you get a big
the Observatory, took us a day and a half to comma or something, which will tnake the iutnp in quality. There's really no mystery to
do, but ifyou‘d ttsed the old method it would whole prograttt inoperable. We've had a fair separation masters. The prom ess involves
have taken a man a month to do. And, again, amount of trouble with that, where you'll taking the original live-action color negative
ifhe‘d messed uponetime— ouce— he'd have punch in a program and nothing will go. But and breaking it down into three black anti
todo it allover again. Not ottly are we finally there's never been any problems with the white separation positives. one for the rt-ti
able to move on matte paintings. but we can camera or the computer itself. Youjust have to pan ofthe scene, one for the blue part ol the
do it quickly too. watch out for those miniscule programming scene and one for tltegret-n part ofthe scene.
errors. The lab people call them yellow. tyan and
HARRISON ELLENSHAW As good as the Matte Scan is. I think it's magi-nta— hence the term YCl\‘l's—lt('(‘ittt§e
We hadtheMatte Scan in here and runrting got an awful lot of abilities that we haven't that's the way the_v appear to the negative. I
around September of '78. It cost us about tapped yet. At the moment the camera is set call them retl. blue and green because that'.\
$l00.000 then. So it's probably worth twice so that it only follows the focus on the plane the way they appear to tny eye. I also get
that ntuch now, what with inflation. Incidett- of the matte. In the future. we ought to be confttsetl easily. A|i\M'a\', vou takethe negative
tally. we've got this huge Bausch 8: Lombe able to set the lens so that it can follow any and project black anti white stock throttgh a
anamorphic lens on the Matte Scan for this kind of focus. Then we'd be able to set the succession of filters. a red lilter, a blue lter,
project. That lens goes back to the group of focus beyond the plane of the matte, which and a green lter. We load the Matte Scan
lenses that was built for 20,000 LEAGUES. means that we'd be able to get into some camera with color negative film and it then
It's really an unusually sharp lens, but it's really deep multi-plane stuff: five or six dif- records all three of these black and white
prettyunweildy too. That makes itahassle to ferent tnattes extending all the way to the separation positives itt perfect register. First.
use for live-action shooting, but it's ideal for back ofthe room. Nothing excites me more the camera records the blue record. Then the
our uses on the Matte Scan. than a matte that has a lot of depth. It just lm is rewound to its starting point and the
doesn't look likeamatte when you've got that red record is recorded and the saute process
DAVID MAT]-lNc'l-'Y elfect on it. is repeated with the green record. The film is
When we want to use the Matte Scan we then rewound a fourth and last time and an
just tell the cameraman to put a light in the For nllils eidittmrss, UtlMa!t!S(a1| would hr exposure's made for just the matte painting.
camera and then we say “Here, make it do tobuiutuly) worthless tfilhndrcl :o1nztlung1aphn1o- Because ofthe fact that you can reduce these
this." Pete tells me that in the old days it used graph The mall! paintings are rumbinrd with the things into three basic elements, you're now
to be that the painters had no control over the liue-azlinn plate by a method rnnrisling oflwo t'mrr- allowed very critical color control. You get
matteswhatsoever, itwasthecamemmanwho able rinemalti mzlhod.t— rear-pnyrrtian and 2-rlnp. dupes with a very high quality. Really. it's
shot the thing and had the last sav on it. It's very much like the oltl Technicolor three-
totally different here. We have all the control, HARRISON ELLENSHAW strip metltotl. Three-strip basically did the
which from my standpoint as an artist is how We utilize rear-projection to put the action same thing. That's how they got such great
it should be. But don't get me wrong. Our plate—that‘sthe platewiththe actors, thelive color saturation.
computer cameraman, Ed Secek, deserves a action stuff— ontothe back ofthe matte glass.
lot of credit. Ed pretty much leamed to pro— Most all of our matte shots on THE BIACK DAVID M’“TlNCLY
gram the Matte Scan all by himself. The com- HOLE utilized rear-projection, although we The quality det'i\'etl from Dism-_\’s YCM
pany that sold us the computer really didn't did do a fewwith bipack and front projection. masters is incredibly crisp. For instance, fora
understand how to use it on mattes, as it was Front projection was used in association with few moments during the “Entrance to the

38
Ohsor\'atot\" shot. wt-'rt~ ahsolntelv tight on .|l\\‘l|lI(l\‘ olse tlitl. I ’ d
the roar-st reen pro|ot'tion Uli the Palomino I tltittk that it'\ good th.tt pt-oplo .trt- now S
N
e
lT('\\' itt tho olevatorantl thort-"s no painting at .t\\'.n'ooliolilorts in lilmsantl how tltt-\"t't~dunt-.
all in tho lrinnt-. Tratlitionallv. \'nu'tl sav tltat B:-t';tt|st~ oi this, it ltnt ox t-\'or\"ont~ III tho _ ,
tltat shot wtntltl l.tll apart. But tlit-tlupesoction li\l\Illl‘\\ to ho that ntnt h ht~ttt~r. Tlu- higgost
wo‘rt~ on is so gtiotl that it looks like original tli\atl\'ant.tgo .tn t'llt’t'ts porsoti has is that , d
ltltn. \‘\ o re te.tll\ qntto ptontl til th.tt. \\ ht n \tItI\ttIIlt' stt.\.tlt.|tlt>pttt .tlurmun.tturt
tantttattle. MI pt-rt't-nt til |it‘tttlt|<'ot'~ \\'Ill
,
\.|\. ‘ I gh! (totl. Int nt\tt going to tlst‘ A. -
\\t~also |ttcreast' ottrqn;tht\' ht-tau.\e wo
. .

tnittto shut. l.tmk l\t>\\ t'rumm\' tht-\' art-I

uso a \'|sta\'isiott t'atnt-ra wlton we lilm tho
2tt‘tt)t'sottt on the sot. \'t\ta\'isinn gi\'t-s a \'t-r\'
\\'t~ll still‘ man\' HI thetn are trntnm\' like
tlteoltl tlit hotl ones that rt-atl sotnotlung liko
'
gootl nt-g;tti\'o with a \'t-n‘ good t'('\t)llllItIIl "l$T.~\l\'lll‘l.: l‘H7." antl tlton Iht-tt-'\ thi\ -
hecause it‘s got t\»'it’t- as |tlnt'h nt-g.tti\'t~ to awlnl painting itt hatk Ul it. But o\'ot1'hotl\'
hegin with. Twit e as murh negati\'o with twit’t- st-os tho h.td tn.tttt-s antl noliotl\' st-ostltt-gtmtl
as tnut‘h sil\'or on it antl twice as tnan_\' little ones. Ilwt~'rt' lortun;ttt- onough to ha\'t- all ol' Cotnmantl Tower— the Ohser\'ator\'—lor tlte
piet es oli grain to holp t‘t*st>l\'t- t'\'t-rvtltittg. our tnattes pt-rleet on THE Bl.-\(IK HOLE rst time. This shot ht-gins when the ele\'ator
This reall\' t-litnin.ttt-s a lot til tht- graininoss tantl wt-‘d hottt-t'— iliwe onl\' h.t\'t- Ill pt-rtont stops. Tho eatnera tttoves up towards the
\on nsuallv \t-t- itt a matto shot. \\‘t- also \t.\t' olour paintings look hatl itt this that's still Ill tltmt'\. the doors open, and tho\' step out into
Leiea still-catnora lonsos on our \'ista\'ision port'ont oli I “ill. whirh l.\ I 5. antl I 5 hatl tl\.tltt's theoh\et\'ator\' ntatte~ all in out-shot! That's
ratnerzt. \\'hit’h have got to ho tho ht-st. I just is I5 too tlatttn m.m\'t. thnso s.||ttt'pt't|tlttt't't's exriting. All tho stulli that happens helore
ltat\'t'n't lonnel a hetter lens for this typo til’ will \a_\'. "See. tht-\' tlitl THE BL.-\(‘.K HOLF. the)‘ step ottt into ll\t'lll)§l'I\‘3(()l'\‘ is an excel-
work Using \'ista\’isiotttltis wa\' iSl)t'(‘otttittg antl tho\' ditln't use an\' mattos. Look how lent example of tho good registration that
quite ctunmon itt tho indttstrv. STAR WARS gootl it ltuvkt-ti." So. rt'all\'. in the otttl. hi‘ Wt"l't‘)1<‘lli"Il\llltltt‘feat-]'1tttI€'t‘tit\ttPTOCPSS
\hot a lot oi their t~Iiliot"ts stulliin \'ista\"isiou. looking gotttl \'tllI lntrt _\'ot|t'st-ll. I\'oliotl\' wo use: that whole thing's rear-projerted,
and we shot all oliottr nt.tttt-—shot plates using knows tho t-lliect is tht't'o. tnuch loss who tlitl The Ol)sen'atrirv shot also has the most
this process. it. B\' making \‘our stulli I'(‘((IglIII;|l)ll' you tnttnhorololements ttsed in an_\‘ol'our mattes.
ma\' rt-t'ei\'e rt-t'ognition—gtttitl orlnkt~w.trm It's our most romplex shot. There were 3
1'tttlt'r[_mtg lhrttrluttl/thtxttvtlprntlttrltntt ti/Ihr — sitnph‘ hv tho fact that it slto\\‘\ up as an plates in the bottom for our YCM's. one on
tmtllrt n't|dt'rrtt'!rv Fllensltttttt, .\I1tI1|ttgl_\ 1tttd(;mt~ l‘llt't’Ih shot. Antl that's hatl. Roall\'. l'tl ratht-r t'at'h side. 4 for the humanoids, one overlay
alter tt tt mtt.tt.t!t‘ttl fthtlnxn/ah}. sltltmi ht‘ all Ihrrr he attttittvttttitts. You're nt-\'or going to ho lorthehttrn-in. andthenone lorthe painting.
ptttnlrrs, mt !!u'_mr1|mt0/tmtl/rlmttttltttgs!Itrnm'!t*t-x, tntly latnnus ttntil \'ttu tltt a tnatto st>\s‘t'll that That tnakes I I separate elements in all. Then,
it tloestft show. nlrottrse. we hadtn exposethem threetitnes.
l):\\'lD l\‘l.*\T'TlNCLY
I hont'stl\' tltittk that Pete's ttttitutlo to- F!/etttlttltt 't Ihmlt-trig ttrttir, lltr "I- ttlmttrr In Ihr DAVID MATHNGLY
\\'ard.\ tnattos is the host in tlto husiness. A ()Im~rt'11lnr\" um! I/tr "Iltg !'mhn'I/it" umllrt ttrr We also put a little light behind the Olr
tnatto is hasirallv something to get \'on lrutn Itrtl/ttI|ltItYt_t_'.t Hm! ttmnrtlnt/rI_\ mlr/t I/tr t_‘u‘ I'IIF set\‘ator\' tnatte to get this halo twilight on it.
one piece oi lilm to another. A matte is not a BIA (.'A' H()I.F nltu t'nt1tntn.t til/it-1/ttttttltrigx, tnmr Cenerall_\' you tlon‘t get halation on tnattes
“heantilul painting," ltt tlte past a lot olpenple ttnlttttg, mttir ruhllr. nl[t1t'.t|_t_tttr1l/iirmnxtnmtntfw hecause to get the elfert you have to move on
have hatl tho ttttitutle that a mane is supposed /II‘t‘l|1‘Xt. it to get that sort nfcel halatinn. And nlcourse
tohea“heatttifulpainting,“antlnntsomething we tnnved on this matte. right on up to the
net'essaril\' designed to Ilon quite nantrall_\' HARRISON El-H:-Nsll-'\“ ceiling. with the Matte Sean. You get a honor-
with the film. The oltl-timers still protltice The Entranct-to tho Oh\or\'att>|'\'. \\'hit'h I ing (ll light oil the lens and it's pretty excit-
“beautiful paintings." Their mattes may he |I1lIIIIl'll. has got to hoonrla\'oritt-shot. t§nrg- ing. It really sells the matte as being big.
tnore tt-rhttirall)‘ heatttiful to look at. hut I nint-. Mitnioux. Forster, Porkitts and \‘int"t~nt We had a lot olprohlems with that matte.
think that our own mam-s are exceeelingl_\' are fttlltlttg up the l'l('\'1lltIl' to the lop Ul the but basicallyitwasjttst gettingthe cnlormatch
good in that they're ittst a piere oliliiltn that
gets you from here to there. They don't inter- Ilttrntnn I-/[rttt/tntr H nrkt mt llu I’tt!mnttm I’ntn'r Trrttt/t, lhr tmtllr smn mtltem Ittml u/1/nrlmtttg hrhtml him.
lere with the story point. Disnt{\' also has the
attitude that tnattes should he primarily ttsed
to give you an idea that a whole set is there
when it really isn't, that what we've added on
to a set makes it look like it's worth a million
dollars, and not the hall-million it rt-ally cost.
And this kind nfmatte shot|ldn‘t reveal itself
as a matto.
Adtnittedly. somt-times we break down
and do the shots where e\'erybotly goes, “Wow!
That's great!" — the Ohsen'atnt§' shot. the Big
Umbrella. things like that. But that, in the
long run, is not in my opinion what a matte
should heall ahout. It should be about making
the lm progress from one point to the next.
HARRISON ELLENSHAW
The Disney publicity department has lin-
ally decided to make tne Famous and unknown
at the same time. They really have. This is the
rst picture we've done here where we've
received any recognition at all ofthe fart that
we eontrihuted to the lm. For example. in
.-1 mmmn (.'|rmn1t!ug1nplt!r there was no mention.

much less examples. nlthe matte work I did

on STAR WARS and PETE'S DRAGON in
the issues they devoted to those two ltns.
Whieh I thought was a little remiss. because
we had as tnuch to do with those two films as
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on that. The lights were so hot everyone was that we had to deal with.
Q dying; they must have had about 50 Seniors There must have been 50 mattes during
trained on thisthingjust forthat little central the laser ght, and we had to add them in
section. Then we had a painting ofthe rest of here and there. And lasers are a pain. They
the hole and a series of six burn-ins that can take you halfa day to do. It's boring work
looked like little gaseous swirls are going a~ standing around uncovering slits that you've
round it. Then the outer area had a diffusion cut into a black background. In fact, it could
effect put on it. take up to a full day to redo them, since there
was such a multitude oflasers. Some ofthem
HARRISON ELLENSHAW went together very quickly, and some ofthem
Most of our mattes use single or double went together not at all.
plates, and we usually try to put some kind of One interesting thing that involved mattcs
,;.:» .
move on them, becausejust a slight move will originally wasn't designed for us at all. That
take the curse offit. You don't want to overdo was the last shot in the movie, the shot ofthe
v>;5r*.e
': '
it, though. because then you'll have gone to
the other extreme.
haloed earth. Art Cruickshank was originally
going to do that with the ACES attd a ntodel
;»=
ta

. ~,, We originally tried to do a lot of glass Earth tnade ottt of plastic that was about I5

-
‘ ; :s=:‘ =

x. . shots on this, that is, where you shoot through inches in diameter.
a glass pane on the set itselfand combine the
matte right there and then with the live foot- ART CRUICKSHANK
1*»:
age. But we were ttnable to do it. The disad- Originally we'd planned to come off the
t
. - , vantage to glass shots, and this is what stopped Probe Ship and pan over to the planet Earth.
X .» E '. us, is that there's a tremendous amount of which is surrounded by a halo. and then,
_ . .
set up time involved You ve got to set the graduallv, move towardsit. Themusic would
'-§.
a. as ii ',= ‘ camera up, yott‘ve got to put the clean glass have swelled and then the end title would
'“ “‘ “ ' up in front ofit, and then yott ve got to start have rolled over it. But it didn tworkoutthat
-V11"! "'1"! IMP!!! »"II”I",€l_\- painting on it. Well, to have everybody stand way. We'd been working on it for about four
around while you aint is not exactly the hours, shooting it with ACES, when we sttd-
right onthe humanoids nearthose hugeballs. thing to makeaprod)ucer happy. There‘sjust denly lost the whole thing. I had had four
The hardest thingto do is match pure color to too much time involved. We did do one glass lights taped to a metal rod that was holding
pure color—theeasiest is to match onacomer shot, however, a very minor one, when they tip our miniature Earth. and the metal rod
or on the edge of a building, something like rst walk into the reception area on the Cyg- heated up to such an extent that it melted the
that. And Pete had to face matching pure nus. We kind of added a little to that. Not plastic the tnodel was composed of. And it
color to pttre color fottr different places. nutch, though. drooped. So, after getting a little mad about
the whole thing, we revised our thinking about
HARRISON ELLENSHAW DAVID MATTINGLY sweeping off the Probe attd ottto the myster-
The tnatch was difficult. It took a long There were a lot ofthings that combined iotts planet. Now wejust have a background
time to shoot. too, a day and a half on the mattes and blue~screen. All ofthe stuffwhere with a painted planet on it for the tag of the
Matte Scan. And it took tts four or ve takes the Palomino floats in front ofthe black hole, lm.
before we got it the way we wanted it. Now we for instance. There's anothershot where Schell
also have another, similar shot that's at the rst walks out to meetthe humanoid who has DAVID MATHNGLY
bottom ofthe elevator, when they‘rejust get- gone through the hole and come back in the Peter tlid the big Earth paiutittg. I think
ting into it. That's the “Big Umbrella.“ ProbeShip.Allthey'd built wasthisglass hall- Pete's version looks better than the tttodel
way which went out to a piece ofblue-screen. did. We ran one test on it and then shot it. We
DAVID MATHNCLY We painted the Probe Ship behind him. That's got that halo effect in two passes. The rst
I painted the“Big Umbrella" matte, that a real simple matte, but it did save money. time. we just shot the paintittg itself. The
shotwhenthey'rejustgettinginto the elevator second time throttglt we didn't light the
at the hottorn ofthe Captain's Tower. Peter HARRISON ELLENSHAW paittting. We pttt a very heaty light-source
Sr. had designed it so that it was supposed to Another series ofmattes we did was called behind it and then Harrison took an Xacto
look like it was entirely held up by spars. the Main Corridor Laser Fight. This is when knife and scntpt-da hulein the paiutingaround
What the prodttction gttys on the first unit did the sentry robots walk out on a catwalk down at the otttside ofthe globe. To get that diffusion
was to ditnly light the full-scale set and then the end of the main corridor, and Bottoms on it. Pete pttt some t-aselitte on it and then
pttt up a bunch ofspars for the rst I0 feet or and Forster are on the bottom ofthe corridor ntbbt-d it otu. So when the catnera went by
so ofit. Then we painted it all the rest ofthe climbing on and over these big tubes and the second titne, you got this gentle glow
way tip, to rttake it look like it was inside ofthe dntms, and both groups are ring away at around the rim ofthe Earth and, as a plus, all
tube and holding up the Observatory itself. each other. All we did was reduce this scene, these rays of light shooting out frottt it. lt‘s
They then added a whole bunch of blinking add on some detailing to the side ofthecorri- really quite effective, considering how simple
lights. We ttsed one action plate, where they dor, and then make the main shaft appear to it was.
walkin front ofthe elevator. Then we opped go on forever. Then, for the big laser ght Other mattes that are important include
it tothe other side to makeit look twice as big, itself we had about 20 shots with mattes in the rst tnain corridor matte, which you see
exccpl that we cttt the people out in the flop. this same corridor. We combined painting when they rst land on the Cygnus. That
There are a number of other mattes that with some miniature plates, some liteaction gives .1 real ft-t-ling of depth to the ship. The
are important too. One of them is the black plates, attd a lot of blue-screen. Vincent and matte shots ofthe crew up on thc ledge at the
hole itself. We ran into a problem on that Old Bob come diving down on the sentries, end are pretty imponant too, because that
because you had to see it move in space. If and they shot that against a big blue—screen. whole seqttence has no sense of jeopardy
you had thisthing suckingin everything from We put a lot of tnoves in there on that. without your tutderslantlittg that they‘re way
ntiles around, the distances ittvolved would up there in the air and coultl fall off. Those
be so large you wouldn't see any movement. DAV“) MATHNGLY scenes didn't really work until we got the
And of course, since it also absorbs light, it The laser- battle shots were really a lot of tnattes in there.
would be invisible itt the real world. So, rst, trottble because there were so many ofthent.
it was made visible, and then a spin was put Another problem was. and itt no way is this .\ft1tt_\‘ nlhrr mallrs In-I,» Itmt nrriinary srlx into
on it so that you can just §(\(' it move in 3 12- meant to bea rrilicisttt, because it wasa minor .tprrluni[ur.tt'It llmfglllltl((!‘1|!‘II!lIngY1‘r|Is(1’m'J. For
second take. Who wants to see a black hole error. bttt the miniature guys were just alittle r.viunpIr_ I/trhtmtrmntlltltrmlJt':‘m' rmtlumi mt
that looks like a painting? bit off on how far apart the tubes that run Ihr mtmd.tIr1gt' tvilh jut! the slur bar/ting: Him"
The linle area in the nriddle ofthe hole alongsidethe main corridorwere. So that led ,\faIIingh' nmllrs m-nlnl the ralhrrlml. Far,n in-nr
was achieved by using the vortex tank. They to minor differences between the full-scale whm-lhuzrlort walk IIIYOXS Iht‘/four a/'1lw(.'r1p!nin't
were shooting at about 350 frames per second set and the little miniature, minor mismatches Tntrw in from nf lhr hlinktng mmpult-r rlisplnyx

42
 ting real nervous about it. They said, “Uh, I ' '
.IIailiiigl_i- miitrhi-iiIhrprniliiclianiatngehvrantirig
hale: in tlir inallr painting, bath-lighting it and no. . .it's not tnie.“ So I would think that it Pur
putting lt!l_\' piirrrr oftapc utter the hale: that were to was originally written into the script that way,
t e

i
liliiih. To III(1kl' Ihr lights blink, ri/iuframesiiioiilrlbr and I helieve that that was what they had in
.Il|0llt‘Il'l Ihetapron, l'It'7I(1fL'fY"|€S iitiththetnpc mind. But I also think that a lot of people
h I
a Brit l'I't'7l after all the mattrs were painlrd and
/ilinird, mart’ had tn bi (lane.
thought that that was real pretentious, so there
hasn t beeti anyfurtherdiscussion about that
interestin end of it.
t
'I
e wor d
DAVID MA-n-INGLY lihingl should also mention the fact that It S good, nobody
Towards the end of prnductioii on THE the rst day I canieto Disney I was allowed to
I - ,
BLACK HOLE we went back and corrected
our mistakes, by picking up the mattes that
try my hand at painting niattes. Traditionally,
an assistant starts out by Cleaning brushes for
a longtime. Not here. Disney lets vou work.
ffOl'II llS- |i It S'
had stars on them. When you do a matte
there's a ieiiiptatioii lorlint and otherloreigii
tnaterials to land nti the matte. Ilynii then
This place is a great spot to train in, and the
opportunities are excellent. Now I don't nec~ wonlt
spray over that stulT—we use a gloss in the essarily know how the critics are going to _
matte room in order tolmake the colorsnpop receive THE BLACK HOLE, but it's a pretty It-
nut~yoiigetalittle brig itspot, alittle re ect- excitin lm and it's denitely m kind of
ing star. And we had to go back and get rid of lm. Irilthe ast Disney has not beeii making
a lot of stars on the cathedral sequence, for my kind of lilm. The mood of THE BLACK
instance. There were a lot of them there be- HOLE is very serious. Gary Nelson is deni- people in Des Moines know as much as you
cause the sides of the cathedral matte were tely not ofthe usual school ol'Disneydirectors. and I do about matte shots, because they can
real smooth and dark. almost black, and that's His style is very dry and concise, and very sure recognize the bad ones. So I may try to
where the most foreign material would nat- unlike the Norman Tokar-style Disney direc- say how good we are, and what a good depan-
iirally show tip. You can see sortie stars in tors, who are good, butwhose styles are more ment we have, but when it comes right down
other lms. but the maties we did on this juvenile. THE BLACK HOLE doesn't have to it, we really have to back it up. Hopefully,
picture are in really good shape. any cute mechanical dogs it in. Well, the onTHE BLACK HOLE,we've accomplished
robots are a little cute, but they're also well that.
HARNSON ELLENSHAW done and exciting. I'm really excited about
Gary Nelson is, erhaps, the most under- this project. It doesn't look like STAR WARS,
standing director l'l:‘t‘ ever worked with. He it doesn't look like BATTLESTAR GALAC~
was also very trusting, in that I could say, TICA. The Cygnus alone is really dilierent, lately, it's bzcnrncfushiannblr to rationalize the
“Look, what we talked about earlier for this very Victorian. practice nfkreping a tight liii an ii/ilrn's story l|7I!.
shot just isn't working otit. Let's try this in- The studios tell iis it’: necessary l0pI(t'P7lllllII!7!|jD7
stead," and he‘d say, “OK, ne. We'll try it." HARRISON ELLENSHAW produllinnsfmin being imitated on the rhzup be/brr
In a situation like that a lot ofdirectors would We've really set ourselves up here with the they're released. But JIM/7l! arithmetic trlls us that
have said, “ Look. we talked about doing it number of mattes we have in the lm. You Majnr Movie + Hush-Hush Plot=l.o!t,\1orc Ticket:
this way and this is the way it's gotta be. Now see, no matter what I say or you say or the (who's kidding uiho?).
get back in there and do it." Gary's also been publicity department says, our work nally THE BMCK HOLE izlm turccmbzd to this
a big help in that he'sa very visual person. He sits right up there on the screen, all alone, for pmrliu. The unknown nature ofiti climax rcsullnl
can think abstractl_v, and not all people can all the world to see. Ifit‘s good, nobody can in a growing Swell ofniriosity. Riirnars tune recry-
dothat. Foralotolpeople you have to bringa take that away from us. And if it's bad, all the where, cach purpizrting to haw the last my an the
sketch to them. Not Gary. He's got a great bullshit in theworld won't make it any better, ending qfthz slot)‘. Sarnr— that after mlerirtg the
memory and a great visual sense. It's also It really sits there. You open up your heart hale, the survivor: wound up asfzcls tin the SI.Il!7l!
been great working with my father. This is and soul with maties, as much as anything C'td!l—lUt reportedly undersrrious studio (antid-
otir rstjob together, and it's been nice. When else in the lm industry. In the last analysis, nation. 0lhlrX—lllalllt!t‘1!u'Iun.tlu be (lI7!Ill(lil‘lZll_\l
he did his production sketches we were able
to use those directly as the sketches for our Pctn Ellmshaw (right) lming the Eli-I ii/the I"-scale Vincent against a rmatt section afthr Palomino.
mattes. Being an es-matte artist, he under-
stands what can and cannot be accomplished.

DAVID MATTINGLY
There's one interesting facet to THE
BLACK HOLE that I know nobody else has
talked about. and that's that I still think that
this lm has an Hitlerian overtone to it. But I
can't seem to get anybody to talk about it.
There were a lot olthiiigs in the original script,
lines that have since been cut. At one point
Reinhardt said, “It is only alone that a man
can achieve his full potential," or words to
that ellect, and then someoneasks him, “Who
said that?" And he pauses and replies, “Goethe.
Whenever in doubt, it must be Goethe." But
it was Hitler who said that. Now, basically,
the story is about Reinhardt's whole crew
being ttiriied into autoniatonsand killed. And
the machinery takes over, which in certain
disciissiotis I'd had with people was supposed
to reect a Nazi Germany-type ellect in the
lm. The machinery had taken over and it
was no longer a human system. But when I
staned to mentionthat. . .weII. at rst certain
key people cotirmed that the writers had ‘Ir
had this in mind, but, then, when I started to
pursue it and say, “OK, then what about this
and this and all this?“, everybody started get-
 t
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4
 r
tion problems, and besides, the vortex was mounted on a base that can rotate 360°. We
full of pigtiieiits. so there wasifi inut'li re- rented out one from Fox, but itturned out to
ilectiiig to be done. be archaic, so our people over here designed
their own roundie-roundie for our miniature
With the I'iirtt-.\- Tan/t as his slartiiigpiiirit. t.'nii'1h- shots. The one we got from Fox did work on a
shank set out an 1| riiiriplimlrtl it-nrh prngraniiiuhirh one-to-one scale, but it just wasn't practical
rontinittedthmitgh .\‘tit‘t'rtiber I117"! l!lI‘0lI'i7| nwy on miniatures. There's one shot we used the
phtisi-ofTHf.‘ BL-iCl\'H()I.if‘s tperinlphntagrtiphir roundioroundie on that I can remember
t]>'rts—iiirlitdiiig that t'lttJIt'r' i‘lt'niit.\'. Om‘ ofthe right off, and that's during the laser battle
first derisioiis In be inarlr was hilt!‘ tn reprrsrtit the with the sentry robots. Vincent does a S60“
slam‘ b/or/tnvss of oittrr sport‘. loop during one of those shots. That was the

ART CRUICKSHANK rOu'?'liii?-lbtiilgki-gtliime we ever had the ACES

Actually, there were iliree star liackings tied upwas for I5 hours, and that was forone
that were used in the picture. One ofihein oftheopeningCygnus shotswherethepeople
was 30 by 60 feetithat cost around $20,000. are traveling in the air-tube down the length
The second one was smaller, 28 by 42 feet, ofthe ship. We'd shot that in one continuous
and had one foot by eight inch lateralspacing take, in miniature of course, but it wasn't
behind it for the light source~iheri~ were a used in its entirery. They broke it down intoa
lot of btilbs back there. The I6 by ‘l0 foot series of short cuts later, I do believe.
backing was smaller still, and portable. We There wereavariery oftubes that we used
could moveitfromoneininiaturetoanother. for the air-cars. A full~scale one, of course,
dependingon wherethe itiodels happened to and a W‘ model that we used to shoot the
be set up. The big one was cut up after I'd roller coaster ride. We also had a 3"-scale
finished shooting the high-speed miniatures tube, a tnie 'A"-to-the-foot tube, made from
A camera’: rye I'f!It‘ o/prlpllnng the l'ort(.\t tank against it. It was also too big to he installed in K" plexiglass tubing. This tube was 48 feet
n blue-rrrerrt lming I1I‘!Y)t!t1d at high spmts. the old dry tank, the 20,000 LEAGUES tank long. Itwas on aminiature inclined ramp that
—we stire got a lot of mileage otit of that. ran down into the 20,000 LEAGUES dry tank
1yg7|5;r1)|{(] mpg bodily}; u_ty|1i['|_t—1ii(yf rimply didn't we?—wht-re we e\‘entually ptit the 28 A small Arriflex—it was a sky-diver's camera
mm”; ,1; [m;t,",, mm, liyi,-,,»1)|,;ti)|,,[¢,,,1;,,.,1_ M,» by 42 niodt-I. actually, the kind they put on their helmets-
All ofthe siarbackiiigs were inatleofiinis- was then run on trackswhile beingsupported
man who was respoiisiblzfor/ilming !heiiaL and
actual rli'ma.r— TH!-I BIACK HOLE's Dirertorif lin. We punched holes in the material to get on a little platform through that tube, so we
Miniature Photography Art Cruirhsharth, itriqiier- the star effects, anti I then both front anti could get our POV shots down. Wealso rented
tionablyonz ofthe mostimportantindividitalronthe back-lit them. I mentionedtliatwehatiabig that from Continental. Grip power got it
project. Not only did (Zr-uithshonk supmtise all of light source? When we were shooting at liigli- through-we really went down the tube for
THE BL-i CK HOLE‘s staggering volume t{minia- speeds on the big star ii(‘i(i, I had I.2‘0,tI00 that one [laughs].
titrrphotograplry, hz also tuorhrd rlosrly with both the watts oflighi back there. It was quite impres-
optiraldepartmrnt and the/iCES dewlopmriit learn sive. That was one of the largest light sourcesl Aer first meticulously ciiristrttcting and photo-
His rst partttipatiori in his primary area, hoiurwr, ever worked with. We did have the problem graphingthzelaboratz miniatures, Disney ectstuh
mm: with the creation tr/'the]ilm's mast important of bulbs burning out all the time, btit there nicians than had to destroy their handit.-ra. And not
elementithz blarh hole itself were so many ofiheiii that when it happened with just iz single, simple explosion No, the script-
a star would blink and that would be it. writers and designers teamed up ir a number of
ART CRUICKSHANK Peter supervised the painting of the star nzplosimis, destruztitie collisiaris and szmes ofgaladiz
In order to achieve that swirling central backings. He wanted to go for a slight veil demolition. B_vthetimet!ie_v'rr through, nothingtltlzji
section ofthe black holeiwhich, inddentally, effect. he just didii‘t want a totally black sky. intact. What happens, you may tuondzr, to the ram-
was the first effect I photographed on the So he worked otit a nebulous kind ofshapeless eramni shooting close-ups ofrxploding miniatures?
show, somewhere around May of i978~it pattern on it that went from total black to a In this case, nothing. "We were mitlioits, maybe
was necessary to first build a clear plexiglass rich blue. He then treated it with lacquer. min!) rauti0it.r," said Art Cntichslianh. To/ilm the
tank. This was six feet in diameter and six feet which increased the ctinsirast on it and gave it first major rune ofdertructiorg when the '4"-scale
deep, and an impeller was installed at the adeep, sort ofdiinensional look. it also inatie Palomino crashes into the Cygnus power center, a
bottom of it so that when we filled it with it very reective. It wasa heck ofajobioliglit pla.iIi':.ihizldprotect:dtIizi:amzra(whi'ah wa.tiuhim'ng
water we could create a whirlpool-like effect. that thing, because it was a mirrored surface. at J60 jps, or about I5 time: normal speed), the
It was actually a little smaller than what we'd Eveiytiine we changed the camera angle we camna operator and his assistant were inside a box
originally wanted, but there were enomious had to move our lights around to prevent and everyone else on the set was behind a viewing
pressures involved in just that volume of ourselves photographing the light's reections. port
water. We finally lost the tank to that. It split Before ACES came on we had a stop-
right up the middle. There were over i,000 inoiioii rig called an Acme Rackover. anti we DANNY LEE
gallons in it, too. Fortunately, we'd put it in used that forthree or four shots. Phil Meador In this business it's the norm to destroy
the old 20,000 LEAGUES tank, so when it [son of Disney animatorjoshua Meatior, the models, whether ir‘s an automobile or a boat
broke the water was captured andjust didn‘t inati responsible for creating FORBIDDEN or whatever. Regardless. Ifthat‘swhat’s called
flow all over the stage. Not so fortunately, PLANETs Id monster] and I worked on some for, that's why we build it. But I hate to see it
john Mansbridge and some other people were close- tips ofthe operating Cygnus air-tubes. happen. I particularly hated to see it happen
in therewhen it lei go. That came asa bit ofa The two of us also did a close-up of the '4" on THE BLACK HOLE in terms ofwhat we
surprise, I should think. Probe Ship coining in for a landing on the went through to build the miniatures in the
Now, when we had ourvortex going, Peter Cygnus docking platfonn. That took about rst place. To get the explosions we wanted
Ellenshaw would climb up on a ladder and six hours to shoot. We put a metal rod on the we had to experiment until we came up with
drop various colored lacquers intothe water, nose-cone of the ship and then lowered it soitiethingthat t the particular scene. When
which stayed in a state of suspension and ontothe pati. The rod was never seen because we blew it we'd usuallydisintegratetheobject
didn't combine with the water itself. He kept we SlOpp(‘(‘l lowering it when it was within at the saitie time. It's a tiifficult process: it's
that up and up—we shot a lot of footage of about halfaii inch of mot-ing into the frame. not easy to scale down a major blow-up. Can
those swirls— until he nally got what he That rod was connected toaworiii gear and a you imagine someone coming up to us and
wanted. Then we suspended a Photosonics calibrated wheel. Our turning increment on saying, “I want to strikea match, but I want it
camera overhead and shot straight down into that was fire degrees, which worked otit to be to be scaled down so I can strike it at I/16th its
it, at I5 times normal speed. The whole thing about one or two millimeters per frame. real size?"
was backlit by I6 nine~lights, which meant WP also tiid sortie photography with a The W‘ Palomino was suspended on a
that there was quite 3 bi; of heat to put up roundie-roundie camera on THE BIACK pylon which was connected to a ram, and
with. Since it was all backlit, we had no reec- HOLE. A rotindie-roundie is a camera that's when we slammed it against the section ofthe

46
i Cygnus with the power center on it the con-
tau itself actually set o' the explosion. We
. .
installed a sort of lead sensor-wire on them.
right onto the camera. We pointed the ratnera
up towards the rafters of Stage 3. and then l
. .
put a 20 mm Teclmnvision lens on it and
.

"am
-
and when thev touched thev closed a circuit protected the lens with at plastic huhhle Then
and blew. Sort oflike a contact switch. The we built shields for tn_\-selflanp the camera Oh
Palomino and Cygnus were also packed with assistant. and the effects peop e t roppetl those - I
primer cord. which is highly explosive. and things directly down onto us. Sincethev were
work‘ It
then we added some rtapthalene to color the
fire. The Palomino mmtaturewas composed
at that height. there was over 40 feet oftravel
on those balls and you got .t mte sense of
never
of steric acid so nobody’d be hurt by any them hurtling through space. l then lit those
llying pans. things with e\~er_\' art" light that the studio had.
all l9 nfthem. and put red jels in front ofthe
ART CRUICKSHANK lights. I was cranking live times normal speetl ,
Forthe final break-up. many modelswere on that. We wt-re shouting the meteors for
shot in the steam room. We destroyed them, about two weeks. and then it was inst a matter
the full-length Cygnus and the K" sectional ofrunningthe footage and selectingthe good
pieces. in an area enclosed by black viscuene. stuff that wt-‘tl matte in later.
Not all the models were destroyed in the track. We wanted it to be bouncing around
steam room, though. Viscuene, by the way. is 0/ all inmleing the mt‘lt'0!.t. am‘ Hl
the shnls and rolling and really tearing apart that cor-
a shiny black substance that's very similar to prmirulnr allradrri n spmal nmmuil if
rare mul ridor. So it was mounted on a device. and
the materials they use in trash bags. All motion all;-nlinn trml tnt(nirtr|(1rt|InlI_\', i!'s /me rflhe mnsl then a separate rod was xed to it olfthe axle
picture studios use it. lspent quiteafew days titrltttr shuts HI lhe‘/f/Int. I/'s the Main (jnmdar which in turn wasjoined toaflex that made it
in the steam room. We got oursteam from an .\Meur,- n giant htmlt a/imn mishing Ihmugh and spring up and down.
old boiler, mostly. It was pretty hot in there. d1'slrqt'tnglh1' hmrt nfllw Cygrtut. Shot al I0 limes
very uncomfortable for the crew. as it always mmnal spmt. Ihr smtr shill/i1ll_\' rontpnsrr rnttti1tlun's_ DANNY LEE
is when you are shooting in this or B-smoke mztlles and live arlimt 1'/t'rm'nIs. The meteor going through the Vi"-scale
or any other variation. corridor was on a track device in the bottom
TERRY SAUNDERS ofthe corridor. This device was pushing the
DANNY LEE The meteor was such an interesting shot meteor. really. and we were pulling the device
The l/l6"-scale Cygnus was built on a that everybodywho was an_vhod_\' at tht-studio itself. Now. mounted on the device behind
hydraulic gimble that had the ability to pitch came to see it. All the big bosses watched the the meteor was a large latnp no which we
and yaw or tilt orwhatever. lt‘sabasic gimble Main Con'idor Meteor nu the first take. And hung a red gel. This gave it its _\'ellowislt-red
that we have here at the studio that we haul it didn't work. Naturally. lt mwr wnrks when appearance. There wasn't any worry ahout
out of storage and use from time to time. ln anybody who's somebody‘ comes to watch, the light showing because ofthe angle ofthe
addition to thisbasicunit. we picked up certain The meteor didn't roll because it was hung shot. and besides. the bulk of the meteor
pans oftheCygnus with individual hydraulic up on a piece ofdehris, as l remember. ltjust itself kept it hidden.
rants that pushed or pulled or warped those sort of skidded. But we got it on the second We also set offabout a dozen explosions
sections that you chose to destroy. That was take. We were especially proud ofthat shot. It in that con-idor as the meteor moved on down
separately controlled, not at all associated really looks great. it. We had the explosives rigged on sensors, or
with the hydraulic gimble. lfthey were into a The meteor itselfwas plastic. almost a sort wipers. so that the explosions were automat-
tilt and they said, “OK. we've pin-pointed an ofplexiglass. lt was 36" in diameter and had ically tripped olf as the meteor went over
area, bend up that fin there," you'djust push been pre-heated so that it got that contorted them. We wanted the blasts to go off just
a button and those individual rams would lnnk. that wrinkled appearance that tnade it slightly ahead of the meteor so that you'd
bend it up. look like a tneteor. Then we lletl it with believe this big hunk of iron was really re-
cellophane. to rellectthe redtlishlightthat we sponsible for them. That was a rather new
ART CRUICKSHANK had hehind it. We all decided that we tlidn't application ofexplosivework. you know, new
These rams— there were aboutadozen of want it tn merely slide at you like it was on a in that we set them olf at the right moment
them—were controlled by a two- man console
under the supervision of Terry Saunders.
Whatever the requirements were for a partic-
ular shot, we'd get as many people together
Th! arr light stmrr1‘(r1ghlJ and mllittg
.

'
)2, ilrrirr turd/or lhr iprmmilm Mam tinmdur Mrlmr.

for it as we could. Sometimes there were as

many as seven mechanical effects persons at
once on that job: we'd pull them off other
assignments as we needed them.
We shot the collapse of the K" Captain's
Tower in smoke and steam, too. Again, hy-
draulic rams were used— a ram was mounted
at the base ofthe tower, and at a given signal
the tower was collapsed by forcing the ram. l
used our normal high-speed Mark ll camera
to lm that. not the Photosonics [which lmed
most of the explosions]. and I was cranking at
live times normal. In fact, most of the stuff
that was shot in the smoke room, t.he red- 'a¢
light effects, was shot at five times normal.

Much ufth: damage that rocks the Cygnus comes

I i '1

mrt a meteor shower that crashes into and lhmugh P.

the giant ship. llrequired a series Q/' irrtagirtalit/2
soltnions ta ermte visttal images that at rst might
have seemed impossible Ia put art /ilm.

ART CRUICKSHANK
To get that elfect for the meteors that w\
shower the Cygnus at the end of the lm I
just dropped some different sized plastic balls

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F
7',
F At that point, the speed of the ride was
supposed to he about 40 mph. We son of
liked that 360" loop-the-loop that's in there,
too. We think we're going to take everybody
were aming out over this volcanic rock and
stone, and smokingaway like crazy. Ittooltus
about a month to do that.

head over heels on that one. I DANNY LEE

The res for the Hell Set were mainly fed
Oneofthe meteors casradingthraugh spntemlshes by bottled-gas propane. We had a bank of
through the roofofthe agnmltttral module, a shat about I5 bottles, with each line mnning into
tltal calls rr all the plants to be surked thmugh a a manifold that would take off on six indi-
gaping hale in the roof and a sperially designer! vidual lines. We also supplemented the pro-
model An humorous note gnes alaug with the shnl. pane with what we used to call bunker oil.
During the/irst-unitfilming, when one ofthe actors That's what ships use in their furnaces to get
grabs at a robot's legtns the robot is being sucked up, moving, and it has a tendency to bum black,
up and awtir) the leg is pulled nght out er] its socket. so you get a lot of smoke with it.
The mishap tvasu't planned, but it loohrd so good, it The sight of all that ame consuming
nearly made it in thenal rut tthejilm. everything is an illusion, of course. We kept
the re oll" the set just to be on the safe side,
TERRY SAUNDERS because some ofthe material there was foam
We used a Vi“-scale miniature ofthegarden and pretty flammable. We sprayed a re-re
to do that shot, and installed our own little tardent material on the sets. They were also
miniature plants in it. The main problem we constmcted of masonite cut-outs, and there
had was the puncturing of the roof itself. was a lot of lumber in there, too.
When the meteor punched through the roof To keep this tremendous heat from going
it just didn't look right at rst. So we com- up to the ceiling, we had to build hanging
77111"-trale linmitditniiglniingaftheli-t sequence. pounded a ram action on the meteor and it rabales over the sets. These hung up in
snsprmtni on hm‘ mm lillllrllrd I" hi! "llmd-" came through like a jet airplane hitting the sections, and when the rising heat hit them-
ground. lt sure looked all right then. they were really nothing more than corrugated
automatically without relying on somebody iron— it was dissipated instead of going di-
to pull a switch or worrying about somebody ART CRUICKSHAN K rectly to the ceiling and singeing the rafters or
missing a cue. The agricultural module miniature was setting offthe re-sprinklers. We had to get a
approximately I0 feet long, four feet wide special pennitfromthe Burbank Fire Depan-
As the ship brealu up, the crew of the Palomino and three feet deep. The hole that got punched ment to try those shots. As a matter of fact, we
tries to escape in the air-tube. But with the rleartube in the top of it was about a foot in diameter. always have to get a special permit when we
warped, twisted and distorted by the stresses of the Now, to get that puncturing effect, we put a try this son of thing. They weren't too keen
black hale, the nkle out turns out to be somewhat more small arc inside a meteor shell and then used on it initially, but we finally convinced them.
interesting than the serene ride in earlier in the an air-powered hydraulic ram to punch it Maybe when they saw all the reghting
/ilm—both[or the make-believe lines a/ the new and through the skin of the thing. The back-light equipment we have hanging around they
the real life struggles of the rjfects team. The shot is of the arc then lit up the inside of the model, changed their minds about us a little bit.
called the Roller Coaster, n obvious reasons. giving its interior a nice reddish low.
You know how we got the elgect of the ART cRUlcKsHANK
ART CMHCKSHAN K plants being sucked up into outer space? We Though the Hell Set was pretty unusual, a
We had to manufacture a miniature tube just dropped them through the hole and then different experience for me, there was one
that had bends in it. But it was pretty hard to ran the lm backwards. humorous thingabout it. One day we opened
come up with a contorted one in the original up the stage door and stepped outside to get
3" larger scale that we'd shot, so we went to a Aer the Probe Ship breaks up and the cast some relieffrom the heat and some fresh air,
smaller one. We builta'/1“-scale tube, and we plunges through the black hole, they embark on a and there was a Burbank Fire Department
cheated a little. We didn't put any lucite on it, fantastic journey, courtesy ofthe Disney qfects team. helicopter circling overhd. They didn't know
no tubing around the rings. Basically, from 17te_v/irst mcottntn a swirling, pearly galaxy being what the hell was going on. They'd probably
the side, it looked like the silhouette of a born, a relatively simple qfect created in much the seen all the smoke coming up out of the top
roller coaster. However, we did makea num- same manner as the blath hale itself.’ A aur-[not ofthe stage and were monitorin us.
ber of%"-scale hoops that encircled the thing diameterplaxiglass lanh was built-—a smaller cousin Both Hell sets had models oFMax and the
to represent the rings that had supported the to the vortex tanh—— in which I00pounds ofliqut_'/ied humanoids on them. The Max model was
tube itself. Anyway, we just ran the pitching silica were placed Once again, Peter Ellmshaw seven inches tall, and as he was supposed to
lens right up to one of these hoops, photo- rolled uphissleeuzs andpaured lacquers artdmamels be seven feet tall, that was about a tnse l"
graphed it. removed the hoop by hand, waited in, stirring by hand with a lang wand until he got scale. On the rstset thehumanoid miniatures
I0 seconds, and photographed the next hoop whathewanted. Sporadiatlly, uueraperiodofweehs, were six inches, and on the second one foot
when ACES had moved up to it. Then we the neassaryfaotage was assembled. tall. So we were working with W‘ and l“ scale
repeated theproceedure. This ran tail to head Next, the surviving crew members go on a there. The humanoids moved because they
in the lm because it was easier to shoot the bizzarejoumey through Hell and bath, one of the were set in a track and pulled along as the
roller coaster with all its rings installed and btgestchalltrtgzs/arlltestudiok camera went over them. The models on the
then pull them away one byone as the moves Hell Set didn't come in arty kind of contact
progressed than to try it the otherway around. TERRY SAUNDERS with the flames. The only ones who came in
The curves on this shot were based on an There's some real spectacular stuff after contact with the flames were the cameraman
actual roller coaster ride, but at l/l6" scale. they've entered the ho e. They all go on a and the camera assistant.
And since we were laying with a mixed scale joumey through Hell and Purgatory, and in Th decided that l could shoot this thing
for this shot— the lianal composite included a Hell they see Max standing way up on one of most eciectively by assing over the set and
plate ofthe I/I6" Cygnus, the Vi" rings around its mountains and, down below him, there's going through the flames themselves. So a
the tube, and the full-scale shots of the people all these humanoids in procession. That was two-story box anangement was built out of
" on the air-car— every move we made based something. So was the set. The Hell Set was ve ply. The to section was for the camera
on this I/I6" scale had to be duplicated eight the hottest re I've ever done in miniature. assistant, and the bottom one was for me.
times to move at a W‘ scale. Actually. we built two Hell Sets and then, Then they wrapped crinkled tin-foil—it was
The rst time we did the roller coaster later,joined them optically. Onewason Stage an aluminum shroud, really—completely
shot on ACES the results were jerky. So we 2 and the other one was on Stage 4. Each set around this thing. The foil was insulated on
had to reprogram ACES to keep the axis of was about 40 feet deep and 60 feet wide. We its inner surface with reproofing. A Titan
the camera at a perfect tangent to the curve had 12 four foot by eight foot steel tables crane with an extension was used toliftus up
that was produced on the I/l6" scale. lt underneath handling the re effects—they in this thing, and the crane had about a 80-
worked the second time. were connected to hundreds ofgasjets which foot radius for us to work with. Because we

50
_g
wanted to get very close to the set itself. we all on a single wire rod. At tlit-end olitltt-track
used a drop tlown so we could just t'le;tr all we then put II painting til II vortex on the
the ptt't‘t‘s_ol'tlie set__whit"h were about 4": feet ititidel stand and re\'ti|\'ed it. Dtinitg the course
at IlIt‘|l' liiglit-st point. It was pretty hm in oltlieslititwe also re\'ol\'<'<ltlie etttnerzt. and 1| _ _
there. To tnitlte tnatters worse, at one point I panel olliglits that we hzul suspended at a -I5“
had to have lIl_\'Zll'll\ otitsitle this liox to opt-rate intt'n'al. t‘oinplete|_\' atrountl the tlislies. What -
the camera while wewere passitigtltrough all we l)itsit‘;t|l_\' tlitl tin the shot was to add an
this heat. So tlie_\' wrttppt-tl I]I\' arin in that tiii- extrt-iiiely wide-angle lens to the pitching lens
v
N

loil, too. .intl then prograni ALES to run the lens

I opt-rated e\'er_\'thing with a inonitoretl through the holes in the iii\'l:tr dishes one '
rainera dooroii the Mark II. Again, like inatny alter another. Then we st~qtit'|itiall\' l'('IIl<I\'('(‘l
other miniatures, we shot the Hell Set at re the dishes its we inoved down theACF.S traelt
titties normal speed. I put the inonitnr in IIYWI-\l‘(I\ that paiiiiiiig. It's quite an unusual
placeol'thecaiiier;ttitlerliecattsetliecainera elIet‘t_ I think
itst-ll was so ltiw to the l)l7\ that I couldn't The Prolie Ship \\'a\ then atltled to this
watch through the nder all the tiitie. So we shot l)_\' bltte-st'rt't'tiiiig it in. That had been
used thisT\’ inonitor. which was in there with shut itiuelt earlier. During the t"ourst~olliliiiiiig - ,
iiie. So, not only was it hot in there. it was
pretty crowded too. At least the director was
able to watch the shot at the saine titiie that it
the dilTerentl_\' scaled Probe IlI(l(lt‘l.\ we‘tIsliot
lll2lll_\', nian_\' diflerent lliglit pztttt-rns for tht'tn_
so that we could later eliotise (llI(‘ that would
c I
was being photographed, what with the tiion- he right for any sperilit" shot. This one liap-
itor and all. pt-nt'd to he dead t'entt'r. The Probe Ship goes !tlr‘1tt.t, Ihrir it-ark mi thepirlttrr hiiil heguri in Ma)‘ r/
In the lower depths of Hell, we got so lroin under the caiiiera on into inlinir_\‘, I975’. .-Irt lfrutrhsluinh titrn trnrhril tt't1h the Optical
close to the set that it had to he pttlled apart as Yott know. Wl\t'|Il'\'l'l' )'<iu're in the middle Itr/utrtrlirnt, rlrrrttstirig remiiri shnls tiridnrrts tt-tth
we went through it. I rtitildn't have gotten the ol';t IOIIII ellects picture. ytitt always think it's the0/ittui[uprrulnr.r. Th)" /uh ts mri I-fitsttirt'I_jrrr//.

L-ii
box and the camera l)_\' if the st-t hadn't been the tottghest thing _\'o\i'\'e t-\'t-r done. Then. of the .ttmlm's /it-iid n/.t/irrui/frhntngrriphtr I;‘(lS. Hts
wild, ilit liadn‘t heeii on rollers and separated course, when you look haclt on it, it all seetns rhuf tl.YStSI(lYl/ mt TIIE BI.-I (.'I\' IIOLE teas Bob
as we passed through it. Controlling the gas- like it was a cup oltea. But when you're right Iirnughtan.
jets was important. too. There was a Int of iiitlieiiiidtlletifit_ lI'SIl\(‘ItY\lglI(‘5lI1\lI}‘l)\l'\‘(' I,_\-retttti'h1izin.t hrmi mi (.'hn.tIimix t‘l't'l1t IQHJ
split-second timing lll\‘til\'t'(l in all that. a lot ever had tn rraclt. THE BLACK HOLE was grndttntnlfrnrrt l.'ril TIT’!H‘!/IIIIYIt‘Il[{1Ilt'('7‘l![Zd!K7"t
olctiordination between wilding the sets and k'X('ll_\'Ill3l; itwasthetoughest thingI'\'e ever and ringirittlly Itltllt‘ tn the studio in I977 tn help
tuniingolllhellaniesthat I'd passed through. done. mlnttgri tarnmi eqiiiprrierit. Ilr hrgmt trorkirig on
And when I'd gone all the way throtigh thetti thr rrittlti-/itmir t'(1YI|t'7(I trit this Itlttt‘ I'h Itrer/ts herd
I had to get hack. There wasa hesitation point ti/rr.'id_\ had his it-rtl-ltrintmifntlirig nit! with I)tsrir_y.
there where you had to bring the crane arin to Iteerhs iltzl iiat YFIIHTI tn thr stiulia until I9-I0,
a strip and then get nie hark. That's when I Fnllatririg the S,|llld0lt‘ll rffpruduitinri shunting, dimrig the middle 0]/rrndttrttnri If R-1i\'T.~lSI.~I!.
luniirl ntit if I had any friends Or not. the Optical tIl'[mr1rrienI bemrrie ant" ofthe Itist jbur l__\‘t‘rtt tiwit int/iprmlitrtion tmrh /lleinitiiig srrries/Err
We had a baeltdrop behind the rst Hell mitts tI(1tt't‘I_\‘ rrignged mi THE BL-I t.'I\' H()I.I-'tthe the rrttt/It-[111im-rmriv, and when Iterrh.t returned he
Set, a painting that Peter supervised. The rdiluig departrnerit. triimd itvpeirtnmil mid, ofmiim-, and I.i-rrlt tmrkerltngether. One result u/theirpar1ner-
second set just had a blaclt backing. Peter's the pithlirity drpartnmit heing the other Ihrerl. The shtfl teas the setting up Ifthe s1utlto's opttralpririters.
was done in warin shades of yellow and red, Optiml [rib rephotngrei/zhed and mrrihirird rill ofthr .~ls l)i.rritf\"s miporeite IYI/!1t'S1SKTt'tt', Inter/ts gradually

with a few blues thrown in. That was his /ilmit disprimtre[ernt'nts—|Isrnziltrfuiiritirigs, iritrii~ dned triirnrtls resemrh and drtirlaprnent, and tn
interpretation of the upper part of Hell. At atiires, lzliir-st-rents, tum‘-tt'nrk enielrstiiitilfmitnge I941 t,_vrrtt was named head o/the department.
one point. we'd shot an alternate version of ~tiitt1the_/iriiitrerls riffilm. Th¢'de/uirtritrrilmipldvs l._\‘rrtt ts rirt irripnrtririt iirime iri art)‘ study afthe
Hell that you won't see in the lin. Well, not about 20 "It'll, irhn utilize .It'l‘t‘!l optmitpnrtters rind stutliu's histmjv, hzititngpiined the urgmitzation as a
alteniate really, hut we had some ying inini- three mriteirt printers in the (nurse afri imrlting den‘. yourtg rrmtt tI1ll1It‘0Yk|7|g”l7Ullghl7ItI the studio’! hutury
atures in one scene that were hovering over Although the11ihmrin'ritratt'dmi 'l'III-I BL-I(.'l\' HOLE 0/shorts, aritrntitrtl/eeitiires, live-artinritms and the
the set. an Angel-0l- Death type of thing. When ner inusl other departnirrits hadnished thrirtiss|g1i- move to tete-vision. l__vrrtt's rst Disney feature was
we were Shooting them we called them ptero—
daetyls, because that's what they looked like l)|rr(t0r a/.\tinmnne PlwIugmpht.~1 rt t.'rmrk.thimIt mm rt light rlirlrr muting I77! the I/Ih '1mi!i~ Cygnus rrintlrl.
We later decided that that scene would look
better ilwe didn't have them in there, so we
reshot it. Nnt that the Death Angel miniatures
looked had, but they disuatted from the scene.

Theneil shut QITHF BL4 CK HOLE tens aLm

thtftriizt srerir tn be shot. Art (Intichsharth and the
other (7Pt1l!I'! form behind the/itm wanted a unique
Np! of tag shot, something that etien increasingly
mphutirated ziudtmces had never seen bqzre. So a
tall ternt lu the ttua nan-Disney people zuhu produced
THE Bl./1l.‘K HOLE ‘s theatrical trailer, Mick Hag-
gerty and C. D. Taylor Q/Neo Plastics Productions.
The tutde-scrtrrt trailerfeatured an excittng rollagr of
I green grid-[mes and lhrubbtrlg buss tehith rlimaxed
with the ttteuirr bring simllnwrd a (amputa-
graphin t'0r1rx (with a pseudo~Lt'egett| score Irv Steve
Zuzkerman). Butzr nne nfsrurral reasons, the tag
shot they came up with didn't meet Disney’: require-
ments. So the studio then tumed— when elsr? — la
Art Cvut'rksharih'r miniatures rrrw.
ART CRUICKSHANK
Along the entire 68 feet ofthe ACES track
—that's the exact gure, by the way—we
strung approximately I 40 20-inch mylar dishes
with a liveinrh hole in the middle oIthem_
 ': ax‘.
.11.

119-\ luring’ rm-.-. 14./, Rim.‘ Ilvr

'4"-uulr I'll/ulllllm n
Inmhrll up /mm In him u‘n':'n
/i//nrm_'_ l~/- Ir/I' Ilinvlnr ~/
\liniuIun' ,I’||IIIIL'l|1/VlI\ in
. k rnmA\h,ml= \|‘I\
uulr "rinp
u/v /In"
rm rullrr mmI|'r"
»s}f§;s -
|l'I-.\'. Illnr u1:'|'11
\I1nI ||<|'r|g
Iunkinm unw Imlh /luur mul
ml/\. rhr \imI 1|‘/m'\r!II|‘:l Ihr
/~-mr I'i1‘n' H//~m.~~L-.-1.
14
in\i|I|'..».- ,-/ m.- air rm Iuhn
In-iwlrll and |lr/nrmrll Irv Ihr
mrlmr \hnn'|'v Hrr iI|\|‘lI.
Ilullunl Iliuhf: 4 '4"»\n|lr
\z'|'Iin|1 »/ Ihr (.\1'r|m "1ln'|'1
mnlulr nml 1| \lrri: mid mwlrl
0/ [hr 11i/r/I/rd I'u/nminu brim:
rrmlml /1., an r.\[Iln\inn whul.
Ifullum Right; Thr '4" u'ul|'
Pmlvr Ship, nlmul 1:" /W.
hung /mm /inr zuirrw urnnlgrnl
in H \\\h'm /in! lI!1'i\!'I’ In‘
I!u<'kmi1|\Irr Iullrr n-hirh
/:n'|'rnIv'Ii unnwnlrll mm-rmrnl
rluring u»/--m»!im| /ilmillg
mil/| .~ll.'FN. I'M: I’u;_>|': III
Inimulinn l;im-1-,1 for ml»
mrll n /ivr Immr Inn‘! /or Ihr
gun lmllln. Thr /wmp l'-gum
mmlr /nr Ihr /ilm uriy|'mzlI\"
turn‘ rquip/ml will! Irigzrrr
urlivulnl /irinu Iichlx, hul Ilnlr
hurl In Imw Ihrm rlismnnrrlrll
hrmmr Ihr amm hp: /ruIlin;:
thr Iriggnvs i1|!Ii\(Yimi7|||l|‘I\‘.
:2: Ihmr hm/mm IIIII-lllll-07!
/ur Ihr hm/rilul \|'4]|H'7ln3
inrl|nI|'n_1_' Ihr /nrluirm mr nf
I'||‘II1I!WIIiII]'I1l_Z!MmmiII_L'"Nil.
3 I1n- /iIm'\ Imrn trrrr II|‘$l'jfIlr(i
In I.un]rh|-1 In hr Ihirlrr unrl
Ihm mun‘ Ihrrulminz. I H Thr
l.'\'grlm /irn u/I in mm". M
right Uri]! r//rd n-hirh rrralrdan
inlrnu-Iv n'I|iIl‘Jll1I 1|/I/Irarunn‘.
1-I: Thr I/Ih"~\m/r Pmlvr .\‘I||‘p
lands ml Ihr (‘s-gnul. All Illr
/iIm'\ mrkrl r.\'!mu1Ir wrrr
vrrulrd zm'lI| rrl nnimnlinn.
4
 EL
W’;

5
/F
 go blue-screen. We thought it round. and it of being able to shoot an_\' angle that he
ratiie out to be quite a problem to get a wanted. and with a moveable l)l\l(‘SCl'(‘(‘I1 he
complete range of lenses oti the sodium could do that.
eainera with ananiorphit‘. Sn we decided to The liglititig sourre on that was from re-
go blue-srreeit. But t'oii'rt' still always fighting fleetor floods. A lot ofthe studios would have
on the ragged edge of definition when you gone to \iorest't'tit baclt-liglititig. but sinee
workwiththe auamot]ihir format. whit'hisn't we were going to he sliding that big blue
the sharpest aitwray. You've got to be very seret-ii back and forth betwt-en the sets itjust
careful not to lose anything. You haven't got wasn't practical. On top ofthat. when _\‘ou‘re
mtirh definition to spare. using fluort-sretit tubt-sand shooting sotiiid it
renerates an emission that \‘U\l can't hear btit
BOB BROUGHTON pielted up h_\‘ the iiiieroplioiie cables. Atitl
As far as Cineuiasrope or Pi\I\Il\‘lSi(‘||\ or we would have had tti ptit all of the ballast
T(‘(‘llI\t)\‘iSl0ll goes. they're just a nighttiiare outside the stage and ('Ull\t' in with all ofthe
to optical people. And in I‘l\_\‘ view. theqiiality tables and— well. we liiiallv tleeitled it was
of the pieture itself is not enhanced by an going to be too big of a hassle. So we put the
anainorphir lens. The film has to go through lights on tracks atid the sereen on traelts. and
a bottle when it's photographed atid it has to now _\'ou t'ati_just slidetlie whole thing arotititl
come out of a bottle wheti you see it iti a the stage where you want to use it.
theater. Aitd you can't do rotations with atia-
morphit". berause you've got suelt a long. ART (‘RUICKSHANK
tiarrow filni. As soon as you start to rotate Wlieiiever we used a traiislut"ent bark-lit
something. you bring in its outer edges. You blue with ACES. we used a lli b\- 25 foot
can rotate when you originally shoot it. bitt Su-wart blue screen. That was lit with 5500
we have to blow it tip andjust use a \'er_\' siuall l\'el\'in llitoreset-iit tubes. lt's a better-cutting
section of the frame if we're going to rotate blue screen than the 3200 l(el\'in.
O/iliml r/It-(Is ru/rmvmr I-iithtrr I.urII on Sliigr ~I zttivthitig afterthe original photographir stage. Besides that. there were also niani‘ times
Ilunng lming H‘!/!! !!n‘1r Imgr. !IlI)!\|!:' !i!m- wn-rn. when I had to put a hole through a blue
EUS-I-ACE LYCE-[T srreen. inst'rt a rotl in it and tlieli hang a iiiiiii-
.\‘.\'()l\' l\'HII‘I-. tt‘!Ie‘h'. imrltmguri [hr mull:-;:[um'. So we decided to go to blue-screen. We attire on that rod. l wasn't ahotit to do that
I hr runlnlmln! In smh tt‘:‘!!—kIIlltt‘Il reqitmrrs iii Ihe (onibined blue-st'reeu with aiiitiiation. tra- with the Stewart blue. wliieli is ba('k~lit. It
| .n‘t'rn rluurfi milking m'mxr Ihr lug an-r lhepuml. \'elitig mattes_ wire-work, _\'ou name it. We wasn't praetieal. So I liatl to use a front-lit.
Srinie ll!i|I:'gIi:|itg11Ihi'r nj/Irrlmri tnufninlqfmilrr had between 200 and 300 blue-srreeu shots velour eloth blue. and that was used in roti-
am! nlhrr mill-m!nIm1mii rerls. Ile I'l'(!‘|I‘l'l! an on this picture. We consider ourselves busy junction with ACES.
().u'ur immmnltmi /in his trnrk mt THF .-1IIS!-..\'T- oti a project if it has 30 or 40.
BOB BROUGHTON
.\1l.\’I)!-I! I’II()I'I-ISSOR, mu! tl lt'1IX :1! Ihn /um‘,
ti/Irr nmrli 2* tmrr trill: Ihe slinlm. Um! L_m'II ART CRlll(‘l\5H'\Nl\ Tliestiiallerbltie screen was quite mobile.
\\'e used several diiTei'eiit t_\'pt-s of blut' In fat't. oti sotiie shots we at‘tuall\' patiiied it
l

!n'_qm| In rrrrttir umvi m'dt1 rm I)mnj\ /ilmr. Hr

1, nit ()rmn_/nr M.-1It)'P()I’I’I.\‘.S' mit!B!;'I)A'.\‘()HS srrt-ens on THE Bl./\(‘.l\' HOl.l~1. The largest alongwiih the iiioveiiieiitsoftheCygnus and
.-l.\'I) I!!1'()O.HSTI(.’KS. one is housed oti Stage 4. That was used for tht-ACES set-up, whieh saved us from having
Iinhlimuglilun It II\ Imm in I‘JI7.uriI!t1I2I)zrus the Captain's Tower and Dining Ronni sets. to use a liitge screen for the miniatures.
him! In imrk an S.\‘()l1' ll'HII'I-. .-l \ he m'u!l.t trtlh where you ean see stars and the balance ofthe
u rlimklr, hr nut !lln'1!1tI Ihr tlmlm In nrt'n!rnl. "In Cygnus out through the large windows that EUSTACE LYCETF
l‘J?T,IrmrirInI!ir .rIml|uhm1u.n' innmmrmolu/trnlt are installed there. Having shot the fore- Wlieti _\'ou‘re working with blue-sereen
!!lI|H_t_'!I!II!1lt uI-Imt-/mm!1|/'m1,-nflllrmpuimmgw ground witlithe blue srreen on those sets. we and stitolte is iiivoli-ed, there's always the
IIlI‘!l!ll/]IlI||!\ ;|f!:'!I'1!!I:‘:‘Y| mi !!l!‘II!!!/IIY'I1!l1III!!!IIr‘i‘ then put a plate of the Cygnus otit of those problem of seiiii-trauspareiitj! There was a
tr,-r!t.t, Ihr l'\'t‘l!ltt‘ irns |I!I,I!IIIIt'!|I'Il um! uskrt! !|Im windows. and the result gives you aniee sense lot of sinoke and explosions atid that sort of
Ills '/rirm!' !t/tn! Int nrtr /mrtlmlt, '.\I\ (;m!.' Ihts ofthe scale ofthe ship. The big blue srreen is thing. whirh raised those few problems that
ulirrl on/I, ‘I'll itrn'rrrrn mrl him In-m‘_\'nt1 tltlnr 72 by 33 feet. but l did use a bigger one on had to be o\'ert"oine. Surh as when the tower
1!un‘:!!|tm In m|"' Thu! Ihr-~n'II1r_g|1\ It'!lI|!t1lI!!IlYt‘I! FANTASTIC VOYAGE. It was stationary. is dt-striteiiiig. Things are erasliiiig all over
uir, mull '!I'|'III!!l[ Ihmk Inmk Ihruimmgruirnl mun though. Our big blue screen was suspended the place. The wiitdow was open there. and
inn Imir I um Immilmg m_\ /nh. ‘OK, I gitr.t.r.'Ihr from the stage ceiling on rollers that fit into these big clouds of sniolte raiue blowing in
Mm"! lllllf him Am! !!m!'s 'l!lIt' I .rIm1|'1! n 4/2-_m|r guides on traelts. We ean roll that the whole and you t‘nuldn'l e\'en tn" the bltie sereen. To
mm-r tt‘|l'I llmm. " length ofthe stage. and did, between the two solve that probletii in\*ol\'ed balaneing the
Iimughlnri irurkn!nu \/rrrmI/r!iuIm_rn1_1rIiu r/Iiirlr sets I uieiitioned. lt‘s now a permanent fix- eoloriuattes and getting all the densities right.
ml I‘.-I .\"IH1.§'I.~1. Ilmtl vmmhh on Ihr ",\’IgIiI on Ital‘! titre at the studio.
BOB BROUCHTON
.\Iu1mlmn"vrhrnnllnng _;_1IimltmnIspinI.n mullhr From the time of order tu the time of
IIIIIIIIIIH llI!l'tIIIIl r.\'f1!m'tnm u/ "I'hr RIIH u/.8‘/1rtn_q" roinpletioii. the big blue sereen toolt about lti some eases we addetl additional siiioke.
u‘t]IIv'IIt|‘\. H!oug!1ImI It I!\ I'll/' BI.~ll.'K IIOl.I-"K ftitir inoiitbs to get read)‘. lt's baeltlit with iti some t‘;-ises we added explosions. and in
II/IIIIII! lI!lII!tt‘LlI'1I/7!!!! umnllmilnr l'm!rr I.urII. hr 3200 Kelvin RFL‘Z's. and the tiiaterial is a soine eases we added a veil over the whole
.\'Il/It'11 nnl all n/ Ihr /i/m'\ n/mm! n urk. Stewart traiislueeiit blue. BesidestheCaptain's deal. Sometinies the smoke was niiiiiitig too
I'll! HIAIIA II()!.I-' runltnns I!I‘tI7!\‘ III!) Im- Tower and Dining Room. I used it for several fast and we'd double-fratneit to slow it dowit.
trltng imiIIr.t. IIHIIH 1:/'I!|rm mu!Ii/t!rm1rs. Mm! qf efferts shots. We've got aeoupleofsbtits where antl in man)‘ other eases it was l11U\‘iI\g too
!!l:‘IIllIh'!!Iz'V:‘SlI!!II/!7!l1I‘-WY:‘:'Il imrk. In VIII)!‘ n1.u'.r. the robot Maxiinillati is fallitig oti the Camera. slowl\'. So we'd skip-fraiue it to speed it tip.
I!ml!I!:'tI!I!‘l[I!|'!I!tlr‘-tth‘1‘Y1:‘(!XI171‘!u!|t‘/IIIIYIIIHIII alid we shot that in front of the big bltie The fat‘t that it was red smoke worked to our
miglr xhnl Likr Ihr nut/Ir/niiiililigx, I!|r mimunl n/' sereen iuainl\' berauseoftlie up aiigletbat we advantage. because red smoke on a blue
h!m'—.trm‘rI um! II! Ihu /rm],-rlirtiu!-xlrippnl/m'— were using. We needed that tiiueh height. screen leads to good separatiotis.
rmut Ilnmji r/Inrlx. \\’e'\'e also got a couple of shots where Max The main problem was to keep from
Seliell is oating through the air towardsthe getting too dark of a shadow out near the
EUSTACE LYCF-l I raniera, and we shot him iti front ofthe big t-tlge. So wt- had to hare a matte tti blaelt it
For \'ear\ we've norinall\' used the sodium blue screen toti. out. but we t'oultln't nialte the matte too hea\'_\'
traveling matte proress on our efferts. Then. since the heavier you make a matte. the larger
I
Fl
' '
STACE L\(‘E'IT
I
it gets. \\ e went along rarefull\‘ antl tiiadethe
when THE BIACK HOLE Came up. llIl'\‘ '

derided that they wanted to go aiiainorpliir. We had the big blue srreen built because mattes as good as we eottld. And we were
so all ofa sudden we were presented with the it was just not prat"tit'al to tr_\' to go to frotit alwa)‘s aware of the probleins of bleed-off.
problem of wlietber to redesign the sodium PI‘()jt't‘lit7ll*llIt')‘ wanted too niaii_v different There are lots of people who say sniolte Can't
be done in eonjuiictitin with iuatte worlt. l
‘

raiiiera so it eoultl handle anamorphic or to angles. Gary also wanted the absolute freedom

54
just hope people don't see the pictttre and say
that they were right.
where the microscope comes in. You can pop
a 40-power nncroscnpe in there and look
‘we
through the beam and detect any slight
EUSTACF. l.YCETl' fringing. Andwecanntoveourheadsaround
Becattse ofall the probletns we faced with
the blue screens. we actually ended up im-
alittle bit. enabling us to also Inoyeourmattes
into the proper alignment.
screen on
provingthem. Wechanged our technique of lt's not a frame by frame process, yott
handling our blue screen elements. That gets know. Everythtng‘s on register pins. so once
a little technical. and I'd just as soon not
spread it around. Let's pttt it this way. Every
yott've lined up the scene _you know it's going
to stay in alignment.
on a
_ _ _
optical house has its own way ofdealing with
the blue screen. Yonjust get comfortable with BOB BROUGHTON
project if it has
one. But as we went along on this film. we
were able to elitninate a lot ofthe distonions
We use an Elttar I03 tntn lens on all ofour
rinters That's our basic ob'ective lens
4°-
I
that cart come in and tend to create tnatte ln additiotito our other work. we‘ve'also
lines. So we have learned a lot frntn the chal- had to do supplemental mattes [often called
lenge of THE BLACK HOLE. We've i|n- garbage matles]. ln shooting the blue screen, special cases where we shot male and lcmale
proved a lot. and managed to cotne up with a it‘snnt necessary to have anything otherthan tnattes and shot tlte Cygnus by itself. and
tmtch cleaner blue-screen tecltnitpte. We fet'l the action in front of the screen. You don't then added the black hole optically. latcr.
tnut h more cotnfortable with blue screen now have to have the entire frame offiltn in front betause we'd prodttced a moving matte. It
than we did before we started this picture. oftlte blue screen. This is one area where we \\‘;ls_i\|st as easy to do that as to shoot another
use those supplemental mattes. We've got blue-screen scene. The ACES has such rc-
.4 mnng Ute secrets Io the grml succrrs [hr I)tsmft' dozens and dozens of scenes in the picture peatability that yott can produce a tttatte by
tlrtrlm lutr Itml tttilh t-lnlmrnlr mnllr rt-ark [tr/mtg: 10 where we've had to hand-trace mattes away droppingawhite mttslin backgrotttttl. turning
[he In/alt“Itmdt'tIpntr!:'L firs! tlt'sigm‘d I lb Itt't'rIt_t frotn the actors or spaceships or whatever, oiftheforeg-rountllights. and then shoolittga I
man than 20_wrtrr rtgn (n tilting so he rrrt-itwl [he Wejust project the film and somebody traces silhouette against the whitt.
.-irrttimt_t' .-l It'll rdfar Trrltrtiral .-1 rlt'artct'mertIl. .-l (- the mattes so that the tracing doesn't actttally
ImtII_\‘, t1’: no st-(rel. E twjvottr brute: abort! the Ine- tottch the object itself. but blocks out all the Bo“ BROUGHTON
hmtlrd prirtlers, but lrt'rrIt.t' design /tax mad! Iltem rest ofthe frame where the blue screen isn't ln the second air-car seqttence. they take
art irtdrrpntsttltlr Ina/for l)i.tn!_\' '1 Oplicttl lmm. showing. We've also had to tnake supple- a trip while the meteor shower goes by. That
mental tnattes for those cases where the Pal- was probably as complicated as anything we
BOB BROUCHTON omino or Cygnus or Probe Ship or other did. There are probably a good I2 to Ill shots
Even though they've been around for a model was hanging either by wires or stts- involved in that. That wholt- meteor scene
gootl number of years. the triple-headed pended on a post. Those wires and posts all was on the printers for about a month.
printers are not at all obsolete. They're still had to be hand-traced out using supple- They must have shot tlnntsandsoffcet of
terribly effective tools. The tnain advantage mental mattes. this tnaterialiit was all shot agaiml a black
ofcourse. is that you can do such a variety of backing. not a bltte screen. \\’e coded up with
contpositional work with this single machine. ART CRUICKSHANK tnaybe one to live different ilrips of meteors
One problem with it. though, is that you can t ACES relates directly to the matte process. that wert combined in anyone shot. We then
keepother triple- heads in registry all the time. ofcourse. We've proven that we can duplicate had to blow thetn tip atul move the vanishing
Now the way Uh designed these, we really do moves with the ACES. So far. we've pro- point so that they were coming from the satire
not have that kind ofproblem, but they're not gratnmed as many as five or tnore duplicate point that the ship was coming from. or
really as versatile as sortie others might be. exposures on the same shot, and when we heading towartls the same area.
Bttt we've traded versatility for real stability. later optically overlay the different pieces of
Evert with their limitations. we can do the lm. they fit. Perfectly. About 80 percent of E"51"‘Cl" m('ETr
most complex things and also the most simple our ACES stuffwas done in a single pass and ln order to pttt tails on the \'t>t|tt'l\ we had
things. They‘ re_j ust excellent printers. and we not double-exposed, though. There were to use graduated multiple exposures with the
literally have them rutming all the time.
17n- 72 In 7.\' ml Smmn Imrtt/llrrttl blur H!t't‘!t wt Inn kt ftmlittirt-tl I/tr thmltltg ~/ ll 11/71!‘/\ tiflmititl tint,-it
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tr1]tn'rtt':‘t. /Ikr Htr rsnt/tr
Tripleheads have fallen into disfavorwith
the rest of the industry lately. and l really
don‘t understand why. Because. to us. they're
a godsend. We'd be lost without our triple-
headed printers.
By using a triple-head you do not have to
hipack the camera You can see what vou're
doing, you can line up the male and female
mattes with a microscopeand seeexactlywhat
you're going to get. You get to check all those
E-:l~ ,

critical areas and keep them under control.

The microscope is on the printer itself. An
example ofwhat yott'd see is a positive matte.
which is a silhouette ofan object. That will be
in the direct beam, and the sidebeam will be
I \

the foreground master. with what we call the

cover matte. When we produce the bitte-
screen tnattes. for instance. we use techniques
that tttrn the blue-screen very dark so there's \_

§
no blue toloration coming through. But we
still have to bipack a cover-matte in there to
keep light front leaking in through to the
areas that _vott don't want light leaking into. ‘wt
So, in the sidebeatn you . ve got the fore ~t
~.I?-
ground master. say. ofthepeople. and you've .___
got the positive matte in the direct beam. and
these two have to fit precisely together. This is “
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, 4
 Q.‘ was iittense: we were trying to put ottt sotne-
thing fast and still tnake it good. THF. BLACK
HOLE also has every trick that we've t-yer
achieved with a variety of electronic devices.

S-l-l"VF‘ KATZ
'
I

. worked out here in the tlepatrttnent. l have Very little of the sountl efl'ects for THE
mixed feelings about the rush. Haring to drive. BLACK HOLE were pulletl from the Disney
driye, drive like we did didn't really help the library. Basically. they were all created frotn
""" 4" quality of the film, although that qualit_\"s scratch, though sometimes the library sound
\'ery good. effects were usetl as a foundation to build a
/~ W _ T" _
"’ l’
EUSTACE LYCFIT
completelytlilferent sountl. Forinstance, they
have the holngrant sequt-nre. Bill pulled out
' i i With THE BLACK HOLE they inst kept sotne Polaroid whiz'l.es— you know, the sound

ii“
-I throwing stuff at us. In addition to the lasers a Polaroid camera makes when it takes and
and the traveling tnattes and the glass shots ejects your pirture— and then wetreated them
they were constantly asking us to do llop- so they didn't exactly sound like Polaroids
overs and tilts and skip frames. There tuust anymore. That becatne the sort ofchih-chik the
be close to I,000 opticals in this picture. But Palomino crew hears when they change their
we gave it our best. despite the pressures. hologram picture.

Sound Effects “LL “’“'E

Au ttally. STAR WARS was sort ofthe basis
I

For all pracliuzl purposes, the nal work on a foralot ofthe sounds in THE BLACK HOLE.
lm occurs during lhe dubbing sessions. These tveehs Nothing specic, understand. but more ofa
(or days or monlhs! ore u-hen [hr soundtrack, score. general attitude as to what can be done on
bits o/oc!or'.t dinloguc and looping are cumpleled. electronic equipment for sound effects, which
Included in Ihis utorklaaeliond afpertiru-nlinlerrsl of course STAR WARS used extensively. As
The 7"-scale miniature of Iinrertl prior Io pointing Ia THE BL4 CK HOLE* orc uthrn a]iIm's sound far as our own sound effects goes, we just
andjinal delothng, used in lhr Palomino EII4 scene. ecls are laid in. toolt olfwith THE BLACK HOLE and came
Bill ll:\‘[Il‘tt'(U in/n'e'mlIcott!rola/THE BL-ICIt' u with our own. There are some excellent
frames slipped, so that you actually got a HOLE’! sound t]]r'cls—tIx growling rockets, whining egefts, I think. in the major sequences. And
bunch of out of register images which pro— lasers and I!II*(llll'!‘ mlmls. Ilfyllr, 49, rs! became most everything we worked up was new. The
duced a tail on the meteors. involved tuilh/ilm nt Ihr.-ltr Force, and in I941, in sounds we inyentetl would sometimes be
t'|t'IIlG7l life, begun his cemw working tuilh sound createdthroughahappyaccidentrightonthe
ART CRUlcK5HANK ¢/put. Hejotned [he sludto tn lhe early 1960's, and spot. Or we may have been sitting around
The meteor that wipes out the main cor- hitfirslDisney/Paliirrossigrimntlztias THE.-IBSENT playing with a synthesirer for an hour or two,
ridor was a shot that I‘d been worried about MINDEI) PROFESSOR Itylte um portly respon- 4 trying to come up with one particular sound
during the whole time we were doing the siblr for/lubber's "plop squirtle lloob" sound). that we had in mind. We had ourwork cutout
picture. And it went together perfectly the like mos! other per-monenl members ofthe I)tsnzf\' for us. In sotne cases, there were close to 200
rst time we did the composite. sludio slo/I hr has worked on nearly all oflhelms effects tracks on one reel. That tooka while to
There was, rst. the strip ofthe miniature. lhe rmnpony has produced since hr um hired Iljylie ptn together.
l Then there was a strip ofthe people running began working on THE Bl.-1(.‘It' HOI.E's inlrirole
across a bridge. The actors themselves were saund eecls in March, I979. HIS chufossulortl an STEVE KATZ
shot against the side ofStage 4. They ran the Ihelm was Slew lt’al:. Bill Wylie's attitude towards sound is one
whole width ofit. which is over I00 feet long, Kol: is one ofthe rmegrneraltort ofjilrnmakers. that I happen to share. When you're doing
and were all photographed to precise line-up a young man whose tnleresl in his career coincided elTects on a filtn. you've got to remember that
guides. In addition tothis, two other pieces of u-ilh [he Ielhnological explosion (ha! assisted him in you're dealing with a dratna. If the sound
film, one each of Vincent and Old Bob, were his (limb lotvnrds the Iopposiltons in htsjield1SII4R stands out over the picture. it's wrong. Ifthe
combined with everything else. Then we had HI-IRS’: Oscar-winning special sound e/fell: man picture stands out over the sound. it's wrong.
to add some tracing of registration front the Bm Burt! it onolher example). The I4-year-old Ifthey marry, then you've got twice as much
corridor. because these people had to run /iznner Dolby Labs engineer was one ofthe oulside picture and twice as much sound.
behind a passageway. Ialenls hired lrr Ihsmjy lo tuark on the/ilrrt Prior lo
And when all this was put on the optical THE Bl.-1 CK HOl.E, Kat: u-as the Dolby cmuullanl Bll-L WYUE
printertheyall went together one to one and on N.-ISHl'll_l,Erhts/irsllml, LOG.4N'S RUN,/1 As far as the manner in which we laid
were successfully composited, which was a STAR IS BORN. SIHR HEIRS, LORI) OF THE down the effects for the final print goes, we
miracle. Generally, these things go through RINGS. CLOSE ENCOUNTERS OF THE THIRD recorded alotoffour-track backgroundswith
the printer halfa dozen times, at least. But it KIND (Ihere's a remarkableauml momrnl in CEJK digital delay lines, which is reallyaniceway to
went through perfectly the rst time. where Richard Dreyo and company are scaling the go. It spreads the sound across the theater
The roller coaster was just as difficult, in Devil’! Tower, allem/zling lo escape the army. The rom the left to the right and around and it
terms of quantity, as the meteor/corridor se- mlirelheoleris suddenly lransfnrmedinloo booming really lls the rootn. We did all of our back-
quence was. It had separation masters ofthe auditorium as the soundofa heltcoplerandlltepilulk grounds that way. We used it for that laser
plate of the Cygnus, separation masters of bullhom-amplified tioire smn la sweep across the ricochet too, which is quite interesting—it
the people who are inside the tube, separation mom. Kai: was resnmiblenlhe e]]ec!), THE L»IST goes from right center to surround and many
masters of the tube itself—that makes nine H»I4LTZ. DAYS OF HEAVEN and THE DEER other dilierent directions.
pieces of lm so far, since there are three HUNTER. among olhers. In I978. Kat: wan a Dolby also directly relates toTHE BLACK
separations apiece—and the people who are Class ll
Technical/1codern_y.-ltuord]i2r!heimplemzn- HOLE because we have a lot of real low
in the tube have their own male and female tolion ofthe Dolby sjvslem. He began uwrliing on sounds in it. a lot ofrumblings and swirlings
mattes. That's II so far. The tube itselfhas its THE BLACK HOLE in lolejul)-, I979. that are on the low end ofthe sound spectrum.
own male and female mattes too, so that's I3. Dolby tends to increase certain sounds while
We had to get away from I3 because that's Blur WYUE also holding down tape hiss, which you espo
unlucky. so we added the black hole out there, I should rst point out that I work with cially notice on the highs and certain exag-
which has another set of separation masters. sound effects and not sound, per se. That's gerated lows.
So the roller coaster scene has I6 strips of anotherdepartment. On THE BLACK HOLE
lm in it. I spent my time getting all the pertinent STEVE KATZ
sounds together. Creating thetn, really. Of As far as optical sound goes, lm sound
BOB BROUGHTON course, everything had to be created from literally locked olT in the l93O‘s. Prior to
The work-load on THE BIACK HOLE snatch. We didn't want any identiable sounds Dolby. therewere really no signicant changes
was overwhelming, but it was fun because it on this. And those sounds had to be, in a in optical sound other than the natural im-
contained so many challenges. The pressure sense, three-dimensional sounds, which we provements that evolved in the recording

58
-7
studio. Aslar astltingsthtn people really hear it out. For me it's really too early to begin
talking about digital for film, bttt that's a
Iif
in theaters goesi like frt-quenty response, d_\'-
natuic range, stereo, \vlt;ttt'\'er—optical sound perstimtl opinion.
hadn't cltangetl since theJ.»\ZZ SINGER days.
The only major change in the eld olimotion mu‘ “YUE |t's
_

,
picture sountl was the intpletnentation of Our basic sound t'lleLls tool is the '/4-inch
ntagnetic, rst the four-tracl; stripe attd then tape rectirtler. And we dun‘! always record in
the 70tn|n Todd A0 system. But tna netic
sound is expt-nsi\'t'. deteriorates quicily in
slet'eu~ stunt-titnes we use tnono too. Mam‘
ofTH F. BLACK HOLE'ssnuttds art-talten off It's
n

ualitv. and is 'ust a eneral hassle all around elet trnnicet uipntent. We used a ltartnonizer,
Efnr example! it hai to he literally glued on different \y|itliesi1.ers.\’SO. special OR Band,
thelilm strip by strip. Now alongcotnes Dolby Pliaser, EQ et|uip|nenl, digital delays, a Vo-
with their noise reduction s_vstetn, wlticlt pri- corder. ti computer to get the sound oflht‘
tnarilv started as a professional system for hole itsell'—tl\e list just goes on and on.
recnrdin I studios and then becaniea standard
for casstiite recorders. Well. if you become Sirhvh KAT7‘
successful in your eld, you usually start Some oftlie synthesi/.ers l used were an '
branching out of it, and Dolby wanted to ARP. a Korg M520 and at Korg MS50—l:1C
‘ malte movies sound better. To do that. in Korg's were very nice to tne—a 2600, a Ba vy
order to malte their noise reduction systetn Moog and an Odyssey. The reason l used so
work. you had to go into a tnovie house and tnanv is that each one is like a dillit-rent tennis
llatten out the frequency response. And that racket, at racket that's a little better for a dif- ofthe feeling ofa tremendous surge ofpower.
' means literally "tuning" the theaters. Since ferent court. Ont- synthesizer maytloa sottnd
most tlieaters use Altec speakersthere was no a little better than another one. So you just STEVE KATZ
problem of having to worry about different sort of it hack and fonh between thetn. The laser ricochets were basically synthe-
speakers, sizer generated. ln fact, It's so cotnmon a
So Dolh_v taltes an equalizer. which is the B“-‘L WYUE practice that they're doing it on every damn
equivalent ofa tone control, into the theater Though it's basically a simple sottnd, l commercial now. ljust heard it on a‘Motorola
itself In the case nfthis particular equalizer, really l'l\]U\' the laser shots. Ol course. what commercial the other night. Bttt it's a very
there are 27 tone controls on it, combined does a laser shot sound liltt-:' But in this case simple synthesizer sound, just a lter in oscil~
with a little screen that shows you a visual tlietlirectorlikedthe sound.Therewert-several lation. I ust-d a lot of delay lines on those
representation of the frequency response of ingredients used for the lasers. One track we ricochets to get them bouncing around. Then
the theater. You put a mike in the auditorium had to manufatture is kind ofhard to verhalize an echo was put on thetn, and wt-just literally
itself and tune it utttil you get a flat. or hi-ii. — it's a hard ltintl nfelectrical hutn, acharging bounced the lasers all o\'er the theater. Maybe
curve. Then. after you've tuned the theater, sound. That was from a Urey XV plotter. An- a guy shoots on the left. Then it goes into
you now ltavea noiseproblem, becausetht-re other ingredient in there was lifted from an surround and backtothe front and then baclt
are a lot of highs in optical film. And that's Aitlas rocket blastolfthat had been recorded into the surround again. Ping! Ping! Ping! and
where the Dolby noise-reduction system n- front inside the rocltet‘s nose cone. We were each time it's delaying slightly so you get a
ally comes into play. also able to use a purge-\'al\'e sound as one of movement to the ricochets.
Dolbyactually sends sotneone outtottme the other ingredients~—that was just a foot-
evety single theater where the Dolby eqnip- long snip frotn about a half-hour recording. BILL WYLIE
nient has been installed. l don't know the There is a bit of difference in the way we The sound of the black hole itself was a
exact number to date, but there are about tretuedthelaser souudsbetween\'incentand composite, a mixtureofelfects. Surfwas one
L400 to l_500 Dolby theaters out there, and Old Bob and the sentry robots. The sentry's component, but it was treated so that it didn't
you can gure that you'll hit about 300 of U-guns have moreofa sweeping stntntl, tnore sound like surf. We did that by nmning it in
Ihem for any specic first-run film. ln the
Case of a major release like CLOSE EN- 17|r I"-smlrmmmlure n/Iltrmrmrlubr. The-I-ll-/aul Inudeltras built an an inclined ramp !o]ilmP0l’shalr/mm
COUNTERS orSUPERMAN orTHE BLACK tnrtrir. .-l nnal1.lm/lr.v mmmi an ll plal/imn HWI pushed lhmugh on lmcLt, filming a blur-screen backing.

HOLE, in order to get optitnutn stereo re-

sponse for that particular feature, Dolby will t

send out someone to retune the theater just ,

before the lm opens. What Dolby does to _' . ;
any lm is to manufacture a better canvas to '
paint your picture on. The Dolby medium is
considered to be acoustically at, out to about
10,000 tycles. lt has the satne basic specs that ~ “T '
you wottld find in a good home hi-fi unit.
Dolby really tums a theater into a very very _- . ‘ .“ .; .';~'.‘;"j
large and very exciting hi- set, and THE 1;.’ - J 5.‘;-§l"~', i
BLACK HOLE gets a lot of mileage out of . ' i '
_ that fan.
You know, there's been some tallt about
using digital sound on this project. While
they are going to use digital sound for the
~ record of THE BLACK HOLE's score»and
the score sounds good, John [Ban-y] did a
good job—l don't think they used it for the
lm itself. They went directly to 35 stripe.
which is a first generation copy and sounds
very good in itself. Digital relay means scanning
a sound and then slicing it up into bits, which
can later be retrieved and reconstructed with
very nice delity. You scan a sound wave
during intervals oftime and aslt it, “How big ».,
are you?" Then you go through the whole
wave asking this question and storing the in-
fonnation. Later you recombine and smooth
é
 I
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rmlrr. mmbinnl as I‘(.'.\Ix u-illl
n mnllr /vainling donr on Marl
wll-rt. Th! mullr Iinr wax
mmnl by bum-im ofyrllow.
Ivlur and vinlrl blobs 0/mIn1_
Bollnm: .-I blur xrrrrn rompmilr
0/ Ihr xmnlr-nullroudrrl
(.j\'gnu1 rnlrring Ihr Imlr.
TIIH l'":’: II) Prlrr Fllnulluw
S1,‘: mrly rrmrrpl n[II|r
dilinlrgmling C_\-pun Irrinz
mrlni inlo Ihr mllrlslram.
(2! .4 xidr virw n[II|! mrlrx
Irmk during /Timing showing
II|r arlinn and rolur n] lhr
Iarqnrr pigmrnls mrd Inulr III!
IrrIm|'ria!u' mxrliun In Illr
smrllll Sinrr Ihr Ianll was
mum! anll was lmnl wilhuul
unnmnrphir Inun, Ihr mrlrx
r]]rrl brramr rllijlliml whm
/rmjrrlnl anamurjaliirnlly. II .4
1

/rlnlr uflhr (.‘\-gnu; moan?! lo

Ihr blur! Imlr. /mrjrrird in Ihv
Ilulngmm xrqurnrr. Thr Ihi/I is
a xlilljrhuln mall! prinlni on an
animalinn rrl and pulled la
glau |mIn whirl! lhr Mari hnlr
mm/rolilr was rmr pmjrrlni
III Hunisun I:'1Irn1I|nu>/ilrru a
rrar pmjminn 0/ Ihr tlrfrx
Ianlr r//rrl wiII| n mallrjminling
using u nan-anammfrhir mmrm
Ir!-up. This lrrhniqur was
laln ubandanld and 1'1 rm! urn
in lllr/Flm bmzmr Iu'IIrr
rrxullx n-rrr oblainrrl hr using
an nnnmmfzhir rrnr prujrrlinn
0/ I/Ir mrtrx Ianl /Flmnl will!
an anumorphir mmmz 1rI~u/14
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7
live for tne. So I started thittking about it these things work out. You just play with it
during this screenittg and I ttoticed that his tttttil you get it.
"Z? head was always turnittg. In fact, his head is
really his only expression, because his eyes mu‘ WYUE
are essentially painted on. Anyway. afterthis There are quite a number of different
screening I talked to Gar_v Nelson—who, by sounds used for the various rocket thrusters
the way, was a prince to work for— and I told that are itt the pictttre. Some of them were
hitu that I'd like to give \'incent a bit tnore combinations of real sottttds that we cleaned
personality through ltis head tttnventents. by up ourselves. like real NASA rocket sottnds.
atldittgasotttttl to thentand tltett changing its For ittstattce, wltett they're tt\'ittg to hlast the
pitch whett ltetttoved. I didtt't ttteatt tlte RLZD2 Palomino away frotn the black ltole, l ttsetl
methodf R2 didn't evett talk. all his speech what I called a bad sound. a real had sound.
was itt tonalities. l wanted ttt tn‘ attd give tltat sounded like a gigantic pttrge \'al\'e
Vincent's head turns an articulation tltrottglt opening. Tltett we mixed itt sottte explosions
“‘- souttds. somethinglikeavarialtle servo-sntuttl to really give it tltat feeling of energy. The
that would translate ittttt etttotinnal expres- purging sound was actually recorded ottt at
sions: sotttetltittg like tlte way you or I would the Antes Research center. which has one of
give somebody a look. Well. I pla\'ed witlt it the largest wind tunnels itt the world. That
noise cattte frottt one oftlteir htt etttachines
~

' ~‘ attd P laved with it atttl 'tt.stI

had a tetrihlc
beittg tttrtted on. Attd at various times in the
. ~

tinte— there ntust ltave been about four

.

tttillinn head-turns of ltis itt tlte pictttre. I picture we used real jet aircraft sounds, bttt
finally ended up ttsittg a Korg synthesizer we'd nttt them itt reverse and thett cttt in an
.‘Ifnntnt.\- rhrrks Itrr makeup tnlh rt Mtrkzfv mtrmr.
Ettrrynttr has a good lune teorkingn llimrt‘. controlled by a ntierophone. You'd just lttutt impact effect, like a gttttshot, to give _you that
itttoitfnrthe headtttrns. Tltere were so ntauv feelittg of them starting up or starting ottt
ofthetn that I couldn't do thetn all. but one I with real power.
reverse and putting it on the variable-speed Matty times we'd take a believable. every-
and a few other machines. There are animal did do was when \/incent is being sqtu-e7.ed
by Max at the climax. I had to hold tnv breath day sottnd and tinker with it so that it became
sounds in there too. But Steve came up with a
for 20 seconds while hununing up in pitch. slightly ttttfatniliar. For instance, we threw itt
great intergral element for the hole sound.
And another one I did. wlticlt is mv favorite the sottttd ofa Ford Pantera attd some other
bit—I don't know ifit's itt the film ltecattse I high-speed racingcars into ottrettgitte sounds.
STEVE KATZ
wastt‘t there for the fittal cut, lun I told every~ We only used about three or fottr feet ofthat
A jacuzzi—a plain old jacuzzi—is one of
body that I could to tr_v .md protect it» is effect. but it's amazing how it contributed to
the primecomponents ofthe black hole sound
where Yvette Mimeux sort ofhas her hehind the overall sound of the thrusters.
effect. ljust chucked my microphones right
to the camera. attd the robot tttrns ltis head On theCygnus. in what we called the gttts
into the water to record them, using my own
and gives a wolf whistle. Iflmtm u‘tm00/ area of the ship, we laid itt sotne hea\y
honte-built hydrophone system. Then we throbbittg sottttds, ntakingit sound likethere
added a moving nimble and an earthquake- We also tried to cltaracteri/.e the robots
throtlglt their hovering noises. It's sort of a were putttps going. The garden area has that
type rumble and a few other things.
tvhrnt trlum teltzut sound. attd when they start effect too. That has heavy pumps working itt
In building the whole black hole sound,
tnoving it increases itt speed. For Mates hov- there contbitted with an air-sound, which in-
we tried to keep a change in pitch in mind.
ering ttoise we threw itt a ltiglt-pitcltetl. searing dicated that moisture is beingptttnped in attd
For instance, when you're funher away from
sound. That \vas to compliment llle feeling out of the place. We really tried to get these
the hole, you hear a low grumbling sound,
yott had of his power. For that scene where heaw sottnds to t the avor of the Cygnus
and as you get closer to it the sound changes,
Mas bites it and gets all tortt up at the end,I itself, which is very low-key attd ominous.
and the highs begin to come in. A lot of
wettt over to the Distte_v machine shop and The Palomino has an interesting background
different EQ‘s—equalizations—were used effect that was recorded right here on the lot.
there. To get those two basic changes in pitch, had them rtttt every ntachiuethey had for me.
I was in the metal shop. and they started It was basically an air-conditioning sound
we rst stripped out the highs, which left you
cutting sottte altttttittum for ttte. I said. “Can which we treated and spread on four-track
with the tremendous churning and swirling
you give ttte sotttethittg stronger?" So they with a delay lag. It's a nice, light background
that you get from ajacuzzi. Then there was a
threw ottt the altnninum attd got hold of this noise, ver_y pleasant.
very high jacuzzi sound, which was made by
severely ltering it. You know, you can take big piece ofsteel atul pttt that in thetttacltitte. STEVE KATZ
the same sound and literally change its entire And it was so big that the ntachine staned
stalling, hut this guy working it wasn't going The air-conditiotters weren't only used
characteristic by putting itthrough very sharp
to stop for anything. And the blade broke! So for nice sounds. To get some tnore of those
lters. You should even be able to make it
that‘s the story behind that rt-rent» hint! sound. rocket-thntster effects I stttck tttikes into an
howl. We also wanted to be able to get asense
ofmovcment out ofthe black hole. Thejacuzzi It was simple. air-conditioning vent. attd the nticrophottes
Treating the voices of Rodd_v McDowell were very unhapp_v about that. They started
not only has that inherent feeling of move-
and Slitn Pickens for Vincent and Old Bob pounding on their capsules, going bmp bmp
ment itself. but with the way it was recorded
was quite a nightmare. There's only so ntatty limp. Then we laid sottte rutttbles in under-
and dubbed down, we hopefully maintained
things you catt do itt treating a ltutnatt voice neatlt that. Rtttnbles are a basic part of any
a feeling of movement between the theater
in the rst place. Like lterittg. which gives science fiction film. You can get rumbles out
speakers too. And I think itworks— the black
_vottatelephont~type quality. Thehasic sound of pink noise— pink noise contains all fre-
hole swirls.
for the robots‘ voices was a sort of ruhbittg. a quettcies of equal atttplitttde, and, theoret-
BILL WYLIE metallic sound. Ifyou‘vt- ever been talking itt irally. on an analyzer, is flat front 20 to 20,000
a hallway yott‘ll noticethat your voice sounds cycles. You jttst take a pink-noise generator
The robot voices were all important effects
faintly metallic. That's because vou‘ re gettittg attd roll offthe highs, attd what do you have
too, ofcourse. For Max‘s“voice," the sound
very short bounces off your waves. Well. we left? Rumble. Now, the belly-rumble ofthe
of a growling panther was run through a Cygnus, when the Palomino approaches it
Vocorder and metallicized a bit. A Vocorder did that to Pickens and McDowell. that rub-
hing. and then we pitched up the voices. We and the whole ship lights up, was basically all
takes a sound that's programmed into it and
raised the pitclt usittgatt EventideClockworks s_vnthesi7.er~Moogs, ARP, Korg. There was
transmutes it into whatever effect you want.
l745M digital delay line to give tts the pitch one nice cross-over rumble too. when the
It's really quite interesting. Even a woman
change. Then we used an F.veutide Pltlanger Palomino first comes towards you on the
could talk into it and come out sounding like screen. We first played that rumble with just
agrowling panther ifyou wanted her to. And to create tltis tunneling. or phased, effect.
Then we just combined the two. Old Bob the left speaker. As it gets closer the sound
she would still be perfectly understandable.
took ttutclt, tnttclt more pitch change attd a starts going ittto the center, it gets closer still,
little deeper phasing before he started to and then this rttttthle swells up into-the sur-
STEVE KATZ
sound like a little old ntatt. That just sort of round and the right speakerat the sametime.
The rst time I saw THE BLACK HOLE,
happened. In reality, that's the way a lot of so that it sort of feels like it's crossing over
especially without sound, Vincentjust didn't

62
Y
yutt,gnittglrt1tttlrltlrmtttn right rear. I hnpr II()I.I' tn 1'1-/ulitkrs rrrnl lr_t I)nlr Ptmtfrfllr trilh I
tl'tt'\'lt‘a\'ctltat in. I rt';tlI\' likr tn tttilizt‘ all thr /in‘ .n't'rtt-rlrn [rifts In l)t.tntj1luml uml {hr [)t.tttt'\‘ I
speakt*r\ itt tht' tht'att'r.' Tht‘t't- arr ntltrr rx- Slmlim mul I(LI)U() ru/tn‘: n/ THF
1I.I.L"!IYIII/YYIZFX
lI1I|II('§(II['l’I)§§-l)\‘I'l'Sll\tI, likt' itt the shmttittg IIL-IIIK II()I,F mttmllntrk in /i1r1ltrr nulunwtt-rtls. , _
gallery st'<|ttt'tt<"t'. Tlttv mrt uli Iattnrh tltt-xv Thr .\Ir_i_m Iht (jurrtfntrt) mu s1'lt‘t!nlIn mrn'ltumltn'
littlv mislrs which go hack and limit. Imttt to lltr tnrr1!nhIt' /Iullt um! "minty: /imm-t" u/lltr mIm!_t
ba(k\\'I|I|ilIIIIIl'lhl'Il'H‘I,llll(IIIll‘I1Ii\IIl1fL That um! uni.
tt‘all\'tttiIi/.t'stht' stvrvo t'lIt~t"t. Stt-rut istt-tTiIit'. On .\'nt‘|'tnIu'r Itvllt. /t t'/nn'1l~t/Int! vnwttrtg it/' d
MOHU start-5 mo tn dvath. I wnttldtft kttnw lln-lm mix hrhl /hr lmnl Iltrulrr utt'!n‘Vt in .\'rn'
what tn du with it. (lrlmm tthr Irt/mlt\v' Il‘ll,I II'||HI'!l|‘l, ztml un Ihr
Tn gvt ztttntltvr ruckrt .t'lTt‘t"t_ I'd gnttt-tt\'or 221111 nfllml mnrtlh, lhr [ml !t‘tll rulltmtl Inwmr .
. _ -
to the gtt_\‘ who wurkvd with tht‘ stttdto bntlrr
.

1I\\l7tllIlI'I[ trtllt [hr /ilm Imtk /tlttn‘ _/II/mm tfttrmn

and said, "What kind of sound docs tltat tttmlr II Blfk ilnlrjnkr rltmttg his mumtlngttr mt I _
matkc-."" Hc ittst stttilvd and said. “Ht-_\' tttan. TIIF T()i\'I(.'III' .\‘IIOI1'.
I'ttt giving tn switch it ovvr tn divsvl. You'll .-Ill I/ml‘; lr/I ttmr I\ In tn‘ lltr Ylmt'lt‘. - - ,
low this!" Wt-ll. hr §witt’ltt'tI it nu-r and all nl I1'lurh min-s ltmftrzrtli]m‘tImttt. I'n lwgiit. trim!
2Slt(ItIt‘t\ thrsr llantvs ratttr licking nttl at tttr nhnul SMR TIt‘l'A'? II't (I t/mmr Iltul I/tr /in! /Illl-
It't-t. I m('att_ ht“ r:'alI_\'g<tl it guittg—that lmilvr .n'nlr. (I//"!IIllIl!'lI('I'1'Il7l"”lI‘IlI'II I|tlI'!‘lIl|l!1‘ /trn;t't'I
. got takt-tt up tn sttclt prcssttrvs that I still dtt|t't Ihul Iitxmjt lint /tmluml umr '_’lI_H(IH LF.-1G! TS
know how thr hcrk tho tlatntt thing didtftjttst tlmuld hr rrlmnvl H! [hr wmtr mnnllt I I)rrrmln-rt at Ilml [hm ‘tl sltll lmrr [hr rllmtt‘ mum In mink mil any
explotlc. /\tt_\'\\'a_\', I ltad the tttikr almttt six SIHIR TREI\'~ THF.\I()I1().\’PI(.'I'l'RI-. II /ilm elumn ttllv Ihmg Hm /rlmml.
inches ;t\\‘ay Irnm it while it was going lull lIm!'\'nlmt/l_\ ltml /tmjtlrtnnltttg tn ltm'/urllltrztrt. llnl rnnuglz /I/nlvmt/illt‘ um! r.\'lmr1nl1mt. .-I/Irr
' blast. and that mill) $0ttttdt'd likc a ruckct .-IlIlu't‘rrf\'l:'t1tl. TH} I3I_-I(.'A'IIOl.I- pmntm-t!nIn' ull, TIII-' Ill.-IIIK II()l.F It /ml nrmlhrr mirr-
rngim-. The t'lI't‘<‘t ttlithr tttt-trnr .\ltn\\'t'r was a 1! tltmnittg mum] r.\'/1rnrtt<'r— (Hill tt‘Ill1 lurk. il mitt‘ h1ntmrnI_ Int‘! 1/7
library smtttd that tltt' Disttc_\' pcnplv had hr umrr than Ilml .-I ml (H tl Imlultrr /i‘i'Irrr/in
around §ittt‘t' tht‘\' ttttttlv ROBIN HOOD, thc gttttgtttg !ltt'fmIrItt"t n[Itlt11l:'lutt'1|!1lx tt'nlrntrt_q Ihrtr ('ORDOl\ (-OOH‘-R
sound nl'tht~ arrnws, rlttttg! Pltrkl I slow:-d that [mulu(I— ul 820 mtllmrt. !!m!'.t (I prrll)‘ [lurk /iv‘/rt tht- ntntttcttt. ltlark ltolt-s an“ uttr nl the
.-\t
duwtt tttttl t‘ttt tho tail ull tht' hit, sn ittstt-ad til —1Itmttlilhmtslnmtrt/'IJmnft'tttttdtrrtn-tms t/rltl ntnst ittt<~t‘t-\ti|t;;tltittg> tltat tntrtttttttttt-r~ ha\'t-
arhm_\v.' yott gut mntr nl arlttm.’ Then I phast-d ht’ I/tr n‘lm.n' rt/luv: YlI1)]lIY tru'rtt'r-/irltmtlnntil [hr lmtntl. 'I'ltt-rt-K .t II't'l1tt'lltItt\l3 nttttrn\'t-r\v\'
it again. ttt wrt uljt-t it up a l)it. W0 did about mutt‘ mm‘, mui1Iu!tt'Iptt‘r TIIE BL-1(.‘K HOIJ-‘ 11 atttnttg \(i<~|tti\ts gating nit atmmg ph\'\it'ists,
right dill‘:-rrttt itttlividttal sttttttds for the ntr- fntr rltztltr. Ikttutr I'm gutng In trr STIR TRFK. I radin 2l\II'UI]tIlIll‘I'\, tltt-ttt‘<~tit'iatt\ nli all kinds
tents, ntttlti-trarkittg attd tttakittg a .\rqttt-ttrt‘ sitxflrrl Um! rt-rn Harlan Hltxmt tt‘lll. — as tu ittst what a ltlat k ltulr might t't-all)‘ ltr.
out olitltcttt. ttttwltittg tht-tn all tt>gctht‘r attd Tlml 8;?!) mtllmn itttlrmtu ttltn ntlnw lltr lttrl .~\nd il'\ ttltttust lt<~n>tttt' a t<Ht\t'|tstt§ that a
laying tht-tn nit top nl t-aclt ntht~r. Then \\'t' qllfillllll. It IIt.tm'\ wm'rn' uhnul ttintrtg Ihrtr/rm, ltlack lmlt~ is rt'all\' a ttt;tttttIat'tttrt~r of \\'hnlt*
work:-tl tht-nt into tltvsttrruttttd, sothat tltt'_\"tl tlur I lm/tr tn, .4/lrr tfmultitg trrrrt mmtlh.t n/ un plattt'tan' \\'\tt-ttt\. It ltrittg\ all this ntattcr
ll_\' away Irttttt t'ntt_ gu whiz/.ittg ntt 0\'t‘r your zttltrllllnllt‘ ru/trrrml vim! t!rml_\t n'I1t!nul.<lttp It tlh attd tlt-hri» itttn it.\ ntaw. t'u|ttprt'~\t'h il. i\IKI
l't(‘ad and hissing lt_\' lIIt' sitlt-s olthr thvatcr. (hr tlmltn, tl ltmtrrtru/1/mmrtl llml l)t.ntr\ Ix n-I u/t In tht-tt— |m~~'iItl\'— nut mt tht' utht-r sitlctltvrt-'\
\\'t-trit-(I our hvst to plav with the pt'rspt't'ti\'t- /mnitm' (hr rrtjv /ittrxt, Iltr rtlltnltllr lurl mini HI a \\*ltult~ now pIattt't;tt'\' \v\'\tt-tn. a pritttc (‘OHI-
ott that. whirh is what rt-ally ntakrs tht‘ diI- I]|lI|/lb‘/!I1tllIY_\tlllSI‘II‘lI!'&'/It'lIl7YL (I/'rnum',fmlrnlml pnttvttt itt \\'hat‘\ all:-tl tht- Big Battgtltt'<tn'. I
1

lc'rt*ttt‘t- mt att t-II_t't‘t like that. mt‘! mtvl/imp Iltv nmltl H ltllrnvl uitlh nmltvl think tltat tltix Iiltn will xtitnttlatr a Int nl
Backgrnltttth arr \'t-ry important. in a liiltn, /mlrttlml. Iiul I/tr I)t.ttm_/itlk /rll tn Ihul THF III.-I !.A' itttt-r<*\t in ltlat k hnlt-\ and I tltittk it tIt~~'t'ril>t'§
to inc. I ;tl\\'a_\'\ tn‘ tu ltmk Int harkgrottttds IIOLE nml {hr ti/n'm:tni_i_v l1II- I-'I.\‘.-IL IYIIZIIJF \'t-r\' \'i\'idl\' tn that pttltlit what ltlark ltt>lt'.\
that'll work in Inttr-t"hattttt'l stcrvtt. That wit)‘. OI-' .\’().~I II'.\' .~I RK. l§O.\'I)()If .\I:I.\' uml I'lII- tttight ltc.
vntt sttrmttttd lIt('t\tttIit'tl(‘(‘ and gi\'t'tht‘ttt thv BI.-I IIK II.-1l'I./JR().\‘ till rr/lrrl 1| rltiirtgirtg ttlltlmlr, It'\ all a tnattt-r nl itttlgt-nit-|tt_ thmtglt, as
ievlittg that tltt~\"rc tttstvlr tltt- xitttatintt. Sntttc II Ilt'tt‘tlt'tlh'17HllIt‘l7/|1IY1ln /trmlt nu! uflltr knltltr- tn what t>ttt' t‘(*all\' lnuka likt~ up rlmt-. I tltittk
nlthv harkgruttttds ntt THE BLACK HOLF. Ylllllt‘/it!7l||!l_I! It‘IIIllIl hrn ll‘LI!‘lIYIl[II‘llYllll'7lI Ilttttg it'\ going tn lac a lung tintt- In-l'ttrt~ att\‘ltud\'
art‘ nntltittg tttnrr than thv stntttds vou gvt in n [hr Iltmtjt xlutltn In rrrl/111' Ilml Ihrir r.\'rrIlrn! on-t‘ gvts ttvztr vttnttglt tn <t|tt' tn r<~aIl\' littd
brtwt-vtt raditt statiotts wht-tt \‘0\t‘rt- tldlittg tnI1t.\‘t~/muitiring ztfrttlttlltttlltrl rrmimrttr tlnirtttrrt unt. Bttt that tt-rtai|tl\' dnt~\tt‘t nu-att that wt-
with the dial. tltmr: lillIc' ntttxical tttttcs attd nntI1I/mxltirr nltzlfaru/I! [mm tltttlt1n'!mtI1‘!1ul, uml sltnnltl on-r amp tt\'ittg. [I
sttch. To gt-t thnw I plugged a rt-t"nrdt~r right
itttn at radin and tum-(I it arnttttd tttttil I Iltttttd
sotttcthing ittt<'rt'.\tittg. Tht'tt I rt-rnrdvd a bit
ol tt, lonpvd a tlmtt\attd lt't'l of tho .\atttt'
.

noise. and had ttt\' hztrkgrnttttd.

Sm-rnumlnl In Itu rlrrlmtttr grin,
t. c L
Slrrr Kat: UH‘! ll PI-‘T mnttrmu/mlrr I” I milr lhr wtlml nf lltr Mink ltnlr iltrlf

BILL WYI.IF.
Pvrsottallv, THE BLACK HOLF. \va.\ a
good cxpt-rit-ttt't*. I In-t it was for a lot oli the
gtt_\'s, I knnw I lvarttt-d Irnttt it. It'll ztlsu I)(‘
good Iortlti tIt~|t;trtntt-ttt. W0 I)\lIIl up a \\'hnlt'

.
new sound Iiltrar_\- with tht' (‘II-('t‘l\ that wt' 1 '
i work:-tl nut mt this liilnt and I'ttt s\trt- wt-‘II Itl‘
ttsittgtltvttt itt tltvltttttrt‘. M-"t\'ltt' in CONDOR - -

.\IAl\', this tt(‘\\'_Iatttt-s Bntttl-t\'pt' ttt0\'it'w(“ll i Q

, snntt be doing. I
.1,/Irr rtrztrlt‘ n.\' \!'IIYI nflmrtg, !It.tm_'t /imtllvt‘
II
hail TH F IILI I .'K 01.!-' tn Ihrnttt Plutrr Tint, flu‘
atIt‘rrlt.tttt_q hlllz. nrnl min n/trmlmtt. .4 smrt qf
II rt‘/tlt mtr mtttulr t/ml: trtlh xrlrrlrtl ltnwtrltwt and
trrml ti-[frrls .m*nrs [mm llle‘ /ilm trm‘ rrgttlttrly
bmmlmtl mt .\'B(.' hrgirtnntg III ()rlnln'r, I97". ”t:‘s:'
trrrr ttrmtllt xltnmi tn [hr lus! mrrttmvrtttl I/lt of
"l)t.wn'\‘ 't I1 'nmlt-tful ll ‘nrlil, " I17!!! mt um‘ I1/111»/rnalr
nrrustmt, rtgh! uflrr u s/w(ntl /murrtlttltnrt n[2(I,(I0()

\/,-,.
LE.-ICI TS I '.\'I)FR I 'I II. S!.'.~I. T/tr slmlm rztmr up
trtllt nlhrr mlrrr1t.tttt_i_' gttrtltttrkx, rurlt ttr rt BIA CK
 V

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STAR TRE
THE ITIOTION PICTURE
Saying things are deep, mystical and profound does not make
them so, and the sad truth is, the emperor is stark naked.
lttlrimlt, rlnbnmlr -pitta! r/[mt Iilr Min! Tlie ni t-.iinp.iigit for APOCA» ‘i he series was aptlv called visual STAR TRI-'.K—TH|~' MOTION PICTURE
'5'""' '1' 1'/'Pl"\"4 '1 *"\‘ "'l' "" '"""/'""""'K l.\'PSE NOW ('illlt'tl that liii"tlit-iiiost radio. The shows cunltl lit~fiill_v t i>iii- A P"*""'"""
Pl‘ R"1""_' "/79- '""“
"-4_” nip“/l'"" """""'"" """""""_" "'“!'" eiigt-rl\' antit ipzitctl tiititioii pit titre til preheiided and appreciatetl front the ""l'" ‘W M'"'" "1"" R" "'d"‘l '" Dfbv
m'm"'”""‘ "'"m'."'“'”." “"0.” '"il""'
IP01‘lII‘fl”fllIllfI‘ll!l0l7lI'!ll|tllfl gn.
our tiint-," lnii that ll()I\lll' shoiild prolr
_I I STAR TREKiTHE Mo
soiiiidtrack and storv iiltme. .iiitl the
I I _II
s'""" no "l"“i"" Pmdm rd M (".'"'
Rnddt-nht-try, Diterml hv Robert wise.
“p'§§ltlIll§ll(‘>Mlggrsllulia.
I
“‘“_‘“" vhltillllllg
"“ ‘ '_""
t .

mltitli 0/Ill!" irpdmle rlrnimlt lhfffl lfll

mu’,-,I,4 M M, ,,P,I-mII,,,-,I,,,_. I, MI. |--‘I,
-“.‘ 1%"
TlOl\ PICTURE,
‘“ it-It-visioii series
£1
_ ' ~‘-"“ ‘,P‘““ ‘ Strrenplav ll)‘ Harold Livingstntt. sim-
by M," Dun |.-,,,,,,_ Ba"; on 5-|-AR
i,,i;,,,,,,|,i_ Pi,,,1.,‘mpi|,,1i,, ,, inns, mm ,,/ caiicelled ieii vears agti for persistent L\lll>\ll the \(‘flt'\ lttoltetl l't'3llSlll', illlll TREK ("amt by 5",, R,,,|,<|,-n|»,,-,,-y_
Dll TrwitbuII'i Gllml/nlililv In rtokrii low ratings wliicli has finiillv rt-ttiriietl that was its it should be, hecatise if Dirt-tttirnfphntogiaphy, Richard Kline,
vI\11'1]tI'=t¢Itddi-tlttnrrtlt wrllm Ivpvvttidru .n one ofilie iiiost t-itpt-iisiw nitivies radio wzo the theiiier tifthe ntiiid_ tn I\-§-C- Production designer. Harold
"."""7'"1 !l'"4' F" '5' "'1'" P""'""¥ 3' "" ever tiiatle. was ST.-\R TREK. The tlrainas tli.ii Ml‘l"l’""- F~‘“""l b!’ T"‘l‘l R*"“"'-
"'t"'~/"'~'""t ""'"v"*' "'"""-'""- '""'" "t in lls time STAR TREK llll' lt'lt'- illililltlttl\A'0R‘Ufllll'iiil('llt'tl;.\iitl lllt' '""**“"Yg"*\'""'“='"*"'»5P"'='P"""*
!"""""“""“"‘""*"""""""-/"""""""""
pi»-t I ditlultle 0/ to/in by mamiam um
\' siti \ n~m~t cm. -titt-~ it-tiai lt a
"_ 'd " .d| l _l* t~itmti<im atitlrealisticsetswoultl have
I '_ II. I ' j ""‘P"‘" "“‘“'“""“’Y”"“K"’T"""'
hull. Special photographic em-t-is §|l|)f‘f—
“-mr_Jn)III nybn sped“ IIMIOKHPMII
'
peare in the nii st oftlie upheat.il-
.
I-,III,IIIIIIII,II“M,_;PI"4I,,;II-II 1,wIIhI”tIMI"_ Rt it lI\U\'( J nit rante than an asset.
,4], M14,-,,‘_. "4 ;, i-5,5,, _\~P,,,;,_--,, 4,," 2,, torn 60s, aitd its tipniiiistic view ofn ln that sense, also, tht-iinwie is faithful ,|1,-(I, I,n,,g,,"d by Rirhrd yuriryt
mtlm nillplmttigniplird by Diniid Hnrtlbg fntnrt-—' in which the human rare is totlieserit-s. lt_ mu, has ititallvuiitoir Executive in charge nfprodurlinn, Lind-
indjoliii Smv an tiituilm ."tLI!”|I iiiiee; Ml‘ united and what villainv exists stenis viiitiiig sets, but a vast ainotini of st)‘ l’ttr§otts._|t- Assuriatr prndutenjnn
~\P'"‘ ""i“'"" "'4' !"'"P"i""4 \""""' ""4 front itiisunderstanding rather than intinev was lavished upon ihein. The l‘"'i"- 5P"il| l"iI"=li"" rl7""§- Ruhr"
Fl" “ 4‘/,"'”" 5"“ "’ "‘5"'7""" c“P'“l" e\*il—— was appealing. Each episode bridge set alone is saitl to have cost $7 5"""""* sP"l1| “i'“"' ‘d"i5‘"- 1”“
A.‘-'“"M"""'“7""'"' sI""‘ l""'"M"M/'
it /iii irmrlo/ulinfnitrilignle Mr interiors]
lietaiiteasiin
d
listit moral of P,acilica-
P 1 d d I niilliun
I III
lint I it has I h endear-
I theh_ sanie V“" P““h'“"'
initaitt sp"'l‘| "kn" '°"'
Isaachsimnv. Cnstumedesignert
I-FIIII“IqImI”I,IMMm,‘mIIIIm“Pun ing) o es no ast at o t _e series. Bob Hath"! Mbup Inimi Fwd I,hI|_
. . .
ntinaii open-niiii e t1inosit).o ten
..a’M_MIM‘m-mllm-"II/I-.I“_ holding up the futtire as a mirror to The control bntiuiis_lotilt like clear |;p,_ Jim“ y|,,;||;p,_ V, N,i||_ “mun,
ma/iiuiimii lhhl 4| 5,11,. 141 1-i,,~~/qiimy the present. lt was one ofiht-very few ni;irbles set in holes with funny plastic dg"m,;_ puny M,(;,,,|,-Y4 5,m,,,| “,5,
tit'p"ii-yiiritteii-tiidriigiiedbyitamiiptiminiii non-xenophobic science ftciton pro scrap shapes glued here and there. tant dirertnr, Doug Wise. An Directors,
lttilnt .iitCtilL ii-ha it i'nInt'|'m'!d in thit time cluctions of its time, and reniains the The visual read-outs flickering above jnrI]r1It\inF!.l:rin Han'is._|nhn Vallottr.
'#_'g'££':'z"“"g"‘1i":I"::‘h' ‘:3 only such television series. At its best, each station on the liridge are only ::“5"3' _|f:'"' 'd"°;*- R'\"_\_M'"l"lh
" - , ‘ "'" ' ' it was veiv good, innovative aitd intel-
-.
preitv- light patterns_.which don't I.
give ." 7 °"“°“' "P"“""5
t. Andenon. ’°"“
/ma Pdmfmph wnllrlt by Dlqld-I Trwiibiill
“ "“' editor, Richard 1
Sound ed-
"§""‘-I?‘ "’ "'“ "““ ‘"5" "“
- . . .

isiiiaayii/iniitiimpi-i.1amipii»a.>/i-1.-is “ ‘.'“P“"_“I'f‘."“; "‘I‘.f‘“ ‘"-‘ ‘"i‘)’f' iiors, Stephen Hllllllf riirit Cecelia HalL
illeritir and rnliitrfd tl tniri ll/IIAII aim "5liui
d‘ °F°"‘<
since the series went off the
'"'*"°"- 5" "1 ' "1
of the crew punches some hutions.
"\="\ 1'
.\ ¢' I B AlanMurray,Colin Waddy,GeorgeWat-
peiitiiiipii-Aimiie/iiidtlirirqiiriite. B!l'llllJra/ ig-|1||_Suu1idc'"P(15r‘realcdhy |)i;L|),|.
iiummmm P1f_\1llI(_t iai-aim! |'y| amiiiqili, air in l969 a great deal of very good and autoiiiatically the corner ofa coti- inn, _|ne| Goldsmith, Alan s. Htiwarth,
ln'i[¢ii-iippitairliihgirlrnirdalr. tkeptiiitliitgi science ction has passed before our irol panel sagged an inch into the Francisco Lupira, Ft-anl seiafine. Con-
l"" '"""d 45'"!!! W" 1° 1'" "Ml! ll"! eves, both on television and on the ctinsoletop. Does the audience (‘are !"'\l"5°" \""°l’di"l'°Y-5"" K'l-lPY- MK“
"5' “"4 ”'"" "1 "'"!""""'"‘
5" ‘”"""“""R
up
big screen. We have seen the visions that huge sunis of monev were spent '"5"| ‘P"ill'5""- /ll" WP|d°"- D"-
niitiiitum liAe tlie inn ilinwit. an image M-Ihefumm I,III__dIII S-I-ARWARS Io “Iakc Ihc mid C auém, ,,wuI_k_,.. rell Pritrheti, llay Mattey and Marry
mlill W II"'“""'¢¢lI"I 0/5'1"‘!
plnttt. Skvwii taint, 1.11 ii tl ilialleihul 0/S111
'l"" CLOSE ENPCOUNTERS OF THE: A h
!‘“‘-
g N
‘ ‘ ‘"““_"" “ °~
- - - Iresin. Grapltirs, Lee Cole. Production
aiiiianatma_ Maurice Zllbfli. Michael
;7,I4-,;i;,4,,,,,,,,_,. 5"
;~,,,m-,,,,|,,,,dW,,,,,,,_ THlRD l(ll~1D. ALlEN and others with The recreation room three- is a Mina,‘ swdd phm°gnp,IIr DI" arm
slam» rm-mat-i ting!!! inbuilt.” their dalllmti §P=¢'1 =5“!-* Ind lhr HWY ism‘ <=\'="h sparsely sfaltmd Stewart. Director nfpholgphy. tuni-
iiiimi ti] niiillr nniii Miittlm i‘ini't-ieA. The persuasive impacts of exuberance. with upholstered foam ctibes too low ant Vuririrh. Mane paintings, Matthew
ibtiitrludeiiitlii-eariitin batl;viiuiidpI¢iriii/ philoggphical wonderment, and to to sit on and too short to recline on. Yuririrli. Additional matte paintings.
""'" "'5" “Pl "';"""l"K "' "'4" '""'" M’
II“! “Ill, ll wt at tl at-aim iaripwiia
lentless malevolence. When STAR
TREK Wm IIIID P,odIIcIII,II as I I“ One unintentionallv fimnv scene oc-
mrwhm Spock OI-I Kim; ‘mm and R°"° Gi°m"4 Mi"ii"""- G"! .l'l"-
Russ sll:l€!DIl, Jim Dow. Special photo-
il" {Imam
eiithrlandi iliitlllerrn alidntler iIi|ii-
l':IPl." II" Intmm I._mI_ mre film,
-
the question was whether it
- 4 -
IHSISILHI
- -'
order, sits on a tube in Kirlt
» - .
s ght hit‘ ecu, Don Baker. Special‘ holo-
em“! mall Hlznkh jut
mi ia Mr ipmai (pm pmt/idnl ,4" sr.tn ""114 §°"P "P W Old E"l"P"§= and q""!"§ "Id Pf"\'=_§ I} ‘"""="Y ""' S Virki win. Special electronic and meeti-
m£K_11.|£_t|g11g~pyg11'||£5_,ip“‘h, compete on_ the same ground as the sliding olTonto the
}l]K!§§lbll to avoid inn] dug!“ Evan, we"nD'e' Ridud
Ituihtllandjohit Dyltiu. nutmAa.t il that FBI“! of science ction which had oor on his nimp. Hollaitder. Pf\‘)d\Il‘ll0I|il|u!l1IlDI!», David
hmitiitiii plain Io uisi mu ii-t niinittri ti] ollciwed the series and were partially Looking at what it bought, one Negroit, Andy Probe-rt. Tom Cianliain,
#r1-tlf! win itipiiimiiwiaaiiaiiu mad, I,o,,;b|, by in C3,, only wondc, whm ma money Robert McCall, Don Moore, Special
“"'f"'- 75'" F‘ "'“ °/"'"~""K ll" '"d"'d The answer is No. For all of its wenL Mostly it went for special eliects. '"'d‘3""=ld"'8"~c"°'K"°l5"Kh°""<
llltll new D(ti\g[1!)ltldr!l!cIlrler|ifb[y
5‘g“""‘ b“d5“‘ f°' ‘H '" P“bl'“"Y "‘°"‘
- - - 4 ~ ~

""Y h"“"Y °" ‘h°""

V

Alt.‘.i"a IIX
'—!1n rl|lnmlnd70IiIt_II'iiaidlIi! , Th‘ '5 Ca lain Kirit.........Williain Shatner
itmtwiitiit iinuldiitrludemne/uotqele/hiiit l‘YP"' fol all ‘ht (‘"5 hop“ and ‘M mom? ‘mid °"'§' °““'°_"3“y ml‘ Spgcl. , . . .. Leonard Nirnoy
intentions of everyone concerned,
. . . .
,/“Inn-KI-Mlin IIMQI “IIb,,I-,I,,,;,,,-M andsometimes wince-rtiakingly bad. DI._ MIc°y_ De|,-0,", Kenn,
(jlpgjn A-,-,| pmuuiv 1),, £n[n,yi1¢ 1, STAR TREl(—THE MOTION PlC- Thereareaslablefulofdiflerent space Sentry, . . , . . .. .....jarnes Dnolian
tel/-dnlntrl iii the hp: ii/deitmyiit; l"gm TURE is a case of too little, too late. vehicles in thel"ilm—tiny“workbees" snin. . . . . . . . . .. .....ceu e Takei
""l*'"‘*""5“"4"“'i'"' 574" 7355- "I5 The film is but an amalgam ofseveral which carry one man, shuttles ofvar~ DY» cl"PPl -~-- ~---- Mi]? 5I\’""
-"0770~'";‘"'"£!"' f"fi""“" “'I’m1. of the televised episodes shot with ious sorts. Klingon vessels, the redo C|""l‘°"- -- - - --~_wil‘" KP"\i!
ira. . . ' ‘. ' "..
"4 "' 'h"”""5 '{”l"" "' '“ b'“"m“ 5"”!
llrilgllrtll-Iinlirllytrnwli, pttuimipwi
enhanced special effecu and shown signed Enterprise herself and a vast ul'""" .....i>N"l""° N'd‘°l'
Khambatia
“ " .""h‘“' “’ ""
.
hlkr/ill Iitu bmt ilmn‘ i-mi,» In mini”
. . . . . "

’"'~"5Y "°“d "7 P.‘“' ‘P“'“l. ‘5.““-

. .

°“.‘l"~' ‘"5 ’"‘."“- nieetei. . . . . . . . .;::lgh‘i Collins

‘"1" l°'h° P°'"l _°“’°'"S P"‘_°m"' Tl‘"""~‘""‘P'Y
. . . . . .

III/ldllll aim, III! lnliinlrri [Ital ii will l""d§°f§P°"=1 ‘"§‘_"l Janice Itllld. . . . Grace Lee Whitney . . .

it-atliuI{vnnitIulI2'lnii'Ili'o|i amiaaiiiiw series. but an _"\lJ°Y ttwlwn Plutt. too: ellects. a tube of golden moire Klingon Captain ........ Mark Lenard
iprujit. it is a major disappointment. called a "worm hole," a time warp Lt. sonak.........._|nn Rashad ltaiital

Review by Kay Anderson

65
 STAR TREK
THE TELEVISION SHOW
"Ihr Iutttmttlus .\1mItutr" ht .\‘ttnnttn ‘ "'~:..
5/ttmtttl tlrlrttttl III gt: oft ttttt (ti-tttn -ttt '
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“The Doomsday Machine"

.ttttltttttt)tlt~\tt\ tttitt-\tt|t|tltt-tlIt\ ltt't~ tti tItt~ urtgi|t.tl t.t\t .|n' rci|ttrtt~ Il|.t, \ltt- ttl lItr \lt.t\t-ti ltt~.nL pluvt-ti
tIt.tt ts ttwlttllv \'l'Ilttttt\|t'tIl ttl Iuttlt lt-It
STAR WARS .t|ul I!I‘(IK ROGERS. the tm.tgttt.ttttttt nl tltt- \tt~wt't ,-\~ ttt .t tltttrtl. Tltv lint rntttitttt was tlt.tt ttl In Pt-r\t~ Klt.t|ttlt.ttt.tt Spttrk lt.t<t rt-»
.||t altcn t~m'tg\’ pmhr wlttt It tI.t|tu-~ tttt-tlit-\.tl t0ttt.l|\\t‘ ur tttttr.tltt\ |vl.t\. Kirk and thc Ftttcrprtw, t.tkittg p].tt't- tttrttt-dtn\'\|lt.ttt, xllI|Itt1ltIiII)(lI\:'t>p~
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tltt-t'lt.t|tg<~tltr.ttt>|mtt<-rt-HuttwltttIt tttttl t-\t\t\ ttt lttlll .t htttttttttt with ~ltttttlt- ;\tnttl\t s\\'t'|]|II|; tttttm .ttttI \'\||<;tt\lt1-rttttgv OItltt-|tt.tll.tht-\'t-an
t|t.tt qtt.tltt\. 'l’|tt»rt~ t~ ltttlt- rttttttt lttt .ttt .tlttttt~t t»rg.t\ttti< t-spn-uttttt tttt hm-t~ ltt-mt It-.t~t kitttl ttt Spttt'k_ whtth
t\ ttttt .t\ ttttt~ .t\ thv ttttt- ttl thv \t~rtt-~
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STAR TREK
THE TELEVISION SHOW
"/rt» t /Wt_tt.~/tttt-'- ttt _/tt/ttt \t,~.<./tn. t,tt..,t
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“The Changeling"

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[Vs .1 |t.trt|t'nl.ttl\' striking t'l|t'tt_
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STAR TREK
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 THE BLACK HQLE sions to Dante's "Inferno" or the ported to other universes or lo-
kl David and Goliath legend hardly cationslightyearsawayinthcsanie
A cornucopia of corn
I -
qualify as the literary affectations universe. the energy subsequently
where goincidence and that iiiighi have at least ele\'ated the n-emerging as a“white hole" or in-
Contrivance are the only script_nitie lt’\'t'ls of hell below the credibly interiseenergy. Presutnably
H beautilic perfection of the special the screenwriters didn't know how
[rue 50117595 of 1@1‘gY- effects. But from the opening so to introduce such exposition with-
Tm Buck "nu A “III Dunn, "lam quences that yank the Palomino to out slowing down the action— even
iz/iq 1.. t;..i.,.,1|i...... .....| |')n|hy'§|p]f() in the Cygnus attd the black hole. to the ntost fundamental definition of
MI")-In P"-dvrrd by Rn" Mtllrt» B-rrrtrd the comic book coiillict betweeti a black hole. a totally collapsed star
Schell and the Palomino crew. events whose inaittnioth gravitational pull
.,,.,,,h and R.rhl'd u,,d,u nimm, M keep growing Pitinochio-like out of won t even lei light nut ofits grasp.
ptminmptit-. Ft-int Phillips. A s rt Prmluh every writing peccadillo possible, is never offered. But the science is
I-"It \‘l""K'""~ 7"" 5"""""‘~ '“‘""'iJ°"" perpetrated just to keep sottiething as essential as acredible plot to pro-
Barry l)trt't'lr f mttttaturr phtttltgraphy,
A" cmnhhmk L5 C"
h h
appentng on t e screen.
-
\I,d t anteanittgftt
. H] . h
asis tot evtor
Id
Randomly sprinkled through- conjured up by the visual tech-
B: "‘l|‘r':‘I:‘.::;‘:'l""' out are epigraitimatic cliches pa- iiiciaiis.
t;,,,.,,,, 9,... "..||,...| ' ,g.,i..,. pm‘... radittg as comic relief. voiced with The strained mechatiics of the
I1 r|\lI|l‘\ Ptlfl Joseph IOIIl‘l|Il\ reiiiarkablyutifuttny results by the plot could have been rescued bv
"' M“'“'
mm""“Btiltllt y"‘"' “"""""
ltmrst lttrgntnr
levitatitigrobot Vincent. Toagapiiig svinpathetic
-
characterizations. but.
W-,,,,,,,,,',|,,,, Q“ Md ,,,d,,, W, my ,,, joseiph Bottoitts, who holds down everyont-~ even the rohots—remain
the ort while the rest of the posse iiuthiiig tiiorethan black and white Ihouglt Ftnmilluidthehrrlltnrr.hudrlttwv
With S20 tiiillioii at its disposal. forges ahead. Vincent sa_vs. “They stereotypes. Maximilian 5(h¢|| as it-iua.rmboelikmrlliemlu/llirhunianmrt
Walt Disney Protluctions—thaiiks alsoservewhoonlystand aitdwait." the Mad Gt-nnan Scientist is the
to a Mickey Mouse storyline. car- And he reniarks to hisclaiikittgcotii- most humiliating example. Though tint Reinhardt. Though she is ittuch
toon characters and other broadly panion. afterarival robot ltt- defeats Schell lutider the flaccid direction weatherbeaten since her debut 20
uiiorigiiial stt'ukt~s—succt't'd§ oiil_v throws a self~destn.icting temper tan- of Gary Nelson. whti also helnied years ago as the innocent Wet-iia in
in flushing THE BLACK HOLE and trunt. “ lfthere‘s anytliing I hate it's FREAKY FRIDAY and WASHING George Pal‘s production of TH E
its stuttttittgly arconiplished pyrti- a sore loser.“ TON: BEHIND CLOSED DOORS) TIME MACHINE, Miinieux is still
tethnics right down its nwii draitt. Ottce the struggle between the is still the best actor in the bunch attractive and l‘\'l'll the creators of
Despite producer Ron Miller's \‘it't0ri0us intruders and Schell's here. he's teaitted with a Fraiiken- ALIEN realized that a wonit-ii‘s
iiiteiitioti to appeal to a ittass aud- robots is too easily resolved. the stein monster iianted Maxiniilliaii liblit-rlikeSigniiriieyWeavei’schar-
ieiice ll\‘. atiioiig other things, fea- isritt-rs havethegall to niakea swanii and. ifthat's not eitough. a platoon acter has other assets she can still
turing “iiaint"‘ actors, this all-out of iiit-tents crash in out tifthe blue ofgwrrrleppirig robots yet. His dia- display in the end. So why insert
venture itito SF adventurewarrants screen iust to keep the survivors logtte may have nionients of hu- such a blah character as Mintieux
the first "PG" ever fora Disney filitt land the audience) awake. Plot ob- tiianity. as when he confesses about depicts if she isii‘t going to take off
ottly if the letters stattd for "Paid viously plays second fiddle as the the armor-like appearance of his her clothes? The most risque thing
Good," what studio executives must disaster elfects team makes another robots. "They're a bit medieval, but she dot-s is reach out for the hand of
hm... (tom. H, K... ,.,._-h 3 fallltg with a Roiiie burn. l'in a romantic." But we never learn Captain Holland [Robert Forster)
childish plot void ofexpletives, hru- The screenwriters know even anything specic about his life that as their phallic vehicle breaks into
tality. sex or anything else that could less about science than about literate would let us identify with hint. When the black htile. Ottl_v in a lsighl Dis-
iiiake it the least bit interesting. science ction ciiiettia. Eveit with Shell brromer his own lead robot on iiey itiovit-.
Except for the lavish special effects, ex-astronaut Gordon Cooper as the entering the black hole, the cinenia- What finally nialtes tltis inovie
THE BLACK HOLE isjust another technical advisor, the script neither tography tiiay be as awesuiiie as the so infantile is its unabashecl uiiorig-
LOST lN SPACE for kids—-only claries norexploitsthetheoretical set itself, but the intplicatioiis are as ittality. As impressive as the scene
without that TV series' saving self- possibilities nfa phenoiiiinon liltea subtle as a supernova. That touch tnay bewith Scht-ll treating his guests
ttiockery which this one desperately black hole. Kosebruok and Day have alone would dispel any notion the to dinner in an ornate. Victorian
needs. apparatttly named the spaceship lilinnialters ittight have entertained setting. the slowly circling accretion
The space probe Palominojust "Cygnus" as a curiously obscure that THE BLACK HOLE could be disc of the blaclt hole as a con-
happens to nose in on an enormous reference to one ofthe priniarycan- anything else hut another Disney trasting backdrop through the witt-
black hole. nearby which the crew tlidates toda_v for a real black hole. kiddie ick. dows behititl. it's more than just a
litids willingly suspended in dis- the Cygnus X-l binary star system. The robots are further proof of little rt-niiiiisceiit ofa sitiiilar scene
beliefrlit-Cygnus.aspaceshiploiig But why didn't they place the story the inarionette mentality. Only a iii Captain Nettio's Nautilus from
thought lost. The Palomino team there? And rather than having the kiddie niatinee could get away with 20.000 LEAGUES UNDER THE
oftwo pilots. two scientists and a rt-- Palomino stunihle onto such a sig- the wliin_v, titirobotic voice of Roddy SEA. Disnev‘s only justifiable SF
porter dticks to find the Cygnus niftcaiit phenonieiion iii its futile McDowellasVincentorSliniPicketis classic to date. The rest set-ins as
heliiied by tht-only huiiiati survivor, search for life, why not make its ashisbt-at-up cohort Old Bob. Both ttiuch a flagrant rip-off of STAR
scientist Harts Reinhardt (played by very purpose an explorationofthai tin di1.7.ies even suffer the further WARS as BATTLESTAR GAlJ\C-
Maxniiiliaii Schelll. who coniniaiids hole.’ That would have established indignity of "eyes" taken straight TICA w:ts—frotn the escape across
an aritiv of personal robots con- atthe outsetthe moreorigiiialniati from Disiie_v‘s own Goofy. And the bridge inside the Cygnus Ire-
strutted in his spare time over the vs. nature coiiict— whether the where but in a Disney niovie could ntetttber Luke and Leia dnitig that
past 20 years. Why he waits that crew nit-tiibers can avoid falling itt these two eiiiotioital robots execute Errol Flynn awav front the Storin-
long to enter the black hole only and what niight happen once they ati entire army of niore powerful troopers’), to the hacltiieyed attd
with the Palomino crew tiieinliers do. atid iiiexplicably— but thankfully~ sliatiielessly ittautlliit exchanges ha
on hoard to harass and thwart hiiii In one scene Scht-ll itieiitioiis quieter robots, theinselves coti- tween Vincent and a "d_vittg" Old
is a qtiestiott defilv left uiiauswered. soini-thing about “angular monieii- detnned because !Iir_v are trio ('lII()- Bob R2D2 and C3P0 they are not).
I

Streenwriiers Cerry Dav aiid_|t-b tutti" being the force he has ltar- tional, with such ease just because tothejoliii Barry score. particularly
Rosebrook introduce some sus- nessed. No one ever explains that they are Good? when Vittceiit and Maxintillian battle
peiise in the liegiiuiiiig by showing ati orbiting object skiiiuiiing close The scene of Vincent competing it outwith predictable resultstBarry
us .i strange "robot" funeral and a to the Schwanchild litiiit (or“event with Schell‘s star pupil Captain Star sliottld have stuck withjanit-s Bond
huniaiioid robot with a liitip. But liori7.oii,“ beyond which tiothiiigitt- inapiiieofconiputer skeet shooting ~tlit- niusic at this point sounds
the ottl_v invstery is too quickly ex- side the hole cart be detected otit- in outer space is equally childish. prrttirlt like the theme from STAR
posed oine they ttttrttask Scht-ll as side! cart coiivert 30 percent of its Why. aftt-r all. would ittachiiit-s in- WARSH. Even the silliness ofa ery
the looiie_v~tiiite art hvillaiii that he tnass iiito usiiable energy front the vented to se|\‘t' man ever rind rer- hell for the Bad Guy and cathedral
is, so they can get on with pouring slingshot effect. Likewise, the witle- reatioii iheinselves? arches for the Good Guys as they
roliuts aiul hiuiiaiis alike down the eyed scientist Alex Durattt (played Forawhile it looks like our only pass through the black hole cannot
black hole which. all too appro- with characteristic nervousness by hope for "adult" entertaiiiiiieiit is hide the filtiuuakers‘ vain elfort to
priatelt. isthe sole point ofthe film Atttlioiiy Perkinsi alludes to the the castittg of Yvette Mimieux as niiitatetltestargatecliiiiax ofStanlev
aitywav. “Eins'tt-iii bridge“ talso called the telepathic scientist Kate McCrae. Kulirii k‘s seiniiial work in 200]: A
However. as a stiperlicial action Eiiisteiti-Roseii bridge), but never whose father served on theCygnus. SPACE ODYSSEY.
filni. THE BLACK HOLE sticks us explains the key tti inaking any sense Forget the writers‘ too-visible sus- Of course. the puerilt- script,
oiil_v into aconiuttipiaofioni where out of the ttiuddled ending. The pension wires again when they e|t- hollow tliarat ters and Xerox qual-
t'tlllltl4lt‘lIH‘lllIllt'tIIIll'i\'Jl\tt'Llrt'Ill!‘ ntassive lllltt‘-spit‘? distortion of a tlow here with ESP so she can later itv of the filiit cannot tliiiiiiiisli the
oiilv tnic sources ol energy. A|lu- collapsed star could theoretically cotitact a non-sentient nu-cliaiiical astoiiisliutglv grandiose spt-'cial ef-
create at bridge or "woriiihole" being as her only means of salvation fects. the swan song of retiring Peter
by Steven Dimco through which iiiaiter could be telt~ front the evil clutches ofthe Nazilied Ellt-iisliziw, whose career as a ittatie

68
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1111111111111» 11> 1111111-11 1h;11 (I:1rp1-11 Bill Krlln‘

71
®?Z®~il®”Z?%9
A decade of fepeon
fB)Fw@Zl\l
other lmmakers sought to imitate
ll
STE_PF_ORD WIVES(Februa?'.
El Jill @l(3P3l5\3°
I975). producing iu last horror film. T0
‘

and imitation its narrow comic-book yision. The re an insightful. cutting use o science THE THE DEVIL .A DAUOl>lTER
' sult was morcold wine in new bottles. ction as allegory to propogandize in I976. thus ending a tndition of
CINEFANTASTIQUE. the maga- asproducers followed thcexampleof the polemic of the women's move— uality. low-budget British horror
zine. published its first issue in No- George Lucas and picked their ideas inent; STAR WARS (May. I976), a lms that spanned almost three do
vember I970. full of optimism that from tried-and-tnie B-picture vine- grand synthesis of old genre staples, cades. Horror had become such an
rinejiirilailikyue. the genre, was at last yards. Whereas thegenre. post-S'l'AR mistakenly perceived as something important pan of the lm business,a
weahng 0:50,: its‘:-ppgure ghstto. became alI}but sy;tp}:tyr‘rious E|€~:(;%lJ(I;TERSbOF genre actively eagaged tart! byxgvery
e re ict t at e ‘ s wou see wt outer s ace. t ree o e inest ecem er. ma_|orconi . atasm ucer
the genre stride into the forefront of science citiltlm lms of the last ten I976). Steven Spielberg's magic vision like Hamtrlitrnzould no longer com-
ihe cinema mainstream. providing for years appeared in the early '70s and of good vibes UFOs. no match for pete elfeaively. Nevertheless. Britain‘:
better quality lms that would begi_n were decidedly earthbound: THE DAY THE EARTH STOOD waning cottage horror lm industry.
to tap the vast imaginative reservoir COLOSSUSJHE FORBIN PRO} STILL. but a lm that makes up in ifnot Hammer, managed to produce
of ideas and concepts that horror. fan- ECT (May. I970) was a superb adap heart what it lacks in mind; DEMON two of the best lms of the decade,
tasy and science ction lms had only ration ofthe D. I-‘._|ones novel ofwor d SEED (April, I977). an intriguing see Robert Fuest's AND SOON THE
surface-skimmed. But it didn't quite domination by a supercomputer. a nario suggesting the possibilityo bio- DARKNESS (luly. I970). a lady-in-
happen that way. The genre cenainly perfect example that literate. tl'i0ugl\t- logical evolution for machine inteI- distress picture that for suspense tops
rose to preeminence— half of the top provoking science ction lms need ligence (should be booked into sub- anythingof its kind. andTHEWICK-
ten money-making lms u[alItori¢ are not be obscure. esotenc or boring. runs of the ‘new STAR TREK movie. ER MAN (October. I975), the story
I10" l'\°l'"" ind 9616161‘ t-110". "Ifl\1d- THX l 135 (February. l97_ll do the conclusion ofwhich patly glosses of the clash of Chnsnari and pagan
ing STAR WARSII I)._|AWS(I2).THE
EXORCIST (I4). SUPERMAN (I6).
and CLOSE ENCOUNTERSOI-‘THE
monstrated George Lucas‘ genius for
enlivening stock science ction con-
cepts in f' mic tenris. agift obviously
over the same concept); CAPRI-
CORN ONE uune, I978). the best
example of the genre. post<STAll
beliefs on a remote Scottish isle which
combines a Iyi-ic beauty and philo~
sophic depth that makes its horror
l
THIRD KIND (I10), all released in lire at the core of STAR WARS‘ great suc- WARS. a thriller that neatly sums up almost profound. I-‘uest was also re
’70s But the boom in popularity han‘t cess. The difference is that here Lucas the decline of the space program, sponsible for the perverse stylishness
improved thebreed. Onthecontrary, peopled his imaginative, realistically Watergate malaise. and'70s cynicism of the Dr. Phibes series, ABOMIN-
the‘70s beaimeadecade ofrepetition detailed future with characters equally in a way that will make you cheer. ABLE DR. PHIBES (May, I971) and
and imitation where shopwom diches as believable. The directors uncom- THE BOYS FROM BRAZIL(October. DR. PHIIIES RISES AGAIN (July.
rather than bold new directions were mmisingly grim dystopian vision I978), the best use ofthe premise of I972). aswellasoneof the outstanding
die nrle. Looking back on the '70s ildered the STAR WARS gcncr- cloning yet on film; ALIEN (May. science ction lms of the decade.
from the vantage point of I980. con- ation when the lm was reissued in I979). anexercise in style. refreshingly THE LAST DAYS OF MAN ON
rms a growing pessimism that. in I978. probably because it wasn't adult in approach. wickedlygrim and EARTH (August. I974). which intro-
tenris of improving the standards of "fun." Nevertheless_tha_t grtmness is perverse. that manages to compensate duc_cd Michael Moorcock‘s playfully
the genre. commercial success hasac- what makes the heroic triumph of one for a lack of depth in both story and cynical anti-hero jerry Cornelius to
tually been counterproductive. man's courage to question and rebel characters THE BROOD(Mav. I979), the screen. Fucst ha been lamentably
against a dehumanizing system far the fourth and best lm by Canadian inactive. otcept in television. ever since
more uplifting than the plastic cheer‘ director David Cmnenberg which, like his nervous breakdown while direct- i

- fulness of §l'AR WARS ever can be. his c'arlicrlmsTHEY CAME FROM ingTHE DEVIL'S RAIN ul . I975).
old wine: "aw b°mes-
t

' ZAKDOZ(FCl.)l'\-lily. I974) isarare WIT!-llN(Febn.iary. tors) and RABID his rst American featurilanli a total )

The most signicant development example of science ction written for (May. I977). unleashes a bizarre bio- disaster.
ofthe decadewasthe growth in popu- the screen that ranks with the best logical horror-concepnially. Ctonen- Brian DePalma is theonly director
lat-iiy bl‘ science ction lms, a can-y. literature ofthe eld. Writer/director berg is proving himself to be the most to place two lms in the decade's top
over from the tremendous success of john Boom-ran denes a liiturc history audaciously original talcntconsistantly ten: SISTERS (April. I978). his rst
200i . PLANET OF THE APES and far aeld of the usual post-holocaust at work in the genre; and STAR TREK horror lm in which he demonstrated
STAR TREK in the late ‘50s_ dug to cliches. where mankind has evolved —THE MOTION PICl'URE(Decem- his masteryofl-litchcocle graphicvio
greater public awareness ofexplosive into an advanced. highly technolog- ber. I979). awelcome retum to sdence lcrtcc. split-screen. and ashy camera-
ital ml-dent as stagnant. rigid and fiction with some degree of conceptual work. '"l"°d
advances in technology and science.
The public reaction to the rapid page morally corrupt as the Dark Ages. depth and sophistication. but ironi-
I
WM my mm ol
mor. andCARRIE(November,
l""
I976),
.

of change in the late sixties snd any Sadly. Boot-rnan‘s careerseerris to have cally as bets the close of this decade the most trying horror lm for audi-
seventies. called “future shock“ by been derailed by the commercial dis- of remakes. the script is only a thinly HIGH !itIC€ THE EXoRCl5T- ind I l

Alvin Tofller. was a major stimulus, aster of EXORCIST II (lune. I977). disguised retrd of one of the old screen debut for the work of author l
creatinga massive mnstituenty ready which nonetheless demonstrated that series episodes. Stephen King. the best ofwhose pro-
to embrace popular forms of s¢i¢n¢¢ the director's visual air for the fantas- lic outpouring of high octane horror
ction as a means of coping with and tic is as strong u ever. HQRRQR in the latter half ofthe decade prom-
internalizingamtieties ab0utte|;hn0|- Even though Sl'ARWAR5ushei-ed Circular ro fess ises to fuel the genre well into the
ogy_ehangt-and trit-i‘utur¢_5ig-budg. in a blight o outer space films. all p 9 ' '80:. Counterbalancing DePalma‘s
er science ction lms were a natural seeking to duplicate its dash and gIit- Like science ction. horror lms stunning adiievernents to some de
and sponranggus [1-§po|15g whgn h-n- ter. none did. and none were distin- were also booming in the '70s. The gree are missteps that induded the
makers began to recognize the exiss guished in ways other than their pen- release and overwhelming commcr- clumsy parody of PHANTOM OF
tgncg of a new markg|_ qmgwhat chant for polishing up the old chest- cial successof William Friedkin'sTl-IE THE PARADISE (December, I974).
ironically, agenrgthat had previously nuts of the field to a new sheen. Far EXCORCIST (December. I973). urt- the outright mimitry of Hitchcock in
suffered from bud uy rgsrriqipns better than anything to follow. were questionably the greatest horror lm OBSESSION (August. I976) and the
now began tn sulfer gsnnthe opposite, two early space lms of the decade, ever made. validated the concept of muddled self-parody of THE FURY
a surfeit of cash that bought better Douglas Tnimbull‘s SILENT RUN- big-budget prestige horror pictures, (March. I978). Despite a checkered
sets, better stars and better direqtn-s_ NING (March. I972) andjohn Car~ a trend begun in the late '60s by
but nol better lms, science ction is, pentei"s DARK STAR (December. ROSEMARY‘S BABY. The success of
foremost, a genre of ideas. and the I974), personal. highly original vi- I-‘riedkin‘s film ooded the eld with DECADES Top -I-EN
currency of an idea. even in Hn|Iv- sions 0 new directors. Sadly. Trum- asuccession ofcheap. and some not- l
wtmA_ Qnulbgmggufgd in dnllni-s, bull's visual and conceptual genius so-cheap. imitations: THE OMEN 1- mi "aim"
signicantly, the best science e- fortlie eld has sincebeen squandered (june. I976). THE SENTINEL (Feb- Z. IIILIISSIII. IIIE HIIIIII PIIIJEIJI
tinn lmgofthgdggdg Qhgwgd up in on special effects alone. while Car- ruary. I977). DAMIEN—OMEN II 3. ‘III! WICKEI MAI
the rst half. before the science ction penter seems content carving out a Uune. l978)—they even exhumed the 4_ “gm; l
gnldrush got under way with L0. trademark in the horror eld. using Polanski lm that started it all in a “ppm”. an
GAN‘S RUN (lune. I976), aharbin er his own brand ofshock and suspense.
Other outstandingscience iction
I976 television spin-off called LOOK
g_
5 Jung "mm. “nut” i
ofthe empty, baselesss lms tn Hy]. WHATS HAPPENED TO ROSE- '
luw_ The unprecedented 5u(j(Q§5 of lms of the decade included: Stanley MARYS BABY. the dumbest, if not 7' um 3°" mi Mun” i

STARWARS (May. l977)actualIy lim- Kubrick's A CLOCKWORK OR- the worst. of the pack. '- $""" l

ited the boundaries of the eld as ANGE (january. l97l). a speculative Ironically. at a time when horror 9- Tl" ll"
llllllll
_ work whose brilliance is slowly being lms were thriving as never before, ‘I0.
by Frederick S. Clarke eclipsed by the passageof time;THE Hammer Films abdicated the eld,

72
 Mi ll
.

,9 Jilii ‘SJ
i:areer.‘DeP_alma rernains_ the most
W3
(November, I977),die rsthorrorlm
Kl @i‘§ Tl®“Z((D~€»‘D“ZZ€»‘D
Other outstanding famasy lmsof the ‘E81’ of '|'|t|E DECADE
l
l promising director continuing to work by director Alfred Sole. a potent psy- decade were few. but included: THE Ch ronolo
in the eld. chological shocker involvinga seem- PRIVATE LIFE OF SHERLOCK
t

l Otheroutsianding horrorlmsof ingly ordinary family set against the HOLMES (December, I970). Billy culnggug ~|-"5 mum "Mim-
the decade included: THE BRO- backdrop of the Catholic church, Wilder's magnicent ode to the Baker 5/70. Universal. Jonnh 5I!IlnI
THERHOOD OF THE BELL (Sep which many compared to the best Street detective. afantasy pretending Alp gun] ‘|'||i llli
teinber. I970), a TV movie about an work of Brian DePalma; PATRICK to unmask a fantasy; THE RULING 7/7°- '~"'""P“=""""- "°°"' """
individual persecuted by a secret or- (Febniary. I979), anicely compact. in- ClASS(Ottober, I972). aconceptually T"! ilmllillllmll W mi
i
ganl ion of vast wealth and political telligent little shocker from Australia brilliant satire of English upper class ‘no’ c“'°"""" c"""' "" dk“
L
influence which invoked a spine- involving telekinesis. sort of a cross morality about a man who thinks he mi
A clncIw°lK'nu“'E
l
tingling sense of paranoia; DUEL between DONOVAN'S BRAIN and is God. thenjack the Ripper. HEAVY
(November. l97l). a unique Richard CARRIE; and DAWN OFTHE DEAD TRAFFIC (August, I978). Ralph Bak- 1/1i_ want; Q,‘ gimp" gown;
Matheson scriptaboutalonemotorist (A ril, l979).George Roin'ero‘s pow- shi's best lm, made when he still my 1|”
é
thintened byarampaging semi mick. erfiil retum to living dead country. had a soul. using fantasy to make tan- 2/11, Wlmor mus. Boom I-"ell
l
which brought critical acclaim to its some I2 years after NIGHTOFTHE gible his feelings about a real ume AIIIIIIAILE Ill. Pllllii
youngdirector, Steven Spielberg.THE LIVING DEAD won him acult repu- and place. the New York City of his 5”" *"""°"""""""'°""* "‘°"' F""'
NIGHT STALKER (|anuary. I972). ration; Romero's lm is anotherprime youth; 5 WOMEN(April. I977), Rob~ |"|5|;‘m Aw" S’ S”!
another ne Matheson TV-movie estampleofthegenres circular prog- ert Altman's amazing lm. which mi ' " ‘Int """ “W
which served as the basis for the ress in the '70s; for the most part. makesanaudiencedreamwithitseyes ,,,:|g|Ju‘J,L§F_ M“ ,_,“',',, “M”,
KOIXZHAK series, the best TV show horror lms ended up the decade pre- wide open; ERASERHEAD (October. 5|“.-" lull".
of the decade. a skein about a Van cisely where they began, now looking I977),awonderfully bizarre and aus- 3/1:, unlvqi-sat, pougm rnniiouli
Helsing-like dabbler in the occult. backward. not ahead. picious debut for its director, David mi mug]
pdated to modem times. and hrim- Lynch, who demonstrates that fantasy 7/12. 20th Oomutyrox. Robert uulllll
ming with wit. style and devastatingly FANTASY is a genre without limits for art artist ‘Ill! lllllll BIAS!
protan lOl'\Sl£I‘$;THE()-l-l':lER0llly, in the wings of true imagination; WATERSHIP “'72- ”°°‘E"'°"'7' M" """'
i
I972). director Robert Mulltgan's lyr< ' DOWN (September. I978). a lm so algizguumnmnmn M." “mm.
I
ial. poetic attempt to recapture the The fantasy genre during the de- magic that in rememberingit you feel JEN“ cum“ ,u".n‘.
subtle. suggestive horror of the Val cade. particulary in the latter half. that you may have watched it all ,,n_'u,,,,,.,,-|_ "om," _,,,,,,,,
llewton lms of the '40s. extremely seemed always on the verge of the crouched down in hiding atnid the MW ‘ul-
eective. but a commercial failure in type of explosion that horror and sci- soft summer grass of an English coun- 1/13. Amorlialrrlrttemallonal, Guy shaman
the face of the savagely explicit horror ence ction lms had undergone— try meadow; and MURDER BY DE- IIEAW ‘lllfil
that audiences were becoming accus-
tomed to; RAWMEAT(|uly, l97S).a
but no such boom ever materialized.
probably because no commercial
super mt in the genre could be pointed
CREE (Match. I979), a iopnqtch 9111-
ing for Sherlock Holmes that was
nciltly = match for Billy Wilder's film
‘I'll! WICKEI Ill
8/73. Aittevleatt-International. Ralph Baum

‘°'"~ *"°‘°‘"'~ "°°‘" '""Y

surprisingly intelligent. touching, fero-
at the start of the decade, directed by mi u95g,x-mayo. “mum mun"
ciously violent and gory low-budget
British horror about cannabalistic sub-
at to catalyze filmmakers into action
and investment. On the contrary. there
were more than a few commercial
Bob Clarlc who also helmed DEAD
OF NIGHT.
“ml ' '
gm” Q.,m,,y.p,,,_ “M 5,,,,,,,,,
humans in the London subway sys- z/1q_
tem; DEAD OF NIGHT (july. I974). and aitisticdisasters in the eld during nun M ‘mm
a brilliant political allegory using the the‘70s that may have served to post- cyc|es of popu |a|'ity 1/14, Europht lnloriilllonll. Inn ciuit
ltorror of a living-dead Vietnam vet ne the enu-y of a trend in fantasy t d ‘mi U31‘ BAY: (II [Al ill ll
resuming from the war to his home lams that seems to be waiting in the come O an en ' "74- "W W°"¢~ "°°"' "'9'
town and family to comment on wings. Chief among these was Dino In the past. horror. fantasy and 35'!‘-mi
America's guilt and need for retri- De Laurentiis‘ failed attempt to re- science ction films have been per- "”"‘"""“""""""“°“"‘°”"' Sm“
bution in waging an unjust. unpop- tiiake KING KONC(December. I976). ceived to wax and wane in noticeable Mn‘ “Q!/7‘ B”umm_ “M “Mn,”
ularwai: SEIZURElNovember. I974), using money instead of brains. De qrles ofpopularityand roductivity. mun‘ m““'E"“5|I
a stunning first feature by director Laurentiis was more interested in re The‘70s have seen the rerease of more 12;-y4_ 3|)"; ¢;.m..,y.p°,., ml 3,9“;
Oliver Stone. about an author of the makingJ‘AWS and taking over the II and better genre lms than ever be- mg 31-[pagan WW5;
occult who dies from the intensity of spot of at all-time boxoice champ. fore. in an up tycle that shows no ans. coiutnnla. Brynn Rim;
hisownnightmares; YOUNG FRANK- only to learn too latethatasubmergcd signs of abating. But some seeds of JAWS
ENSTEIN (December. I974). Mel mechanical shark is one thing. and a decline are being sown by filmmakers. “'"'""" §'"I" $I'I/Mm
mi Till“
H/75'
Brook's loving, affectionate, hilarious fully exposed 40-foot mechanical ape those without imagination or knowl- R
tribute to the Universal honorclasics; quite another. Besides totally misun- edge of the eld, who exploit high um """'°“"" °""" P°"""“
_|AW$S|_une. I975), the story of akiller dersiandriag the nature of fantasdy in interest in the genre by turning out MIMI"/7° um,” Mum 3,," mm"
shark tlmedlikea'50s monstermov- the origi KING KONG. aban on- endless imitations and remakes of Mm“ “Eb
ie. which rocketed Steven S ielberg ing its distanced chanrt, visual poetry past successes. Previous cycles of po 4/77_ unit” Anlg|g_ Donald cum’;
into the orbit of superstar directors and child-like sense of adventure, De ularity have ended because the publi: 3 “gun
arid further validated the trend in big- Laurentiis also misunderstood the re- soon tires of such repetition. While 4/11. zottt Cortt\i|Y‘F0I~ ROM" MIMI"
budget, big-boxolfice horror, THE quirements of realistic verisimilitude lmmakers have shown a great degree STAR WARS
TENANT (lune. I976). a haunting inyAWS-like horror. Whether the re— of diversity. boldness and conceptual 5'" 2°“ c'""“*F°‘ °'°'V' ‘-“"'
study in psychological horror from su ting film is to be considered bad daring in rinzfanlatlique during most Eusinnun 7 L ht
Roman Polanski. demonstrating that fantasy or bad horror—actually it is of the '70s. this has not been tnie in L": D.“ Lyn" '0” ' ' T
the director of REPULSION and both—the effect it had on any emcrg- the closing years of the deade. If lm- A E‘ Mm‘ M,“ S0,,
ROSEMARY‘S BABY was still in ne ing fantasy trend tan only be termed makers continueto rehash stale ideas. gm“ “ennui” 0; mi Tm” "In
I genre form: ALICE. SWEET ALICE a setback De laurentiis should suf- genre lms will soon be encountering llI71.CoIu|ItbIL Slevun Snlelberg
fer with the knowledge that hadghe some degree ofcomrnercial rejection |;gpg||;gg| 1|];
G17!-Wlmv Brat MM "raw
>

satised the publtc‘s overwhelming in the marketplace. The implications

yen for t.he simplistic fun of fantasy are most serious for science fiction WITEISIIIPIIOII
READER POLL half so well as George Lucas did six lms, because the current boom has ""°°E"'“"" '“""' "°""
W75‘
Now it's your tum. Tell us months later with STAR WARS, he narrowed down and identied the Iggauggacmgu Fnnlgllw J8“ "
your top ten horror, lantasy might have toppled_|AWS' boxoflice field with outer space. Unless film» ""'mK W u M " ' I ""
I and science fiction lilins oi record as he had intended. And who makers begin to diversify their dis- ;,19_ y.,,,,,.,¢m,,,,.,,,,,_ gun.“ ;,,,,,,,,,,
the '70s. We'll send you a knows. we might be suffering now coveiy of science ction and tap the Huang‘ Iy ngclgg
complete list of titles to pick thmugliastringofgiantrnonsterlms enortnous potential of the eld be- :i/19. Avot>Eiiibuoy.BooCllrlt
Irom. to help iog your ment- instead of outer space shoot-em-ups. yond space opera. when the space fad MIII ll! ‘mi ail
ory, tree. if you provide a The only fantas lm to make dies out from overkill so will the 41"» ""“°¢ F"'"* °'°'W "°"'"°
stamped. sell-addressed en- my top ten of the dyecade is _|ESU5 boom in the genre. As the sayinggoes. T"! lllmll
1
velope. We‘|l print the re- CHRIST SUPERSTAR (june. I973). those who do not leani from history 5”" N“ w°M' um‘ c'°""'£""
sults. along with your com- Nori'nan_|ewison's magnicently sur- are doomed to repeat it. an axiom Au!" um mm “mu F“ Mm 8""
ments. in a tuture issue. real. thinking man's version of the that holds true again and again in ‘nl ‘»lEK'_.n|E "Jan" ncliuni p.,..,n°,,,,1_;;”.,, M”
gospels according to rock music. Hollywood. El 13,-;°_

73
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actual decks] above the waterliite; such a time— everythiiig had to be and saline. They didii‘t see the face,
different members of the hyphen»
rorridorsthat stretch for 1.000 feet; as if in real life. Tltev continued to iii.st the iiiiifonit." To avoidthis (‘DIP
ated Douglas clan (produced by
Peter, votiiiger brother of actor- ahaitgar decltthat can accoiiiodate ltelp its buildaiiiorerealistic story.“ ftisioii. the stars took to wearing
the Eiffel Tower in arldilimi to the THF. FINAL COUNTDO\NN‘s sweaters over the unifornis while
producer Michael and soit ofactor-
director Kirlg who starsl. THE Flt regtilar contpleiiietit of plaites las- time paradox is effectively sviitliiil- oll camera.
suitiing away cotild be found to get ized by the first eitcotittter of the Principal pliotog'raphv iintlerdi»
NAL COUNTDOWN seems liltcly
to be. at the very least, a naval and it in throtigh the haiigarhavdoors). Nimit/'s aircraft with a scouting rector Don Til\'lUf t0l\lF.N ll. ES
The film's opening sequence parry ofjapanese Zeros. Unalile to CAPE FROM THF. PLANETS OF
naval-air hufl‘s dream come tnie.
builds on the awesome size ofthe believt-whatthey've beeitsentiipto THEAPI-1St went sinoothlv. A delav.
Nnt so surprisingly. its real star is
identify. the citiiteiiiporary .-\iner- and (Ul\At'(]\ll'IIl budget overniii.
bound notto befather Kirk butthe Nimitz. “We start with a Russian
trawler,“ Dotiglas said. "shadowing it-an pilots unavoidably find theiti- was t'il|l.\('(l bv ;i leak in one ofthe
Nimitz. America's largest nticlear-
power aircraft carrier, where most our tasltg'rottp— whereveroiirships selves roving with tht- Zeros liv— coolantsealsirtht-t"amer's reactor.
ofthe film was shot. Front May to are iii the world there's always otie front a Zt-ro‘s poiitt of view—ap- There was never aitv danger in-
nearby. It's followiitg a destrover. pt-ariitg otit ofitowhere to float up vols-ed, hiit the Naty operates in a
August I979. sltt- was —in addition
to her regtilar ftiitctioiis—t-ither a which is following a cniiser. Each alongside with iitipiiiiitv. Fortlie F~ ttiaiiner soiiit-what dilferentthaii the
fi|ntiitaker‘s home baseoraroving timetherearepeoplealongihe deck H. capable of speeds in excess of t'i\'ilia|t tiiielear power indt|str\‘—
locatittii. lt‘s ciiriousthat the allliut in give a sense of scale. Theit we 2.000 mph, it is soiitethiitg of an "Safety is the rst priority. aiitl hang
iinpreeetlented degree of official passan 800 foot cruiser that fillsihe effon to fly as slowly as tht- Zero's tlit- t‘4i.sI"—sti prodtietioit had to
cooperation which made the whole whole damn screeit. And it's'God. top speed. The aircraft's comput~ shut down while each ofthe25~ton
look at the size ofthat mother!‘ Fi- crized missile firing systein oper- se.ils were rt-plated. “N Mile Island“
project possible comes to a story
that seeks to revise history with a nally, the screen begins to blaclt out ates well outside the range ofa tar- t-shirts lit-gait tn titrii tip. and wett-
lilieral dose of imagination. aswego hythefanlailofthe Niniit1.“ get'svisibilitv. ltliecoiiiesclearthat proiiiptlv coiifistated hv the Nint-
We are presented here with the Hatingaccesstothe Nimitz. and even the pretense ofa toiitest is iiti- itz‘s rreali Exec.
proposition that in i980. a leading other resources made available by possible. ltideed. careful computer To help prodtice strong llyiiig
the Navy. lent an atithenticitymonev simulations speriallv prepared by scenes. special caitieras on remote
U. S. warship vanished niysteriotisly
while on routine maneuver. onl_v to alone couldn't htiy. and made the the Navy show that it would take control mounts, specially designed
film's 811.5 million btidget go far- the Nimitz all of five iiiiiitites to bv Gniiiiinait titwithstaiid the high
reappear lietween PearlHarhorand
the approaching Japanese attack iher than it nonttallv would. Twn wipe oiittltejapaiiese lleet~aiid all Gforees of takeoffs and landings.
factors were chieflv responsible for iiilhnttl using nuclear weapons. ln were fitted iivemittg ton the Toni-
force shortly before the fateful day
thetiiriiaboiit front the Naty‘.s geit- such an eveitttiality.tlte iitaiii prnh- catst, antl inside the tiiachiiit- gun
of Decetttber 7. 1941. Given the
eral disinclination towards aiding leiii in destroviitgthefleet would he cavitv ton the Zeriist. This allowed
geiierallyawesonie advances in mil»
itarvtechnnlgyovertheintt‘r\'ening Hollywood. The lI!Ill\ak(‘l'Sl|\$lSl(‘(l scheduling how ntaiiy sorties aitd for striking and tiiiiisitallv realistic
29 vears. it hecontes an open qties- on paving their own way (for ex- what armament load per plane. poiiitsofview for kt-vshnts. Maneu-
ample. 84.250 per hour ofoperation Manin Sheen receives top billing t-erable airspace could be in short
tion whether there will be anv “day
for each F-l4 TOIIICBU. and. after a as the civilian eflicieitty expert a- stipply. though. because of the F-
of infanty."
The crux of the encounter is a decade and a half of filitis taking a board on assignnieitt front the De- HR rapid rate ofcliitihaiid descent.
twist on the old paradox: ifsomeone negative view of all things inilita|‘y. feitse Department. Kirlt Douglas liii Some ofthese scenes were shot while
here was a script seen as being very his first appearance in one of his the Niniiu was statioiit-d between
were to go hark in tiitie and kill your
grandfather before he iitet your pro-Navy. sons‘ lilnisi will he in coiniiiand Cuba and Kev West. At one point in
“The bottom line." said Doug ofthe Niniitz._|aines Farentino ap- the aerial filming. the planes acci-
graiidntother. would you ever exist?
Here. the cottiplicatioii is that no las. “isthat thev coitie awa_v looking pears as the coinniander ofthe air deiitallv strayed into the fringes of
matter how incredible the situation. terrific. Two years ago. every l-l- wing. Two characters front the I94] Cuban airspace. Tlit-\' left iii a lturry
_vear-old kid in the cotiittrv wanted period are Charles Durniiig. a ll. S. as soon as thev realired their error.
the Navy is sworn to defend the
to he Luke Skvwalker. When they Senator, and Katherine Ross, a Iih- but Douglas wondered what the
United States. Problems related to
see this. a lot nftheiii will want to t-rated woman ahead of her time. Ciiliaiis tto sav itothiiig ofthe Rus-
tainperiitg withthe course ofhistorv
are secondary. grow up to be fighter pilots." who seves as Durning‘s speech» siaiis there. in light of rt-cent head-
First-time producer Douglas pre Cooperation extended to niost writer and P. R. person. And. in a lines‘ itiiist have niadt-ofthe F-H's.
ft-rs not to get more specic about anything the production requirt-d_ return front the olisctirity that fol- /\lI\('rlt‘a'§ front line fighter plane.
the storv. but is very enthusiastic in so long as it did not interfere with lowed his SUPERFLY period. Ron siitldeiilyappeariitg in theirslties in
discussing the filtit‘s production. itonitalshipoperatioiis. Freqiieiitly. O'Nt'alisthe.ship's Exec. Rounding the eontpaiiv of vintage Japanese
"People are going to sav. ‘How did the filntntalters got more help than out the cast are the 6.000 crewmen Zeros!
they could pos§il')l\' have antici- ofthe Nimitz. Recalledtheyoiiitger THI-1 l-‘IN.-\L COUNTDOWN
they do that? ls it a niiitiature? lt
looks so real!‘ and the answer to pared. "We were filniingin C.l.C.— Douglas: "We hadguvs fighting for iilh-rs no |t.irtii iil.ir explaiititioii ol
that is that it it real! We huilt no sets the Conihat lnfoniiation Center. or transfers to departiiteitts where we ll§|lI\Il'-lflvplllgl\l\l'I\lIIIl('I|1ll\. l'he
forthis pinure. used no miniatures. War Room. as laviiten would refer would lit‘ lilniiiig-" lilmetl ilepittioii will show some-
F.vervthing you'll seelships, planes. to it. All the classified material liatl On a ship ofthis size. however. thing tli.it loiik.soiitw.irtl|v like.ivio-
beeti cleared out. but they would there were int-vitablv a substantial lt~iit siiirtii at sea. tiiitiplete with
aitd other hardware) actuallv exists."
It is a bit difficult to gain ait ap- not lt-t us lm in there until the iiuitiber of personnel who did ittit boiling sea-levelcloiids and l'll“('ll'lCill
preciatioit ofthesheer size ofa ship map was absolutely correct. They lieeoiiie aware ofthe liliii eottip.iiiv tho hatges. Front the inside of the
had worked on it ftir weeks. guys in their itiidst for some tinitu This \lt>F|l\. litiwever, it willnppt-ar rather
like the Nimttv: a flight declt equal
iii area to four football elds; a coining in on their own time. l'ig- led toactnrsiii cltanicter being takeit diflereiit and it is into this that the
tiring out the exact position ofthe for the real tltiiig. Nintit/. tlitappe.irs.
Japanese fleet. wherethe ship would Crew nieniliers. actording to Peter Douglas is pertiitiallv su-
lJYJOl"d3n R. FOX
pt't\'l\itig a tiiiinnittee til ellerts art-
rltiirirt Lr/t. Pm: liuttgliiitlr/It ii I/hllllfl/UV niiii '!|\f!|1 istt to reali/.e his iiwii ioitceptiuit ol
IIi'gItt.- Imiiiiiitiiiitiiliiri /tit rm H\'4I. t 0I'.\‘TIilJ\i'.\'. iliiiii me rlirlimr fllll
ll\l\ strange passage. Pnstpri>iltii-
tioii labors are being titade slightly
inure difficult liv the |iear- ierfett
wt-atlier enjoyed during the llilniittg
aboard the Niittit/.
One final note is that Douglas
has slantetl his story at il it were
true. adding J twist ih.it he said
should I\(‘Jll\' tie eveiytliiiig tip in :t
nice rililioii. "Ottr cotiteiitioii is thtit
this is .tll true!" he said. "Tlit-re was
an eleineiit iii liistiiiy tlt-it iiuliudv
knew about ttiiiil ll\l\ dav—an uti-
t'XplilIl\l'll lat tor iii tiine. \\'et.iiitiot
change the i iiiirse ol l\l\ll)l'\‘ as voii
illlll l know ii. but on the othet
hand. thing» will ttevt-r again be the
saiiie.“ We \\'Ill .tll find out next
:\t|gtt.\t wliett THE FlN:\l.COllNT-
DOWN lwllls. E1
 “I 1. m wn 1r|IrYr1lnI¢1!|1l |m[nmI 1,.
4.»,,,. ,.....n mm mr righl !A1|\ 1"..-
un rv \rrn um‘ Um! 1. mu '1 'hnkr\ ' m z|IV1~
Imwl, rlmllng 1. uh !'.\',I,|||[lI"l‘!‘ gun‘, \r.\
am] l'!IlI1‘Yl(1‘ um! ...m_.. m.- ......u ... ..
mr|!!|\ 1., mular an r.\‘/ulmlulwr pmr " .
11.-n 1. 1;.-1.1"“, prmlunrr/d1ru'lnr/
\('\'('t’l\\\'fIIl‘f/(‘I|l'll\ WlL.|fl|_ un lm
l.|u->1 hlm. THE CO.\ilN(j,
ll |\ lunln rh.n uln-w wurd\
\hunl\| unnc [rum Bvn Gnrdnu, .|\
.1 ~i/.|hlv hunk nl lux wurk ||\ lllv
4

hurrnr/SF grurv I-.1. hm-n \'u||u1|—

on-1| hv m.|nv m lw "hukc\"'\.|w<|n|
(jnrdnn \|lI('\n'I p;|nuul.1rl\' lilu-\ “"'”“' m I (""'l""
.\m| mun-d .u rxplmuug nhc dr|\'r—
m .|mlu-In 0. h'rx_\ .\rcnn|pl|\hn\<'n|< and lm fur»
Mu-r \l\n|\'|ng .11 uhr l‘|n\-vr\u\- liuulv in n-rauung his mull ;1ulu|\-
nl \\'1~\<\n\|n and \'.\lr, cn (iunlun onw n\'c'r his lm .1n~ ;|r|m|r:|h|('. il
In-g.|n h|\ l.1n'('| \-1.1 {hr unmnun srrlna than whm-|\ hr \pn'ad\ his ci-
ruuw of |ml\|\l|‘|.|l hlnn .uul u']|~~ |un\mulhinlvuvvrluun\n|\v;\rca§.
vmun Alum \n|\l'|\l.1n1-\. In N55. hr mu vlmugh aurnlmn um h1'gi\'rn
1-|\u'n'd [hr uh:-.nn(.|| nurkcl wuh m e~m'l\ of lhrsr crurlal l‘l(‘II\l'I\I5.
KING DlNOSAUR\L|ppvn\ mung Tho result hm h1"<‘|\ than hi\ genu-
lwc ||1..mls wnh .m|liu.|l hm .u- lms scldmu risr alm\1-lhr lc-vclul
l.|\|I('(1.l\ l\||g('|h|m~.|ur\. Twnn-.|n llw drivr-|n, "B" Pl(l|lH' l|n.\lil\':
l.m-r, |\1'|1r<nl\|u'1l.uI4ln|1r(‘1'I1'dTHE \|s\|.1llv <*ilh<'r plot. din-<‘||u|\ .\m|
(IYCLOPS :\|ln'1h\n|~l\, N57‘ .1|ul auiug l3k(‘ a bark sval HI spczial
BEG|NNI.\<'(} OF THF. END \R&'~ r"l'L'lS l(‘(hI\0|ug\', or [hr 1'|T('Cl5
|n|hlu'\. whn h h-.uun-d gm“ }1r.l\\— dun‘: l|\-r up Ill rhr ifripl, lxl and
]\uppl‘|'\ nu {hr |un>(' Ill Chlmgn din~Clinn.
T110 mu:-\> nl lhL'\1' hllm lcd lu .1 Al |)('§l, (;urdu|\'s lilnn un-
ln\|r- pirmru umlnm wnh ,»\|n1-r\c.m m:|rn~1|h\'m>n1\'dialugm-andwan!
l|ucr|\.unm.|lPirmn-~.||\c|1,.|~|mw, plot. umplvd with i|Il‘( nal MT:-rm
.4um\p.\|\\' nnlml fur B-punnn-\. whia h um:-\'rnl\' \|n\|;m- In-(w<'<~||
\\’<|rk|ug lur .-\.|P 1|\ 1957 .unl (§lIl'(|UH'\“]\\‘(‘gia|\l"1l\.\lll'pnu'(‘§$
W58, Gunllm lirlnlv1'\|.|hli\hrd hix .md — thing YILLAGF. OF TH F.
pr.ul|u-nl-cH—\\|h|um\'_l.|luugu|\ GIANTS \.-\\'u| I{|n|)a$\\' 1965» as
lhc Llvks ul prm|m||\g. dun-u||\g_ .m<-x.un]\l¢~—ph<\|\\'—lnn\ung |l\n('|(~
wriling .uul dmng his uwu \pcu.\l ups 0! gum! “h'1'l "
1'||L‘(h lur THE .-\M.~\lING CO- TlumghGordanadn\||<w.|u-r»
LOSS.-\l. HAN .|ml ll\ \1'1|\|1'] WAR min dm-gr:-v 0|‘ |'ru<lra|l|un ul nu!
OFTHE COLOSS,-\L BEAST. THE havingl|iggL'r|r\|l|g1'h lnwnrkwllh,
SPlDhR .||\\| .-\Tl'.~\(lK OF lHl'. hr Inn ulrmwi dnwn uk-rs m do
PUPPET PEOPLE. (jnrdu1\r<'c.|]l:*4l $|u'\ |.|l rl-rn on pnrum-s for mher
xhv nlu.uim| l.|\'ur.1hl\'. .|\ .~\lP |m:- |mulm"¢-rs.
mk-d lhc Inmn'\' ur du .| pzuurv “.\1\'primarvinm-re-unuunmke
.||u| lhun g.n'r lulu "ml.1| .u||m|» |n\' nwn lms," he ('xp|;nm'd. Bu!
n|n\"' uvrr u. im-\'u.\hl\', (2urd<m's lms haw-
Tlm g.|n~(;.ml~n\||n-1l\.mu~m mrm-d mu mmh hem-r when hr
1-x|wrm\<-nu wnh .uul dvwlnp lm l\.|~ <1vI\1l'|Ill'.=lIl'\l -m 1||rnlin|\;\|\d
nwn \|1n ml(‘"11l\ll'1|\l\ll[\ll'. .|\.|r~ plm .md rlw spcnal eff:-uswurk
I1-ll
|.|nu|\ lhr hluc—\: rm-1|
-1! |r.|\1-lung nmlhrrs. F|Il'll\§(.1IIll', ullhuugh no
m.nu- pruu'\\ ".\lim- |~ .| mullr nan-vxznllvkmukvdl)\¢-nxm-In-sum
m.|ur pm. ¢~»~_" Cunlull c'<|vl.mml, m n~;|lc rho \|I(~1'i.|l('"¢'ll\ lur BE~
<

"\vlu-n'||\ I .|m .1h|r In pm l‘|\1-ur \|\ ClN.\‘IN(i OFTH F. F.f\'I), Cnrllulfs

lll"l‘fl'l\I \'|\n.|l u>In||un('nl\ m- \(pl .|m| <||r(-uiun |I|.1l<<- || nnr uf
gvlhrr .\ll Ill nnv )gc'|n'r.|l|n|\. \u I (ho murc 11|v||\ur.\M1"‘|$" hlnn ui
l|un'l ||-w qu.|lu\' " lhx-'5ll\. :\II|ur1'n'l1‘nI('\.||I\pll'|\
Hr'\ nwrl lhh l('<h|\n|\n' 1'\l:'I\~ (iI|rl|u|l'~ Nl:(IR()M.~\N(I\ \C||\~
\|\l']\' m n\.1k1~ g|.um nu! ->9 nurnml ('l'.1n\;| W7 I \, whirh mun-d Orsnn
H1411 .ulur\ .-\M.-\ZlN(j CO|.O§' \\'l'|]s .-\I\l|l]\l\l\w|\(‘H'll|(' pnll'|\l|;1|
S.-\L .\(.~\.\| , ||\\1*xl\ EMPIRP. OI‘ §ml('$§ H(‘|'H|"', COMING li('§' lhr
THE .-\N I15, .\lP l‘l77 Jlll .1 \'.\r|c|\' \ film will nor ~.m|n- §p(‘1l;ll(‘|Tl'(l<_
ul nlhcr nr1~.nun'\. Tlw u'<||H|q\|<' (Lunhm mid THF COMING.
\\‘.|\ .||\n\|wxlm1rr.|lc: gum r.u~ ||\ whn I1 he i\ prmhu mg fur Pm own
(;nnl\m‘\ r.nlu'r lumr N7!» .nl.|p— M.|gir(I|r1lrF|l|n\. |\“\1~r\'4l|ll<-rm-1|!
|.|ln>n \Vcll\' FOOD OF
1|! H (L [rum .m\1hmg I‘\'r 1-\'rr Hum‘ bl"-
IHh (;()[)§ whu h hr .1lw hlllwnl !nn"'R.1lh1'|l|\.|u\unu'|\lr.|l|ugu|\
.|\ \'ILl..~\Ul-I OF THE (jl,~\.'\' T5. hlnnug g|.||\l hum» un .| r.m\p.|g1-_
F.mh.1~\\' N05‘, w|||1]\\nrpn\1n|,[|\' (jur<lu|\ hm m.u|1- .1 p»\< |n||ug|l'-I]
wun UH" (Lnmd Prm lur "l.|m.mu lhnllvrnh-.1hng wuh \~'mh\r.|h .md
l|lm~“ .1! Ihr P.|r|s him F1-\m-.|l. n~1m.|rn.mm\.
:\|l|m\|);|l (Lnnl|m'\ \]n"u.|] rlr From (hr mm-| uf rlw pm|:-cu,
liunlnu said |\1'w.1l1H'r| mum-1h|ng
by Paul R. G3gl‘l€ l|\Al hznl §\lb§l.1hu'. "'l'nzl.w mun-
lhun (~\'1-r. |I(‘0p]|' lhmughmu the
Vlfk nw.../..r.,. Y"""' ;";]‘:‘ “. "(;"'hi"""_'_',“. “"}:lf'
n;>_ 1!.» /.1.
Prlrmmw Ill/H!Hl|'|I 1,.
.- v|mI 1....../.
m. ml;-,1. .1 .,/ /.1. "‘“‘ " ‘__‘ '“'_". T“ "“‘ ‘" P. "
"1 mnlru/v 1.... ./1...-v..~.l m I'll"/f ‘.“'"""“’~ ""§"“" S"""“"“"\“"K
'"' -’ """"'"""‘ '""“""'" lb" P""
111,-

.\.I|mm \I|'ddlr.- rm II\|l\‘(. \|/!Y|'(IHY1

Hm / 1;--1.1-.1. |||[I1 \'nmH \'..1/1 hf/uh‘ Wm “"‘| ‘M’ W“ """“Y_Y"'\K _lh4‘

/I/mm‘, ,,“.,,H,,,m\,,,/,,,;,.;,1,,,,,;, ,,, ,,,-4_. $.|lv|1n~:|lchrr.1m.\l<. whnch I nd
Bnnm. _| /,1,“ ,.,/,,, /,L,,m,,,, ‘,,,,,,,;,_ ,, |I15(‘il\.1llI\){. I rlul nul w.|m In makv
1vmv||/r\l|II|nr| H/m,-.-.-.1”/lm I'!I!1l\, .-.11. a pvnud pil'(‘L'. I w;mu-d \mm'l)\i|\g
rhvnug/1 1h. ml: H) .14." I-mnk In-I.m rnnlinurd pagr 18, mlumn 3

77
 King has rt-ptinetlly ctiinpletetl T]-[E COM]NG ROSE. I ltnewofthetide. butIwasn‘t
the screeiiplay for CREE? SHOW. toiumued from page 17 familiarwith Susan's pan in it. Isaw
but no prtidtittitiii date has l)l'l'Il a pt-riod piece. I wiitiled stittiethttig her in THF. CHISHOLMS (the six-
natiieti. King isttirretitlyat wtirlttin that dealt witlt the preseiit. but still pan CBS miniseriesi and I liked her
the screenplay for THE STAND. I tlitlti't want tti abaiidtiii the fas- yery niut'h."
which Romero said is still seyeral ctnatttiti of the trials. One day I Jeannie Babo, the ve-year-tild
years away from being filtiietl. l'JlI\l' home and my ance was rt-ad- star of Broadway's ANNIE. was
It may also be several years be- ing the latest issue of,\'aImtial Gar giyen a leave of absenre tti play
fore audieitces see the third pan of gmphir. And tlii-re was the exact link Dtircas C4lI)(lC. Gordon. who said
Romero's LIVING DEAD trilogy. Iwas lntiltiiig lnr." he had some reservations about
though he said he proliablywtitildift The article. in the /\|1I’ll I97‘! vi-tirlting with ytitinger actors or ar-
wait the decade it tuolt to lm the issue, was about the ntirth sliure tif tresses. descrilied Baliu as. "a won-
second installment. Massatlttisetts and ft-attired at phti- derftil talent." Others in the cast
l
f'""H' lI""""' “Not I0 years." Romero said, ttigraph of a itioderii-day ('ll\'('I\ tif iiicltitlt-Alliert Salnti. Tisha Sterling.
"but at least live. The same has Saletn witches tit‘s said there are Beyerly Ross and David Rounds.
R0m¢ro' King [gain up_ happened this tiiite as what hap~ some 350 witches ttirrently liyiiig The28-tnaii produrtinn crew in-
“Big Time Fear» pelted after NIGHT OF THE LIV- in Salenii. chided many iifGordoii‘s ltey people
INC DEAD. Peoplewt-recalling us “I knew that I had my story. frtini Los Atigeles. Mnst nOI3l)l_\'.
Author Stephen KingtCarrir. The asking for the neitt one to be ready Gtirdoii said. "liet'.itise ltert-we hail handling the inaltt-tip rlitires. was
Shining, ‘Salem: Lo!) and director in two weeks, but it is tmi soon for witches today. and that was the link. Charles Schrani, wliti helped trans- |
George Romero [NIGHT OF THE me tti do the next one.“ Sti I \‘i.\Il](' out lit-rt- [tti Salem] right ftirni Ben I.alir iittti tht- Cowardly
LIVINC DEAD. DAWN OF THE Asadtrectorwtiti has talteti t'iiie- away ttiitl I stayed here until I got Litiii in THE WIZARD OF OZ.
DEAD. MARTIN. THE CRAZIESI inatic gore. or in his own wtirds my stun‘. {Gtirtltin also filnied the Bin perhaps the tittist ittterestiiig
will team upto filtn two screenplays “splatter cinema" to the limits. is piciut't- tin lticatitin in Salt-in] Itcaine person iiiynlved with the prtidtirtitin
written by King. including an adap- there anything that even he is scared yety rapidly." is Laurie Cabtit. Gtirdtiit‘s technical
tatitin nfhis novel THE STANI). an of showing? Cortltin tlt-srribt-s tlit- pltit as a ads-istir. whowas rst spotted inthat
epic battle between good atid evil “Murally. nu.“ he said. “Within "dtiuble sttiry." taking place in two .\’tiliiuitiI (;mgm/ihu photo nf lncal
aitiniig the suryiyorsofan awesome the faittasy context. I have yet to time pt-rititls. It deals with the I692 witches. Cabot, a celebrity of sorts.
plague. feel that I was stepping tn-er the Salem witch trials. duringwhich I9 was tleclaretl the “Ofcial Salem
Seyeral of I(ing‘s best-selling edge. I might hesitate ifl was doing pt-rstitts were accused. tried aitd ptit Witch" by foritter Massachusetts
hooks hayealready been turned into stiiitethittg like THE DEER HUN- tti death aswitches. The titherpiece Guy. Michael Dttltaltis. a titlewhich
popular movies (THE SHINING. TER because that is a \'t't3' real sit— tifthe story deals primarily with I2- prestimablv is still valid. Gordon
directed by Stanley Kubrick, is due uatioti that can be perceived as a re- year-tild ljlll'l'II(' Graham. who has called aitd iiiet with Cabut when he
in theaters this sumtneri. lint this hearsalttiart-allifet-xperience. I‘iii siibctiitscititis guilt feelings tiyt-r a first canie to Salem. “The film." he
will bethe first time King will write not putting in this ptintlt-rtius prevititis life. Graham. it turns titit. explained. “deals with a iitodern
a screenplay lined tin his wtirlt. gltitiiny kind tiftiyertoiie that finds is the reincarnation tifAnii Ptitiiaiti. ltitilt tit witrltaft. The tntideni. psy-
Romero first nit-t King during it l\l'l'('§\'ilI'\' to sat" that iiiatt is basi- a ytitiiig girl whti was tine of the tlioltigiral. what you could call ‘re-
tallu about the prti|t-tied feature lm cally inhuman tti niaii. ]ust lit-tatise priiiripal at'rnst~rs of the “witrlit-s" ftirnit-d‘ witch. Witchcraft today. at
tif SALEM‘S LO'I‘. "We bowed tint I‘iii showing stintt-btitly lit-iiig tlis- who were tin trial in I692. Putnam lt-ast ainting the witches here. has
tifthat as stitin as we found out they einbtiweled tltiesn't nit-an I liaye In was led by a Reyt-rt-iitl Parris. whti. ttpdated itself, usingasa ftitiiitlatitiii
wanted tti tlu is as a TV miniseries get heaw with a message. as it was learited shortly after tlii- that whirh st ietit e has contributed
instead," said RutnemwhileiiiLtiii- “Take a film like PROPHECY trials. t-iit'titir;igt~tI witnesses ttiptiiin to psychic plit-ntiineiia. Sti it isii‘t
dun rt-ceiitly promoting DAWN OF whit h i\ disguised as an ectiltigy their ngers and thrtiw fits oit the strittly potions and candle lighting.
THE DEAI). “Iwasii‘tgoiiigttiI!ur- titnyit-. this aptiltigt-tit way til t-ti\-- ttitirtrtitiin lltitir. st rt-ainnig that I.atirit- prtivitletl mewith the advice
bank tti malte a TV muyie." t-ring up pangs til ctiitscieiite." Rti- tltt'\' were lieing ttinuri-tl and pos~ tti make a very atitlieiitir lm. aitd
For Ruiiierti. who shtitits his mt-rti said. "I tltiii‘t have ii \ll|\~ sesst-tl. Parris‘ selsh pnrptise was the filtii Ii \-t-ty authentic. The sttiry
horror masterpieces in Pittsburgh. scieiice. I luye films like I.i\SI tti bring his flticlt liarlt intti the til the past is liiisetl in histtirs-~the
attd Pittsburgh only. thank you, the HOUSI-I ON TH E LEI-T. THE TE.\- t ltttrt lt. l/\IIII Ptitnani atitl the titht-rs II2lIIIl'\, the facts. the l|app('|ill\gs—
loss of not filming King's SALEM'S AS CHAINSAW MASSACRE antl later rtiitft-ssetl that the ('tiIlYll'I)lI|l\ and the presi-tit deals with witches.
LOT was quickly offset by an tifft-r TH Ii HILLS HAVE EYES. They dratna was all a htiax.l IlI(‘lIl'(‘\|lI and p\\'cliit' plieiitititetta
frtini the author. aren't aptiltigt-tit. they have a Itit til Gtirtltiti's story in A lashititt with lititit-sly."
“Steve gave us the (‘l'1ult'r'uf;g||_\' energy l)t‘llllHl theni aiiil they inalte \lIlIll-If In the premise lit-hind Nit'li- .-\ltt-r |itist-prtitltttlitiit t littrt-s.
book tir sttiry ofhis that wasifistild," gross graphit yitileiitc ltiit. I am tilas Mt-yt-r'\ TIMIZ :\l'l'ER l'l.\IE titiw ti|ult~|\\'.i\' iii Ltis .-\tigt'|t's. Aft‘
Romero said. “Having tti pick one taking “splatter t'iiit-ina" ttiilit- t~tlgc. iwliith tleals with H. (;. Wells ltil~ ttiiiipletetl i.i spring I080 rt-lease is
tifhis stories islilte being lurltt-diiia litit it ls\'IliifllllI\(‘II|lI\‘II|l'l\I,t|I'lIlll'f lowing ‘|at It the Ripper tin .i time planiietlt. (illlllll will tint t~ again
candy store. We hadthetipptirtunity ttiaster ride. It‘s a htit ]it'p]it'r. It's Il\t|('l\lll('ll\lUIlIlIll('l'l\-Lltl\‘SJII I~'r.iii- tttltl spt~ttal ellettstti his list tiftasits
tti buy the rights of THE DEAD litirwradislt. I liaye itti iiitiral t'tiiii- (l\\'(l follows what happeits when and Iitiisli tip lI|\ DEVIL FISH prti|—
ZONE which we read in inaiiuscript ptinttitin at all." El Williaiii Citiotle nst-s his "will" II) ett. DE\'IL FISH was tirigttially
form. btit when it caitie to a choice ttiine frtiiu I692 intu the ltittire to s|.itt~tI ltir prtitluttitiii by First Artists.
we rhuse THE STAND." David Gerro|d'5 lintl the reintariiatitiii til Anti Pttt~ the tlistrilititiuti ttiiiipaity ftirnietl
The rights to THE DEAD ZONE STAR“ UN-r it.tiii. wlttise testiintiiiy ht-lpt-tl seti- ll\' Barbra Streisand. Dtistin Htil'l-
haye since been picked up by Ltiri- tant't- his ye-year-tiltl datightt-r. man antl titht-r ntitablt‘\ in the filiti
mar ftir tlirertur Sidney Pollatlt Preprtitltit titiii lta\ lit-gnu tin Dtircas. tti he litiriit~tl as a witth IIltl\l\lI\'. But First Artists has since
tTHREE DAYS QFTHECCNDORI. ST.-\R HUNT, a big-btitlgt-t \t'it-tite G(IIllll' hopes to pursuiitle Liurette gone titit til the tlistributmii busi-
“West't'TI'<IE STAND." Romero lirtitiii lm st ht-tluletl ltir rt-lease in Cr.ili.ini Putitaiit'\ reiiitarnatitiii tit-ss. \ti the prti|t-tt has rt-yt-rit-d back
said. "asTHECODFATHERufhtir- tlit- stiiiiiiit-r tif Will. l‘ht~ filin is tu ttitne liatlt with hini and tliaiige to (;tirtltin. For DEVIL FISH. Gur-
rtir films. atid that is Steve's quote. being st ripted by Dat-itl Ct-rrtiltl Ptitiiain'stestinitiiiy. Gtititlt-‘st-lltins tltiii has ltirtlier tlt-t-eltiped his iiitilti-
not ours." tperhaps best kiitiwn for writing .tr<'ltatnperetl l)_\'lIIlilIllil'\ItlIltllllIl itiattc prtitt-ss for iiiitlerwater pho-
Accorditigtu producer Richard STAR TREK's "The Trutibles With Rey. Parris' eyil id, whttlialsti |ti.iii~ ttigrapliy. He tan utiw dti under-
Rtibiiistein (who also produced Trihlilt-s" epistitlet based nit his ages to appear in the present. w.itt'r what lit- can do abtn-e water.
Rtiitiertfs DAWN OF THE DEAD iitiyel, )‘t‘slrnlai'i Lliiltlmt (jerrtiltl "l'iu trying tti siiiiplify IlIl\ .is "I‘\-t' lit't'it tltyitig different uceans
and MARTIN for their own coin- has lit-en III\'tIl\‘('Kl with TVprotInc- nitit h .is ptissilile." Gortltiii s.iitl looking for lticatitiiis." lie.\aitl."aiid
paiiv. the Laurel Croupi. the firstuf tititis<I.1\NI) OF THE I.OST. littt " I'ht- l\\'ti sitirics — the trial .tiitl the tlt-\-eltipiitg this matte prutt-ss."
the King films to be produced will this will he his first leature t-lltirt. inipristiiiiiieiit iii I092, aiitl IlIl‘|)Tl‘— Gtirtltiii prtnitlly tleclaretl. "My
probably be CREEP SHOW. an ST.-\RHUN I'tlt-als with tlietrt-wtil st-iii \\'l|l\ L.inrent- (;t.ili.ini are lintlgt-is are gtiing tip iitiw. DI-LVIL
original srreeiiplay based on five lht-"Roger Bttrliitgiune," aliatteretl. progressing tit the saine tiiiit-." HSH l\ stiitiewhere tn the nt-ighlitir-
new short stories King Iias written spat t'~g<itt\g battle cruiser pressed Two t|\\tlI|I|Ill\lIl'Ll t-otiiig ;it- ltiiiitl til $5 niillion -the budget ftir
lIIt)I\(' were taken, however. from iiitti st-ryice liy tlit- detiiaiids iif ati tresses highlight Ctirtltiifstast. Ptir- THE COMING lieiiigiititquitt-that.
his ctillectitiii nf early works. Niglil iiiterstellar war. Bart-lyaliletti huld trayiiig lititli Iatirt-ne Graliatii and But THE CO.\IIN(; is it lirealt-
Slit/It. Accorditig to King, CREEP ilsell together. the ship plIf\\lt'\ .iii Ann Ptttnatii is II-year-tild Susan lhrtiugh ltir nie. It deals iiitire with
SHOW will take a classic approach (‘II('lll\'\‘('\\l'lLllIl\l)\I1(‘l‘lkllI\I(Hlt'l('i|I Swill, who gave .i line |ierliirni.int t~ pt-ti|ilt~ than with the it-t hint al as-
iu htirror. although it will use a it. fht-liltiiishetng pacltagetl by ati as .-\UI)RF.\' ROSE under Rtiln-rt pt-ttstilspt-tialt-lletts. It‘satlillert-in
comit book format. "George and I new iiitlepeiideiit prtiductitiii ctiiii- Wist-‘s tlirettitin. Otltlly etttiugh t.is .tpprti.tt h tti liliiiitialtiiig.“ 0
want to see if it's still possible to ]ItlIl\‘, Craystin Protlutiitins, ht-atletl Il\('IWIIflll('\dIl'\lIlIll.|It,:\Ul)Rl‘.Y Anti it new apprtiath tti filin-
scare people." Kingsaid.“BigTime liyAsltle\'D.Graystiu.STARHUNT ROSEtlitIii‘tattrat'tCtirdtin‘s.ittt~ii- inaking ttittltl itirii titit to lie |tlsI
Fear!" will be its lirst filiti yetiltire. U lttiii "I
had never seen /\UI)RI-IY \\'lt.|l Bert Gtirtluii tit-eds. U

78
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In rrr phnnnnnpnnphrnl nn nnlknnng nnn Ihr lllnlnlvllr

 For nearly 20 years. Anierican dncuinentaty on tenor. The son of to PEEPING TOM.“ Powell said. iii this tase. Mark's riiiiniiig ol a
ntnvie bull's have been reading about a laniotis psychologist and author. "The press erucilied me. Nat Cohen gaiiiitlet til caniera switches. each
Michael Powell's PEEPINC TOM. l.t-wis was the §\ll)i(‘l‘l/\'l(‘lllII of :i of Anglo Amalgamated lthe fore- one tripping a tliflerent \l\lllll‘l' as
but alinost noonehas seen it. Orig- series of \'it'ious experiitients on niitiier ol'F.Ml1,thedisti-ibiitor. liked he I.|l es to his tleatli,
inall\' tliunped on the grindhotise lniiiiaii behavior condiicteil bv his tht- pl'it't‘t, and he opened it at the PEI-1PlNGTO.\l \lill'lt‘Llt|\ll asa
cimiitin lq60ll_\'A§lOl'Pl(1lIfl‘§lll\t' lather. and his current obsession Plaza in London, But after those lilin.tlioiit l~'reiid\“iiotaliitigraphi-."
distributor oi surh '50s quit kies as with death and fear retttaitis'ainbig— reviews. he got so stared he pulled Powell hastened to note. "but ll lilttt
ROBOT MONSTER and FR/\NK- itotiseiioiigh lorhini tolit-regarded it alter ve days. That killed it. atid iilioiii his wurk."i. hut the pftI|1‘(l
ENSTElN'S DAUGHTER]. the lni as .t svitipatlietic protagonist. theioittrtwersy left tnv career prat‘ti< wastlropped when Powellaiitl Marks
was shorn olitttore than 20 itiinules Piiwell was born iii England and falls‘ in rtiins. lwas already regartled leiirnetl >]ohn Huston wa\ preparing
» pai-ilv l'orCotle reasons but rhiellv entered lilnis at age I6 as an ass'is- as iuipredictable_ and this was all it to tlo his own iiios-ie iiii the lanioiis
to guarantee eas_\' tlouble-hilling— tiint to Rex lngrattt_ thi- aiidacioiis took. I ties-er disctivered what the psvtlioliigist. Stilldett-rntiiietl to do
then relegated totheatricalohscuritv silent nuwie director. Powell later British crititsfoiind so horreiidous. ii liliii exploring the psi-che 1l3fg<‘l‘v'
when Astor folded alter a string til landeil .i post as still photographer because it's not a violent filin at tlue to Marks’ UlIM.'§.\il)l\ with ps\'-
niisgiiitled foreign acqiiisitions like at Britain's Elstree 5tiitlios_ and int» all— that whole btisiness about how i-liii.iii;ils-sisi. they tame up with the
SHOOT THE PIANO PLAYER. tiiediately assigned ltitnsellto what the lilni should be shoveled tip and preniise ol Pltll-IPING TOM.
Wlieii it was soltl to independent appeared to be the niost anibitioiis llushed tlUWI1B§('W('I.llI\l)l‘lll‘\‘Bl)lP. “The script was written u\-er a
television stationsiittheiiiid-l90s. prodiitiioiioiitheIot—aiiearlylilni The filin is a psythiiltigical stiidv. period of lour to live inoiitlis."
it was slapped with .i newtitleiF»\Cl~‘. h\- Allretl Hitchtuek. and that's where wt- put otir t-Hort; Powell said. "Leo ihlarksi is A‘ ven-
OF FE.~\ll1aiitltruiicated bvaiiother "At that tinie.“ he ('X}1lillIIl'(l, there‘sitohlood at all until thcerid." sliiwworker. aiitll1lidii'tliiirrs'hiin.
eight niinutes. “there were no action stills; e\'er\'— PEEPINC TOM was made for He i.iine to nt\' house twiteii week
But in Englanil. the I95‘? liliti thing was post-tl. Hitt hcock was tioi £|I<l5.000 (about $380,000» on asix- alter (lllll\l'f. and we would go oi-er
has alwa\'§ been Il('l‘L‘§5ll)lt’ll\ its cotn- \'ei'\' happv with thispictiire. and lii~ week schedule. which keeps it in is-hin hi-‘tl written. It \-en" inuch her
plete lortn. and has lieenthe suliiert roiiltln‘t he l)(\llI(‘l'l'll. He wotilil tlo the low-biidget category but is al- li\lIl(‘ .i part ol niv own thinking."
ol'.se\-eral articles as well as lengtli_\' little things to itiake it ilifliciilt for niost extravagant ctinipared to the Pti\\‘L‘ll(\|ll\('LlL'll that the degree
passages in books on the horror nietotakethestills. lrenieinherat shooting tonditiuiis lot Hatottier towliiih eriticsaiitl liliii hulTs have
gt'ttrt'— tnost notablv Carlos Clarens' one point, hewas liiiishetl shooting, lilitis til‘ the saute periutl. lt wa\n‘t tlelvetl into PH-'.PlNG TOM, "goes
fl"I”llX/71]/ll]!-T/I771U//,|III!lY7flV"l[I lllll\l‘§i\l(l.'1\lll'lKlll,klll|l1l‘lllIl5,' an exploitaiioii picture. \'et it was ii hit l'.ir —hut it's all woiitlerlul for
and l stepped iii with in_\' taltiera actoinpanied lI\' a fairly titillating nie. This liltii is \'er\‘ persoiiitl." So
and David Pirie‘s.l Hmliigrnfllm-mr.
All oi’ which has t'o|npoiiittletl the and saitl_ ‘Fine, now l'll lightthe set ad caitipaign in England. attd an perstittal that Powell cast lllllhfllvils u
frustration of Aitierit an tijinmiailiit properl\'.' alintist nianiacal one in the U. 5.. the hero's \-illiiinous latlier. seen in
lielore whoin PEEPING TOM has ‘ Hethought that was \‘(‘f\'f\lI\lP\', where Astor ntade the most of the lllltIIL‘XIIl7\'l( ll-L§l\l)ilCk.\. aiitl his own
been dangled just out of reach for and we liecanie lrii'tttls." ralttr-sharp. phallic tripod (‘Xll'lI§llI §4)II.L\ viiuiig Markl.t-wisiiitliesaitie
two tlecatles. Powell ilireueil "tiiiiiiii" B-nios-- on which the cantetanian/nnirderer |>l;it k~.|Iltl-WlIll(' lootage "he was
l But no loiigt-r. late last vear. iesiliiriiigthe |*).'sUslor British pftlr intpales his leniale \'lCllIIl§. se\'t'|i —tlie right age —antl it seenietl
director Martin Seotcese iTi-\\l iluct-rs, and l'\'('lIllli\ll\‘llllI\'('ll up to Though the early critical re- like it good icle.i"i.
[)R|VF.R) joined witltasitialldistrilr opiileiii protliictiotislikeAlex.intler spoitse tn PEEPING TOM is utt- The proiluctioiis ol PEEPINC
utor. Corinth Filnis. to strike new
prints front the British PEEPING
TOM iiegative. attd the totnplete
itios-ie lwhich Scorrese had “dist'o\'-
Korila‘sTHl-ZTHIEF OF B.-\GD.-\D
ll‘!-HI‘, tretlitetl also to two other
tllf(‘t'lUf\lI('ldll\t'llk‘Ill‘-lfl\‘-llI\l5lIL‘(‘l
lilni Wgla IXIU\'l'd to Hullswood when
t|iiestionahl_\- absurd. it's not hard
to seewhat causedthe\'itriol to now.
PEEPINGTOM.whate\'t'ritsnierits.
was released at the peak olthe horror
TOM and P$\’CHO—liotliolwliich
wt-rt-almittps\'cliiipatliit'tiiurtlerers,
lilinetl ll\‘ British direttors and
skiiiiietl alive l)\' tritii s in l*I59—
i
ered" tliiriiig a trip to Englaiidl is the war broke out. vogue. was denied the "art lilnt" itverlappetl sliglitlv, l)\ll the l><lit<‘h-
now iii U. S. circulation—for the "We shot in the siinitner ol'l9S9_" prontotion lwhich the lilin clearly totklilni wa\ releasetl lirst. and was
lirst tinte. Pins-ell recalled, “working like tnad tlt-served! which would at least have ill! tweiiiglit hit despite tor perhaps
Powell's lilitt, which was writtett to nish the pittiire lieliire war broke put iinstispectiiig critics and a\tdi- lietuuiseoli several tiegati\'ert'\'it'ws.
l>_\' Leo Markstinclosetullahoration iiiit. We didn't inakeit~ World \\';tr eiices in the proper lrante ul mind "Hiti litiick's career was reall\'
with thedirectorl. liillows the actit-i» ll began IO (la_\'s ht-lore the entl til‘ atid wasfas David Pirie notesin his iii the tloltlriiiiis \‘U\l itui.st reiiiein-
tiesola hrooding. deeplvdisturhed shooting." e.\sa\- on it in A Hmliigr I7/I,f7IlV— her." Powell retalletl. "hut the lilin
voting itiaii who works as a camera Olten working with il partner. the third nl a series of unrelated was treniettdous. I thought, ‘Well,
assistant at a Lotidoit lilin studio. l-jineric Pressliiirger. Ptiwell devel» Anglo lilnis dealittg with psychosis the Old i\1.ister's tlune it again. l)(‘-
After eoitipletiiig his iiniiitlaiie studio opetl a filinograph\'~ THE RED and inutilatioii. thelitst two olwhich (.l\l\(‘lll the hunior.‘ and sent hitti a
SHOES.THESPYlN BLACILTHE YCIRCUS OF HORRORSand HOR~ Al wire to Hollswootl. Next night,
iltores, Mark Lewis [Carl Boehitil
inakes extra ntt)ne\' taking poriio- Nth PARALEL. BL-\CK NARCIS’ ROR5 OFTHE BLACK MUSEUML the pliotie rang. antl l heard this
graphic still pictures in a cheap llat SL‘S~ which represents a healthy were outright exploitation pimtres. great voite s.n-_ ‘This is Hitchtotk.
alm\'(‘at'igar shop.Then.oneedark- cross~st-ttioii ofthe British lni iii- And, like IIl3l|_\‘ horror lilnis. the calling LUIl(llll\. Thank s-oii. old hos-.'
ness lalls, his dav t’t‘all\' begins. (l\|!tll'\' over three deratles. iiio\-ieetitployed agrislvniechaiiical "Today, l think PEEPINCTOM
Prowliiig the streets of Loiidoii And then caitie PEEPINCTOM. giinniick (the tripod-spear-raniera wttitltl l\J\'(‘ been niore sutcesslul.
with a l6tnnt cantera this one con~ which was so laiiaticallv latnbasted apparatus). the inosl lrigtening ele< and would not l\J\'l‘ received those
stant eoiiipaiiion throiighoiit the by the British press that its failure iiiettt of which ta inirror tnnunted re\'it'\s'\_ iltht-re had beeti iiiorehu-
lllll. Lewis inurders wonien and nearlv rtiined Powell. and indeed, 3l)(1\‘(‘llN'l'2\IH(“l'_ lott‘inglht‘\'i(‘tint iiior in it. There is nu streak oi‘
recortls their attguislied laces at the severelvt'tirtailt'd his career. He has to witness her own death) Powell liuniot riintiing through the lilnt.
nioineiit of death. proct-ssiiig the directed onlv one ntajor lrn since. unveils as a nal little/nstmi For the as there is in PSVCHO."
filiu hiinself and etlitiiig it into a l%l‘.sTHF.QUEENSGUARDS.a audience. PEEPINGTOM addition- Pov.-ellsaiil he hopetlihebelated
gushinglv patriotir costtinie epic. ally relied on that genre standbs-. interest in PEEPING TOM will re~
Ktfllty “l couldn't helievethe reaction lllt‘ipl‘3(1|l3|’l)'gl‘\l(‘§OI1l('(liII\3X* new his t.iri-er. "l would love to
by Iilin Ursula LeGuin'\ Earlltsea tril~
ogv." Powell s-eiuiiml. “She inspires
iglll: lY|!ltl.\|i1\tf\iII|1I| ill/Htlflllllllt “|tll1H[I'lI!t(” - PI-l»."I\'i; rmi, Ynrttl/s mmmliiii/ii»igm,iI_ Hlltlil/HVYVI 11/1; \iiiIi.i(lP-iii.-11
itte quite Al hit. perhaps because she
l
hasn't got too iiiiteh ul a rigid stor_\'.
but very hig theines. l think it woulil
lit perlectlv itito the current trend
ol big pittures l'ull <i|'iti\'llis_ legends
.intl lairv titles."

‘ iOl the likelihood ol .i Powell

il(lJpli|l|tII\, LeGiiiii coinitieiitetl
t-heerlulh-. "ll might lie nit e. l lovctl
THE RED SHOES. hut we haven't
re.ills- tlisciissetl the project at anv
length, He h.isii‘t taken ati option
or anvtliiitg. But he WI'ilt') ittar\-el-
ous leiters."i
“The irttiiit thing l\ that even il
Pl-IEPING TOM is siitcesslul now.

ii—:\.ii1 Ii
lshan't sei-.i pt-iiii_v lmiii it,’ Powell
\.titl. "It's all going to the tlis-
trilmtors.“ D

‘§;:._' ¢l~k"Wd L ~.
 In the year 632 A. F.1After Ford].
the wheels of progress have placed
ttiankititl in a precarious situatioti:
a sterile world iii which babies ate
manufactured iii the articial en-
vironiiietit of a laboratt1r\'. pro-
750 ‘ graitmied for social atid work status
at birtlt and where emotions are
noti-existent.
This scenario is. of course, the
N, strange utopia of the future envis-
ioned by Aldous Huxley in his well-
kiinwii novel, Brave New World.
The hook has been the subject of
inttch spt't'u|ation atid admiration M” ”"”"' ‘“ D’ n“"'"“ (-'m""'b'”~
.gik§ since it was first published in I952, "' ‘Mm’ “/bah‘ """"‘/“”"""F>
but it was only wiihiii the last few
years that BRAVE NEW WORLD work" she said. “Tliey ignore you
was transferred onto film, in the so totally. and they couldn't rate
-‘Y3, fonn tifa television tiiitii-series pro- less about yotir project, just as loitg
tluced by ];icqtie|int' Babbitt for as it doesn't cost them anything."
NBC and Universal Tele\'isinti. At Universal, the\'t'tetaitTVpro-
The four-hour tiiini-series, star- duct-r was offered a wide variety of
ring Keir Dullea. Bud Con, Marcia projei1s,noiie nfwhich shethnughi
Strasstiian and Kristofer Tahoii, was worthy ofprtidtttitig. Finally she was
originally scheduled to air lastMarch, olfered the BRAVE NEW WORLD
buiat the last iiioiiieiit NBC yanked propeny, a book she had long ad-
it frotii the airways, and has not re~ tnired. Even so, Babbitt had sotiie
scheduled it vet. doubts before proceediiig.
While an NBC spokesman ex- “l reatl the bookagain,“ Babbin
plaiiied during a recent phone in- said, "because there have been so
terview that the prndttctioii was tiiany ripoffs of BRAVF. NEW
being saved fora more sttitable time WORLD that I wanted to make stire
slot where tiiore people could enjoy that it stood up on its owti, and it
it, Jacqueline Babhin has her own sure did. It is more relevant than
ideas on whv BRAVE NEW WORLD eyer as we become automatons, and
has tioi been shown yet. see the begitttiiltgs ofdrug control.
"1 think the itiain reason that tniiid cotitrolaiidthe dissolution of
the show has been held up is be the ftuiiily."
cause Paitl Klein, the NBC person While Babbiii'stranslationofthe
who believed in the project, was book to filtn is the rst surcessfnl
red by Fred Silvernian. and Mr. atteiiipt of its kind. Universal has
Silvemtaii inst doesn't know what owited the rights to BRAVE NEW
to do with it." Babbitt said. “The WORLD since the l93O's. “There
program isn't. to use a phrase, ‘tits have been various atteinpts to do it
and ass,‘ or full ofjiggle. Rather, it on film." Babbitt explained. “but l
is ati extremely intelligent, and iii think that one ofthe problems was
some respects a very hard show to that the others tried to get itito the
watch, becatise unlike most tele- hardware. To me, BRAVE NEW
iision shows, you must not only look WORLD is about people. We tried
at it. you iiiiist also hsmi to it. to do as faithful ii iratislation front
"Despite all ol the talk that he hook to screen as possible, and
wants to do great things. I frankly Robert E. Thonipsoti (A CASE OF
don't believe M r. Silyernian knows RAPE and THEY SHOOT HORSES
what to do with BRAVE NEW l)ON'TTHEYl did awnnderfuljob
WORLD." she said. “For example, with the adaptation."
l did the show in a four-hour for- But creatitigan almost alien cul-
mat. The niiiuite Silvemian arrived, ture of the future did raise many
however, l was told to cttt itdown tn difficult questions: “We were con-
three. That tneans cutting out one fronted with probletns like dvxiding
fourth of the show. That's pretty whatihey would drink out of, ifthey
drastic. l had to cut ottt a lot ofthe would wear jewelry atid how they
prodttction values and a lot of the would talk," Babbin said. “One of
intelligence. At this point. l don't many solutions we came up with
know if it is going to air as three or was to create different character-
four hours." istirs for the various social class levels
Babbitt, an Enitiiy and Peabody depicted in the book. For instance,
Award-winner for her production each class had its own unique style
,._. of5VBlL rst got involved with the of walking."
project when she iiiade the "mis- Babbin said that much, though
take" cifsigningacontract with Uni- not all. of the novel's content has
"J
versal Studios. held up in the nearly half century
"Universal is a factory, and it is since it was published, but some
nnt exactly the happiest place to updating was needed.
“For example." she said, “we
by Adam ElSCl’llJ€l‘g decided to have the babies born in
plastic biggies rather than in bottles
Top and Bottom Pmduduin Dengnn Tum bf“‘."" ‘it ucdmovlrg mm I more
_/aim‘: wnlepl -1/to nlure as teen in tvucu
BMVENEWWORUI nnmauqb-Ml"
P "’""°"'“‘° *8‘-.
_Anoih_er alteration
was more
Ilarhdun !apo/unenrinthnarelieingquar- Ph'l°5°Ph"3l ‘hm PhY§'“l- “R°b'~'“
1,,,_ M,-dd]: 3,1,,” U, ,M,,u/N-;,,m; U Thomfpson and l realized that 600
W W, ,/d,,m,',¢h an M ,wm1,4_y [bound years m now nobody would care
dglmpygd tn m1¢;|a_m'¢ taut", 11¢ /mp about black and white," Babbitt said.
hniuni:m.ima.briad?IiI97E}i;r8Jmil£arL “So the show is cast in black and
Nu yet lo be izhaduledn tzlem.iL continued on page 82 column 4

8|
 reallv likes to do horror/suspense has worked before itt your Iilnisantl
films. so this is a kind of vacation to distill those things even fitrther. mritiiiued (rum page at
I, for hint. The filiii he did beforeihis
and the one he'll do next are verv
Since I've mine tn be called ‘The
Pritice of Terrof atid ‘Merchant of
white. with no coinitii-tits niade."
To help her construct a believ-
ntitch awav front the horror genre. Menace'~and I don't nd thi-sedi~ ableworld ofthe future. Rabbiii en-
lthink hewatited to go back and do rogator_v labels either—I feel coiti- listed the aide of production de-

\\ \
soinething ftiit between those two
pictures—and also. ofcnurse. smtie-
thitig very cottiinercial. DRESSED
pelled to practice niy craft. which is
scarittg people with films that are
both aniusitig aitd tiinre and more
signer Toni H. John ISYBII. and
THE WIZ on Broadway! to give the
itiiniseries a iitiique look.
Q TO KILL will be lled with the sort visual. I'ni still after the ultimate in "Thehravetiewworld." Babliin
tifthings he‘sperfet1edin his horror lttiiiiakiiig." explained, “is a totally rotitrolled
movies. There's even one short split- Although carefttl not to give too socit-t_v. Borrowing frotn Hux|ey's
screen sequence a la SISTERS." much of the plot away. ("like PSY- feelingthat the wholeworld will be-
Attother coiisitlemtioii is the cntn- CHO. surprise is t'\'eIythiitg"]. De- ctinte a factory. W1‘ ¢‘Xtl'ap0lalt'd "I1
ttiercial atid esthetic disappoint- Palttia told us it ittvolves a §\ll)\lI'llB|\ this idea by having people livitig in
ttietit ofTHE FURY. at $6.5tni|lioii housewife (Angie Dickinson! and verv functional little cells which
BM" ”'P"I"'“ his tnost expensive Iilni to date. her voting son, aWaII Street hooker worked in a factory-like wav. The
DePalnia now adinits it was a itiis~ tNantv Allen, DePalma‘s wife) atid closest thing todav to what we had
take to do two telekinetic thrillers a psvcihiatrist [Michael Caine), De- iti ttiiiid is the Beauhourg Museum
Depalma Back In Form ICARRIE aiidTHE FURYI back-to- Paltna added that there is only one iii Paris that has all ofits guts oti the
hack. "Mat-be I should have done iiiiirder. which takes lace about a outside."
Brian l')ePalnia‘s latest project. one or two different films in he- third iiitothe filniaticrfitiishes offa AddsTotii_]ohn:“When dealing
DRESSED TO KILL, is. iii the lilni- tween.“ he said. "Looking back now. character we firstjudge to be crucial with a book like BRAVE NEW
nialtefsowiiwords."aretiirti totlie I definitely thitik THE FURY was a to the story. perhaps eveti the hero WORLD. we found that a lot ofthe
PSYCHO/SISTERS tradition of inistake for me. The storv and stript or heroine. In this sense, DePalnia thitigs it nietitioned had already
shockers." It is also. DePalina uin- ll)\'_,0hIl Farris] were wav too roni- is striving for the viewer identiIica- been done. So in order to getafresh
ceded. a much-needed breather plieated. and a coniplicated style tioti atid tnaiiipiilation Hitchcock approach wt-wentfiirsitnplicitv.As
from big, complicated films like such as itiiiie on top ofthat niade it achieved throughjaiiet Leigh (and aresulL thetnain set isverytinkertnv
THE FURY atid his next assignment impossible to follow. But. it was one a very shrewd ad\'ertisirtg campaign] in nature. which is alniost tongue in
PRINCE OI-‘ THE CITY ta SER- of those situations where I didn't in PSYCHO. “I've alwavs thought cheek in itself. Itried to cotiveythe
PICO-t_vpe tlratna dealing with have a choice. I was offered that wliatHitchcuckdid in PSYCHOwas loiik ofa mechanical beehive."
police corruption and the Knapp picture at ;i tiine when other pn» a inarveloiis idea." DePalma said. The novel revolves around the
Cointitission hearings). Prior to jecisweren't readv to go. lweiit with “Ofcourse. the more you become conflict between two individuals
DRESSED TO KILL twliich Iilnied what st-enied to nie at the time a involved with a character. the more (Bernard Mant, a social outcast due
in the Wall Street district and iti mid» very interesting stor_v." startling his or her death becomes. toa chemical imbalance at the time
towti Manhattan in niid-Ottiiberl. 0bviousl_v. before itiovingoii to That's true ofall suspense thrillers. of manufacture, atid {ohn Savage.
DePalmadirected HOME MOVIES. filui his rst dociidratiia. Dt-Palnia Unless. of course. we're talking borti atid raised in t e wild by a
a low-biidget. setni-atitobiograph- wanted to take another crack at his about sortiethinglikeALIEN.where hiiitian innther) and thestrongsocial
ical spoofoftlie filni school eitper- specialty and. liopefullv, redeem vou don't have any partictilar feel- pressures to become part of the
ieiice. a Iiltn that was a return to his Iiiniselfwith thosedisappoiiited bv iiigs about any of the characters. ntassm._]ohn carried forththebook's
'60s eoiiiiterrulture comedies. like the eoiivoliited Kirk Douglas chiller. You're just concerned about the inessage of confomiity in the look
HI. MOM! and GREETINGS. ex- In niaiivwavs. DePalttia added, way thev're killed and whatthey‘re atid feelieven the construction
plaiiiedthe!<I9-vear-old filnitiialter. DRESSED T0 KILL will be his killed by." techniques—ofthe FtIin's sets.
So. wedged between his "htinie "coltlesI" I"ilni. In this respen, it will DePalnia said he selected Caine. “You are always roiiscious that
movie" lfiiianced for less than SI be closer to SISTERS t"niy ttiost 46. foracentral role becauseofthe you are in a controlled environ-
ttiillion and still without a distribu- adventurous film"! than CARRIE. actor's “atntised sense of detach- nient," John said. "We bttilt the t
tori and his big-budget iionlictioti which is uiore audience-orieiited tiienL" Cainc. who recently finished niain set to cniivev this uionotoiiv I

"depaniire" film is the tidv little beratise. “it's more t-inotioiial.“ THF. ISLAND. aiiotherthriller. for by having nothing glare out at voii. l

slioclter. It's nteant to lie. he saitl. "To tiie. DRESSED TO KILL is Michael Ritchie attd Universal. said Wees'eti got Uitiversaltobuyantold
both a tip ufthe hat to loval fright a distillation of all the suspense he agreed to star because, “It's a niachiiie sowe could producea lot
fans and a ftitt favor to hittiself. forttis. I‘vt-alwaysbeeninterested." real honest-to-goodness horror ofthe sa|tiepiet't‘s.whit‘hiitawayis
DRESSED TO KILL— budgeted at [)ePalnia said. “in telling stories storv. and I haven't done one of what BRAVE NEW WORLD is all
87.5 niillion and basetl on ati orig- front a eonipletelv citietiiatic point those. It's bloody terrifying. just about. Then wetook the basicunits
iiial so-ipt bv DePalma— is. "the kind ofview. This storv is the most coni- reading the script tnade niejtinip. andjust kept reiisingtheni. Wewere
ofthing I do best." he said. pletel_v structured of all those I've Tlieterrnrcotnes front real people. constantly building sets on stage
Satti lrvin.]r.. I)ePaIm;i‘s voting done. Ifit works. it'll bea citieitiatic not nionsters or sttperstitionsorthe scette by scene. It cost a fraction of
assistatitlsecretarvoii DRESSEDTO Ill!" ii: rm. It's a pure studv in stvle siipertiatural. It's terror a la Hitch- what it tiiight have, and the audience
KILI. siiitisupthedirector‘sreasons ~nothiiig but stvle. There'salniost cock. But sotiie of it is quite fumiv feels that you tiever leave the eti-
for doing anotherthrillt-r in the SlS— no dialogue. It's not so ttitich a de- in places. Brian isa marvelous com- closed space."
TERS inold: "Basicallv. I think Brian partiire as ati evolving of rtiv form edv writer. His CARRIE fnghtened In addition to producer Babbitt, '1‘.
is getting back to the things he's and stvle. The form is the coiitetit. the life out of nie. That's why I'm pl‘0(l\lt1it‘||t designerjohn and writer
itiosi coinfortable with. I nieati he You look for wavs to employ what I'tti doing this." Glenn Lovell Thotiipson, the niiniseries boasts
veteran TV director Burt Brinker-
_]ust when you thought it was safe. . ._]e'rey Bloom to film BLOOD BEACH l“"T ""5 CMCKER F"CT°'“
and THE STORY OF FREDDY
Srlu-diiled fora .\\lIlIIlIt‘I release. began in late Ot toher and with the thev're vi-r_v receptive to science fic- PRINZE). With sttch experienced
BLOOD BEACII is the first genre help til tonperative Soiitlit-rn Cal- lion. especi.ill_v tttonsters front outer talent. the main question plaguing
l‘"Ul’ltil\\'l'IIl'f-lll'(1tII'>|t'll'\‘Bltbtllll ifortiia wt-atlier—the storv takes spate. So in the Eastern version, theproiert is not oneofquality. but
and prodtitt-r Stevt-ti Nale\';tn.skv. plate iii sttttitnt-r— wrapped in 28 there will l)(' a pre-titles sequence wliett NBC will decide to air it.
The intelligent. low»kev strtpt and tlavs, two davs ahead of schedule. showing a space vehicle ctiinitig “NBC has verv high hopes for
good-lookiiig pftltllltllttll v.iliii-s The iiiovie was filnit-d altiiost downthruughtlieatttiusphere. and thettiiiiiseries,“ the NBC spokesman
lK'lit' the speed with which the pro- etitirelv in Santa Monica and ttear- anorgattic-lookittgcontmption hov- e\plained.“aiid is waitingto sched» ii
il'l'lti|IIIl'Ill){l'IlIt'f.4IlllIll'llttII’t‘IlIt|II lI\' \'l’lIl(t‘. though citv fathers re- eriiig over the beach. Froin this uleitwhereitcanbeeiijoyed by-the
a vetir lrtitii original coiireptititi to lll.\l'(l to let their pier or beach he something drops to the sand and niost iiiiuiber of people. In any
l‘tIIIIIlIl'Yl'IiIl scret-itiitg. Nalt-vatiskv. itleiittlietl liv tiaitie. learitig liad burrows tn. event. it will be aired this season."
35. and Blooni. 30, liiidworki-dtti- publititv. The i'.ist is top-lined hv "The versioii for the Westerti Perhaps it will tiindergroiiiid
getlier previotislv on ;i lilllll in I"'tig- n£I\'ltl IIiilltti.tit. M-triantta Hill. Hemisphereleavestheorigittofthe rtttnors sav it will air sonietitne in
liind. THE STICK UP. which Ii.is
not been released iii this HI\lIIII'\‘.
Burt YtI\llIK._](llIII Saxon and Stefiiii
(‘.i<-rtisrli.
iiioiister uticlear. with the iinplica-
tion that perhaps it caiite froin the
March I980), perhaps iiot. With
Huxlei-‘s predictiotis begiiuiitig to
I
Tlievgot IlIl’lfll|l'iI ——.iiiioiisierbiir» Dell RIu~.iiuiie of INVASION earth or the sea," lit- said. “Maybe toitu-true iiioreaiid tiioreeach dav
ietl iii the satitls ol Al |iopu|.ir lit-.iclt OF TIIF. BODY SN/\ l'("HI-'.RStrt~~ it'\cormptiun lrottt deep witltilt the tthe iitiniserit-s was out of produc-
—l;i\t .\I-iv. wrote up.i \\-iiiipsis.uid .iti-tl the non~ntitlirttpottiorpliii Earth coining to the surfact-‘the tionwhentest-tubeBalivLoitisewas
within two iiioiitlis had itt.i|or I'i~ iiioiister .uid special ellt-its lor the wornis toniiiigottt—or perhaps it's bortii. one can oiilv hopethat NBC
natiting atitl were |II\‘tll\’l'tl in pre- filtti at Culver Studios. “'l'lit~rt~ ivtll in the process of evolutitni in the airs BRAVE NEW WORLD before
prodiuttoii iiiider est-ctitive pro- be two \'t‘I\ltHt\ o|' the l'ilui.“ .ic- sea. and in a iiiilltoii _ve.tr.s it will the friglitetiing satire oftotiiorrow
diicer Sitlnev Beckerniati. Slitiotiiig iortliiig to Bliiotii. "In the Far East walk on two legs." It'a_v .-llldlrsort liecotites the reality of totlav. El

82
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Interview by Paul IVI. Sammon

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85
 Bu! Ihe/riendlyying t{DLvne_y's inirmal tae‘re-aIl- started. I went into the Royal Air Force as a
artisls-here appraarh is slmngly balanred by ils mane pilot for ve years and I catne out and went
lilhiryang, ttihere inditiizlual happiness is mainlained back to work with Pop Day for about a _year
lry a ranglamemle laiel ils mnlinuing expansion. and a half, then struck out on my own. We'd
Andyel Ihe damn formula worhs—ilsiin1leniably hegun to compete against each other on
pleasantandheallhypleasureprinrtplehas/iradiired mattes. you see. But dttring that particular
enlertainineitl/arinare millions lhan ewn lhr Disriy titne with Percy Day we collnborated on pic-
Org ran keep [rack of tures like IDEAL HUSBAND. and acelebmted
Ellmshata enters Ihe dining main. He's a sinall picture that Michael Powell directed, BLACK
dapperman. balding, sporliitganea1ly1rimmedsalI- NARCISSUS [the lm featured spectacular
and-pepper muslnrhe. An asml sels ii] his simple color footage of the Himalayas. and won the
/iale lilue shirt and paler gray slarlts. His arrenl is I947 Academy Award for Best Color Photog-
tr slill slmngly Anglican. his gesltires emiiomiral, his raphy and Best Color Art Direction. But the
' ’ ~' manner (harming, shol through trilh an arrasianal motttttains weren't real, just Ellenshaw‘s matte
'_ steely ash Ihal reerls the personal lenariiy Illllllh paintings]. I then worked at MGM, on pictures
e ‘ff’ has undaubledly hep! him al Ihe ta/i of his eld The like QUO VADIS. I also worked on CAPTAIN
‘ ie‘ lunch is lung, Ihe rant-ersatian bmad. HORATIO HORNBLOWER. a picture we
made after nishing QITTREASURE ISIAND.
" ','_,,;. Perry Day s reptilalian as Ihe father af matte and we used the same ship on both of those
painling is ttiell-hnattin. Hate did yaii meet? liltns. This was the ship that Tom Morahan,
Day had just come front France at the an excellentproduction designer who worked
timelrstmethim. Atthetime, Iwaslooking for Disney. did for TREASURE ISLAND. I
for someone I could work with who would single out HORNBLOWER because we'd
done sotne rather nice tttattes on it. I think-
1

teach me how to paittt. I was etnplnyed at a I

garage during the day and at night I would they worked out rather nicely on original
I~'llri|xhati'p1‘l'!s ihmtigh Ihi‘ -M’-/aol, '4"—rmle air lube practice painting. By tny great good fortune I photography.
iisril ll! /ilm a P0l'shn1 ilimng Ihe at! rar sequenlr. had been working in my spare time learning Il'hen did ymi rs! begin yatir long associalian
the technique ofwatercolors, copying the old tvilh Disitify?
ilhal inrredilile ttiew dawn Ihe lhma! ofihe rxlinll masters, and other such exercises. So I was On TREASURE ISLAND. When I was at
ealrana al Ihe end af20.000 I.E.4 Gl/ES is all a able to show Day sotne examples oftny work MGM working on QIIO VADIS, I got word
inallri. I~.‘llenshau~ limnrherl aiil inla special e/]'erls when he arrived frotn France. This was in that Disney was coming to England, and the_\'d
tmr/t nn IMRBY O'(;ILL and THE .-tBSENT- I934. I was 2|. I thought that the world had let the word get out that they had one or two
.\II.\'!)EI) PROFESSOR. The rulininalian afhis passed tne by by then. I thought I was an old tnattes that needed doing. Would l he inter-
ram-rniiel l‘.\'pI'I1(1Il'l‘ {l'I!7Il'S trilh his lalesl credils as tnan. ested? l said, “Boy, I'd do anything to work
Pradtirlimi I)esi'gnrr and Crealor and Sti/iertiisoraf At that time when Day was working in for Disney! He‘satremendousgenius. ltwould
_\1ina/urr Eerlsfar THE BL~l (SK HOLE. Lalesl. France, tnatte shots per se hadtt't been in- he great to work on a Disney picture." Well.
and lasl. Far i[he's Ia he belirtwl, THE BL4 CK vented. He had started in France working on Walt catne to England, and it turned out that
HOLE will lie Ellenshatt"s nal/ilm. glass shots. One day Perry. or Pop as he was there were a lot of mattes that needed doing
In addilian In hislm career, !~fIIi-nshate is also called, was called upon to do a glass shot itt on TREASURE ISLAND. I mttst have done
iniernalianally hnauin as a Iaiizlsiape painter. pm— the center of Paris on a busy street. And he about 30 paintings on that film. For years
eltinngtt-arltstuhoserlrlatls are almas/phulagra/iltirally found he couldn't do it very well. So. from his aftenyard. Walt kept saying the same thing
amirale. Hr rereiilly held his mvnlh l'.\'h|bllIYl al experienct-sin the past— Day had been tothe and boring the heck out of pt-ople: “On
lhepresligimisHmnmrmitilhGallrr1i'sii|t\’ervH11/L Royal Academy. had dabbled in photogra hy TRF.ASURI~i ISLAND we didn't leave the
where his paintings mnlintie Iii srlljitr as intteh as and was well teknownezl as an artist heidre studio. Peter put all the tnattes in and it looked
-S2*,lXJt)a/iim'i(;aiy .\'rlsaii. THE Bl.~Il.'It' HOLE‘; the rst World War— he remembered that he as thottgh we were on an island. I don't know
ilirrrlur. baiigh/an Iilleiishatrlaiulsmpe-i[SI. Fiiiiaitk used to matte things off in still photography. why you guys have to go down to the Cartibean
Hat‘ iii Ireland as tl /irrnitlfrirhis tci/1'». [fl/riishittti He decided he'd try that technique in this and shoot when we tlid it all at Denhatn
teas alsa remtily hnnarrd by an .-Iinmran Filin Parisian houle\'ard~put a mask in front of studios." Well. it reallywastft quiteliltethat.
Insltlule 7l'.Il7!li/Il‘(l|I'l‘ and ail i'.\'hil>ilian al Nata the camera where he wanted to hide the top The production crew had gone down to Ply-
l'arh's Mtisetiin 0/,\I0rler1t .-Ir! whirh altired his xectionofa bttilding attd put in another section tnottth and shot a little footage. But t-yeti then
/iniiiliiigs, lms and a I/Hi"-stale inndrl nf Ihe later. By that simple process he came up with I'd had to paint a hit, to reinforce the notiott
Cygnus. what was the rst tnatte shot, certainly itt that the island was an island. Walt‘scomntents
Ilant in Lmtdnii in I91 I. lfllrnshntr apprenlited Europe. This mttst have been about I930. t‘lidn't make me t-specially popttlar with some
in his iialiw Brilinn tinder Ihr legeiidaijy Parry Day But this invention ofhis led to ltis downfall ofthe Disney people. hut TREASURE ISLAND
l1'll'!lll|1IIt‘hIl hmughlIlii-ninrqhltflhernalli-paiitliiig in France. hecause the French cameras. the tlitl tttrn Walt around to where he supported
In lm), it-rirlmlir.~Ili'xandi'r Kanla wine iifl~.'ng- Eclairs. didn't have lixty pitts. as we called tttatte work.
laiid's /irsI—nitd lIlII_\ /i/in iiingii/ti. and traimd them in England. These were the pins that Ilithrm rr/mrtrdIlia!arraitlilhrrllismjrwltim
up it-illi ,\I(2.lI hrirr taking hit first slips mla Wall held the litt in place as the claws come down TIIF SIl'()RI) .-I .\'I) TIIII ROSE.]nr tvhirh ynu did
l)t.tiii'y's iiistilulril kiiigilniii. EllI'iishati- ranlinues la and hold the film very securely itt place when I12 riialli'.t_ yiiii trrrr ii/[erril n li‘ mnlmrl lit‘ Ihe"
hiilil I)|J!|e’\' in atrr and rt-/i'r.t In him as ti genius, you repeat the photographyon the same piece sltalin.
iifli-n aiiil trilh im qtiali/iralmns. Hlt'ii.thait‘ adiittls of nt'gati\'t'. It has to ctittlc down and holtl it That's right in that ltlitl 62 lnattes. I kind
he \li/liliraiiis tthou! Hit/I, and iiiir ufhis /iaiitliiigs exactly the same, otherwise you get jiggle. ol‘ t-staltlisltetl a persottal record hy doing
uvtt Tl"l1H'lI'I”) hiiiigiitg iii I)i.tiiif\'t lmtpilal riuiin And working with these pinless F.t'l;tirs tnettnt tht-tn all tnyself. witlt the lit-lpoftwo assistants
ithrit hr iliivl. Fllfllihlllt‘ l\ iiltii a tlmiig lirlirtw in that he started to have iiggles on his ntattes. wltowere doing the ratnera w0rk.Thi.\' was all
I/tr l)|.tiit'y i'!!l/Ilh‘. tiiiil hr |‘!!|'Itl1/I|'\ lhr /it'n'a.tit't-, So lltcy ht'ca|ttt- a l;|ughing~stot"k. Jigglt-s tlt'- (lone on tltrt't~-strip. of cmtrst~_ and I got the
\i~i~iiitiigl\ _L'l'!I|IIll|‘ hul tltghllt tiiiitlri rnr/iimilr linr stroyt-tl his reputation. So he t'atnt~ o\'t'r to whole lot tltint-in ‘Z7 wt-t-ks. (Lave nu-at hit oft:
irhith sliilrt lhal i"i't'r_tiiiir tnirhiiigiil Ihe tltaluiantl Eitglatttl. where he'll stztrtctl itt the lihit liusi- ht-art tnurtttur_ lnit at the saute time they
any iilhrr aria ii/'Ihr HIIIIHILI I\ purl nfu rhtwil ness. That's how I tnet hint. Alter showing wt-re in at hurry asal\\';t\'s~ to get tltt'pit‘turt'
/iimi/\. II i//ts). vgiililiinizii iita!n.\' Ihal \ln~tti'tgriiii/i hint what I coultl tlo_ he took ntt- on as l|i\ tnit.
!‘lllI,II‘7IlllII!l iiiiililitmiintgt-t/il/rt. liirninhii'.tvraii_\ ;t.~.sistztnt. I kept working as his ttsststztnt until I tlitln‘t gt-t any life t'o|ttr;tt't with Walt.
allirrinnii/'ti'l/—iln1iialum— icyri-/il ll'tilI't,1i/riiiirse. World War ll stitrtrtl. li\'t~ntu.tll\‘ we worketl though. 'l'ltat‘s .t nice rotnatttic llll hut. itt
II'tanalliliiilrlliiiliiiumiliimiiislt mi/itii/iiiti't't'if\ togetltt-r on tnztny pit"turt~~ for the Kortla ltttt. you tlitln't nt-t~tl 1| ton|r.ttt with Walt.
IlllI‘I‘l'I|'It‘ and riiriiunlrr, aitil il l!lll.Il II'Iill(l|I'!‘l) ltrotlters. incltitliitg THINGS l'() (j()Ml-I. Ytnt'tl either he tloing work that ht' It'll was
Iii-rltmi Iii Il!I_\ >riiini_u Ital n'lii»i't'i'r miiiIi'ilInp|1rsin' THIEF OF BAGDAD. THE DRUM. THF. nt't't'\s;tr\' or, t-vt-tt il you had il to||Ir;tt't_ you
hit nhtr.t.tiiiii iii an uln/imit uIinii.tf1lii'n' afsti/ipnrIit'i' MAN WHO COULD WORK .\llR.-\(.'l.I-LS, wouldn't want to he an the studio il you wa-t't'tt‘t
l'Tl‘1Il|I‘Il_\1”It'H'\HlIIIIIIIIIIIIIIIIII1!/l'IlllllIXlll1Il'f-ill! all the Kordtt pirtttrt-s. tloing what he want:-tl you ltl l>t- doing.
iii/riilmiiiil at I)iwuj‘t up/mrritl hinilg /irarlinttl. I was working lor Kortlzt until the war I iiltii uiiilrrtluiiil (ha! il l|'Il\ tnuritwrh uii;.'tI,UtKi

86
¢
I ' I
IE.-IG1'FSl'.\'I)FR THE.\‘F.—I lhnl mm /rrlrnttr
in III!‘ I'll:/ml S/airs. I’
V(I0(!I/I011 Ill'Y!' I’
I ramt‘ n\'t'r to work tin 20,000 LEAGUES.
i'otildn‘t ios\il>l\'. I'|ii not that litisv at this
tiiiic." Bllll tltt'n I thought a hit and said. “I do
know .-\Iht'rt's II‘(‘IlIl'II(llI\l\l\' sltilh-d at \I]1II\.
t a
and tht-rv‘s quitr a stiir\' thcrv. When I gut \\'i~'rr liiiildiiig Dl\lI(‘\'l;ItI(l now. aiul I‘ll talk _ _
lIl'ft' to Caliliirtiia. I had aIrt~atl_\' sold |lI\' to \\'alt to ~'t't- ill tht-ri"s aiivihiiig llll liiiii be
hnttst' in England and lt7III(' int-r with in\ tht'rt' " You Lium \tttl\t' ptoplr |ti~t lI.l\‘(‘ thi-
wilt‘ atid little son aiid-no DIR’ mt't us. Wt‘ tniirli for sign painting. \\'hih- ntht-r pmiplt-'s
It-It tt-rrihlt-. thuiight. “Oh. ni_\' (ind. For lvttvriiig limb Iikr ht-ll. Alhi-rt hail .i gri~.u
or!
.

iii Eitglattd pt'op|t-tisiiall\'grt't't ytni and say. llair lur it. As it latt-r ttiriu'd ntil. ht- hail .i
“Ht‘)'. glad tti sci: toil." Ytnt an-. wt-‘ll arri\'t-d grt-at llair lnr IlIiIIl('\ as woll. aiul hr lin.i|l\' tlid ' a
on a traiti and Itititid a taxi— payiiig mir own work with mt" as a III;llI(‘ artist 1IlIt'I'lI('III)1 .it
I

I vi'a_\‘ to gt-I llIt‘\'t'—3lltl then found a place nI\l1t‘\'lIl|\ll .i l't'\\' IlIl)IIIll\.

called Thv Plaza. in HuIl_\\\'utid. A slt-av)‘ kind Alhcrt was ht-n- at I)i\iu~\' lot .iIuiiit Iiw _
If
_
I

nlarra tuti. I thought, vvars. Illl'II lin;ill\' It-It to work on his own.
Smiir [lungs lI|‘l‘l'f rhiiligr. llIIi\'('l'\’.\l took him in ahuiit l‘IIil_ I lH'lIl'\'t'. ’ ’
Yrs [laughs]. I t‘allt'tl tip tht' sttidio Il\(' And \\'lIt'lI ht' \tartt-d at I‘ni\'i'r\.tl hr n<'\'t~r tn
II€'Xl morning and said “I'in iii HnlI_nvond. Itiukt-d hark. I was surw Itl lust" iiii .iIilt~ Il\\I\-
\\’ht'rt- are _\'oti:"" I'd alwavs thotiglit that tht' tant. But I‘ni\'t~rs.i| was grrat hir hiiti.
Disnt-v\' studios wvrt' in Hollywood. lnit tht')' Ont' last thiiig aliotit Allii-rt \\'hitIot k.
weft‘ at'ttiall)' n\'t'r hcrv in Burbank. AlI)'\\'£l_\'. Tlit*rt"s a \tor\' going arotmd Int \l)lIIl‘ I't'il\()lI l|\ In'in_q/uirlii nlurli i'.\'1II/Ii'7lIIIYI_L_'!!I lrrmv n/r/rlt.
Igut a taxi otit to’tht- sttidi0— spvtit III)‘ last that IlI('I't‘ is .\lIIII(' ZIIIIIIIINIIY l)(‘I\\'(‘l‘Il lI\, \\'t-||._a\ with iiiuslt-llt-rts. tlit'\"rt'oiil\'dil3
qttartt-r nu tht‘ taxi, I'm s\ttt'~walltt‘d in. and Tht*rt"\ not. TlIl'Tl' _shti_tiltln‘t ht' a|i\'. lit-tatiw l_it'\|lt |IlIIll\‘tIlI §(ll\'('IlI(‘III. But l>I\('lIIll’>fl'\lIIIg
Walt said “Oh. good. Yoti‘\'t‘ arrived. I don't tht~rt"\ no rvastm Ior it. liltit that we had II lot til prohlt-nis \\'lllI was
ltiitiw what wt“rr' going to dti. though. Thcrr II'Iirn IIHI \u!I Il:'(II!I|t' Ihr /ii-ml ii} Ilir Ilitnn I).-\RB\' O'(2II.I.A.\‘D THE LITTLF. PEOPLE.
isn'tnitich [()I'_\‘(N|I0(lt). Wt"\'c'gtittliis 20.000 mnllr iIi'/uirlmrn/P )"'"'I"' """"1.k""[ I" "II "" ‘"1" "I, '"\ I1'"""/I‘
LEAGUES thing rtitiiiiig tip, hilt I can't st-r .-\\ \l)UIIII\ I t'.iiitt~o\'t-r. I‘\'t-tisti;i||\'\\-orki-(I Ilium Illlltlrt I 1'uH'/ /1'” WH I/H‘ 1"l,L' I_L'I‘/ "l""\
why the guys got )'nti tn L‘UII\L' o\'t‘r. Tht-rt' as th<- lit-ad ol \\'lIiII(*\'t't’ |niitti~ dt-p.irtiii<-tit I 1I"h' I \i‘i' I/mu‘ III"!/l"\|Il'\ n/ Imr/|_i um! I/ir Ir/in-—

it-all_\' isii't a grt'at deal to do.“ Iiappviit-tl in Il(’\\'l)fl;IIl){ in. I wt up .i tlt'p;IfI- t'I|I1!1H\ "HM/I I/1"" .\!v»im!uin Ila/l—
.-\ppart-ntly. accordiiig to Bill .-\nderson, l!\t‘I\l lot MGM in Eiiglaiiil.andtht-ii I iiuwt-il HI\lI'\(' tht~\' wt-rt~n't ctiiiipositt-s,
,~\nd nil‘
tht' man who was tIu~ studio inanagt-r at tht- to I)t'nhani and did that for I)isiit-\'. i-\s a that's tht' grt-at thing.
IlIIIt'. Walt did this ht-t‘attst- ht- didn't want HR’ IIIJIIIIT of lart. I t‘illII(’ to Amt-rit .i Ill'Ill('tl with .\'n’
tn think. "Ht~\', I'tii tht‘ ho)‘ who t'ainr Irunt I|I\‘ own \lt‘P?lI'lIII(’III and wt it tip. l‘rit~|i<l|\' .\‘o. Th;tt>\\';t~ \\'lIl'lit'tl(l\ll h\'li.i\'iiigaliirt'-
England to strziightt-ii you all out." H0 was t-iiivtigli. iii OIR‘ oI'iIit- stii<Iio's ink and paint gftttllltl wt lot Darhv to ht' on. Tlirtt. in thi-
worrit-d ahout it gtiiiigtotny hrad. Hen:-t-dn‘t htiiltlings. Tht'\' put HR‘ in a torridor for a hatkgrotiiid. \\'t'p\lI thi~.u'tiirsposiiigtts|t-prt-
have worrit-d. I was thinking. "M\' Cod, I've whilt-. at lirst. l)l'l'Illl\l‘ llN‘\' Il('I'(ll'\l th:~ ink t ll-lllII\. \\'i' tlii-ii thri~w tlu~ Int its with ii ltII ol
roincall tliiswa_\‘o\‘t-rltt'rt-aiitltlu-rt"s nothing and paint t\l;tt't-. I Iinallv got IlII' litiildiiig that light. \\‘t- ll-Hl slowrr liltii IlIl'l\. so wt- had to
ltirtiir tn do!" 1\n\'wa_\', as it tiirnrd out. tht'rv HJITINIII [lliIITl\t)lI Elll‘lI\lIZ|\\‘,1l kn. P. S. I lIi-|i- h-|\t- a lot lII<1I'(’ light. And li\' ltirt iiig tht-
was l(lI$ for III(‘ to dii. Withiti twowrt-Its I was shaw. u.k.ii Pt-tr. is Pvtcr E|lt~iisl\a\\"\ \on and pt~r\|it-i'ii\'t'~ \\'t'll. tlttl fl‘-t||\'ll\-ll. lnll l1\'It1tt|-
working with Ralph Hatnmrras. Ht‘ and I prvsciit lwatl ol'tlu- I)i\nt'\' .\1a|tt' I)t-pantm~ntl lIII1llll'(‘\'(’. hvt illl\t‘ tht- taint-ra onlv has tim-
wt-rr told to wnrlt t'|o.st'|_\‘ tog:-tlit-r on thv is |I(l\\' using. .-\t that IIIlI(' III» l\\'l'l'll.\ .iiiiI I t'\'<'—\'t>\Iui\t|<lii'l l<’lllllillll\(‘IH'U|1ll'V\'Pl"(‘IlI
Sl\tKlIlllg0l‘ll\('II\IIII3I\lI‘I‘SlI)f20.000 LI-IACIIES \\'t-rt~tlt-wliipiiig \'atit>ti\ in lIIIIII\II'\ l'o|'tii;iiti-\_ tlu' hat kgrotitiil. I was lII\'l)l\'(‘(l with iitaltiiig
UNDER THE SEA. And Iroiii tht‘n on I was Uh was ttuitr .i gt-niti.\ at the l(‘('lIII|(}Il \ItlI‘ of sun“ tli.it IlI('I'(‘ \\',i\ ;t Illilll h ll(‘I\\‘l‘l‘|l tht- two
on prartirallv c\‘t~r_\' picture that Disnry t-\'t-r things. \\‘t- wurltvtl \-<-r\' l'll)§l'l\' I\l)Z<‘IlIl'T. ~t'ttiHII~. \o th-it will t't-tildn't st-t' \\'ht'rt- thv
did hvrc. THF IiI.~Il.'K II()I.I rt briiigluntril ]lI\II/IAII7I\ grnuiid lwgaii .i|itl i~|ult~d i|itlit~Itn't'g1iiiiiid.
Albrrl II'hilInrk it mmlhrr lI‘l'”-kIIllII‘II Ylmllt‘ at I)itm'\'\ mot! rmn/iIr.\' t/min! r[]}'il\ PYIIIHI and that tht-di~taiitt-mattht'dtoit. I3ol)Stt'\'t'ti-
pmnlrr. trim I kimtr _\‘1)II 't-r ti-urlml tt‘lIIl. 77u'n-'1 II Iilil in II HIHTTIH I‘Ilf!I'IIIlj VVIIIIUII ii, I'm tun" I/ml son. thv tlirt-t'tur. ht~lpt'd lI\ lT(‘IIIl'|I(lU\I\l\'.
mmnr Ihal ynu II'!‘T!' rm/inrisiblitir hririgiiig him In IIIt‘Yi' min‘! Iiiirr Imw l7IIIl‘!/IIIIIS Il"||t'I|_\‘!IH rrrm-nihrr IIt'|ng a in;itlit'inatit'ia|i aiitl an t'xtrt'|nt‘|y ititt‘|~
I 'iiii'i-mil.
Nu. I didn't liring him in Uiiivrrsal. I rst I.lkt'/IIIIIFY. 111:,-um» PI‘It‘!‘V'I_QIIIl IIIIIII/IIYTHUIIIIIFIIIIIIIII [HmII'I|,!III!‘ImIIHI!I'IIFIIIIIYII 1 'Ifv“—t|‘1II1'(:_\'7|I|I Hm1It‘I_
nit-t Albert in England. Ht' was a titlt‘ artist.
and prnhal)l_\' onr (Ill thc lwst invii I've t-\‘t-r
nu-t diving titlt-s. I well R'II\l'lHlN’f div rst
time I int-t Iiiiii. hccaiisc I almost lost an oi-v
that day. I was picking up one of the glass
matte lraint-s I'd |iai|itt'd for THE SWORD
AND TH E ROSE. and as I picked it tip to put
it into a cart it §lh"lP|‘lt‘(l and hit iiit- right hy the
t-_\'r. Il'it had giinv a Iittlc closer I \\'t)\|lll haw‘
loxt an t‘_\'t‘.
During that period .-\lht*n was sayiiig. “Boy
I thr our tliitig I would |n\‘t' to do is paint
niattt's. and if I l‘\‘t'|' gut tht~ t‘hant't- to work
with \'tI\I . . typr Sllllill. Wt'll. grrat. htit I was
going to Htlll\'WtItI(l shortly. I\'t‘xt thing I hrar
ahotit .-\lht'rt is whvn I'\'t' l)l'l'II n\'t-r hvrt‘
ahoitt two \'t-ars. I had wtird of him front
Pt-rrr Pt';irt't-. a prtidtirvr fur some ol‘ tht'
Disnt'\‘ |1I('I\|f('§ that wt-‘d l)t't'I\ working on.
Pt'art‘t' rallcd tnt' to sav that Alhrrt was up in
Sati Fratit'i§t‘n worlting as a sign writt'r's la-
lNIl't'l'. Ht-was wurkiiigon tht-st' liighillhnards.
hut ht-t'<ni|dii't gct into tht' union. and hr was
getting tlt'spt'ratt‘. Alhvrt had dt‘t'idt-d that ht-
was going to gt) in Australia if he t'nttldii‘t gt-t
worlt— ht- had his wilcatid two suns to stipport.
Pt'arrt' wantt-d to know. ditl I ha\‘t- ;iii\'thing
in I!I2lIl(‘\;' "Not at tht' |iitiiiit~|it." I said. "I
 I ' re would last a maximum ofI8 months. I never ftill expectation of meeting it. And it hasn't
I - imagined that THE BLACK HOLE would been easy. It's. been a very diicult picture.
.
take three years out of my life. Our alloted time has been very tight.
.

to |
my
Has all ofthat threeyears been/all-time work?
I started three years ago, but then we got
Isn't much ofthts possible beraiise Disney has
such an enormous in-house capability?
, involved with a constantly changing storyline. And in-house accord as well. I think it has
And all ofthe sketches I did at the beginning been one of those things where we don't feel
n didn't really work for the later ideas. So I'd that one guyisttying to upstagetlie other. We
a redesign—and redesign and redesign. Came all know we all have our failings, and we all
in maybe two, three times a week rather than know we all have our vinues. We all appreciate
18 I the full work week. I have been working on each guy's virtues; we're not trying to nd his
' ' the lm full time since March of I978, prob-
ably. I say "probably" because I lose all sense
faults. Iwouldn'teven hehere oti the Disney lot
again—after all, I've been working here since
oftimewhen I'm working on apicture. Ican‘t l955~ifl didn'tenjoy working with the guys
remember what happened yesterday. All I'm here. I'rii not being a boy scout about this,
thinking about is what's going to happen to- because we all argue about everything. But
, , morrow. Your life goes by very quickly that we don't fall out. This is denitely one ofthe
way. reasons we'll nish on time. Ofcourse, we're
Aer your initial occeptanre of the Proditrtion also determined to. We're all in this together.
Designer/Director of Special Effects rhores on this, I've noticed a certain structural and stylistic
I've heard that one o/your rst decisions was to gel similaniy between the Cygnus and the design ofthe
ligenthman who 5lSCd go read books on qlua_n- iIt:i;;Ia(ylgoo$gSKzpi6lDCL0.§E 1; S'IIkENT ;l/NNIN%ul4;a_t[ this intention.
tumt eories an suc ,ttwasquite simp e or , . . . a . on now I you saw tr ure-
Bob to work out thedifferenccs in perspective I cenainly wouldn't have gone the rotite Yes, I saw it. Maybe there is, I don't know.
i
we were playing with. Some of those shots of CLOSE ENCOUNTERS because I don't I cenainly wasn't conscious of it. The basic
were counterbalanced, tising a teeter-totter like beingacopyist. I think that we're standing design ofthe Cytgnus, the outline ofit, which
board. When Darby walks up to the throne alone on THE BLACK HOLE in relation to was all in slab-si ed congurations, was done
he's counterbalanced rightout there. He was previous pictures. and I think the design of by Bob McCall. When I rst came on the
about six or eight feet straight otit in the air. the Cygnus relates directly to that \tiiiquc- project, Bob McCall had done maybe ten
/I/lerall Iheseyears with the Disney orgartizaltott. tiess. The reason I kept away front the usual magnicent illustrationsofwhat hethoughta
shortly after the release of MARY POPPINS you Ilat<sided spaceships was because everybody spacehip should look like. and that's the way
decidedtoretireframthebusiness. Itmasalsoaroiind else was doing them. I also thought it'd be they were going to go. The only reason I
[Ill-§pptlLIIf_l';l_ll')'0II’€;£,II,f0 ro;;Zitrale;2riyui;;land- l’I}I‘Ol‘(‘ iplteristyng to see tle outsidie of? spay;'e~ changetltl it wgs becgtase 0:; what was telltligg
sca e ain irigs. ' mm e you o qllt. s tp, t e s e eton on t e outsi e o a s ip you ear ier— _|ust I n‘t e ieve it s nu e
doi\'t reiiieiiiber, really. Let's see— it was
I itself; as though it had an exoskeleton. Ifwe slab-sided. But I did keep the general outline
about a year after Walt died iii I966 that I were really to design somethingthat we could of the thing.
went olfand did oneofmy periodic retirement get out into space, I think we'd be able to Another element ofthe Cygnus that sets it aside
capers. I did workonTHE LOVE BUG iii‘69. correct any irregularities by leaving the htill orrt other models is it's roristructian matm'aL- hand-
and I've been back about three times since and working on the ship, in space, ourselves. machined brass parts were used instead o/the usual
then Once was for BEDKNOBS AND BROOM< This will be relatively easy in the future. We'll plastic. What made you go for the metal?
STICKS. ohn Mansbridge and Igot an Oscar re P air it from the outside, ratherthan havin ll Mainly. because the model had to hold
nomination for the an direction on that one. to takethe thing all to bits to get to it. lfyou've itselfin real gravity. With all the handling we
Then I came back for ISLAND ATTHETOP Sot an exoskeleton on vour . vehicle vou‘ll
. be had to E‘'ve it. if we'd made it out of P lastic it
l OFTHE WORLD, where we again received a able to work on it much easier. would have broken apart. It held together
nomination. Which is why I would like to I suppose, however, that the primary rea- much better this way. Ofcourse it cost more
think that if I ever get an award for THE son for my design of the Cygnus was an to build, butallthings considered weactually
BLACK HOLE._|ohn Mansbridge will be the artistic one. It just looks better; it's better as saved money in temisofnot losing production
real recepient. an interesting shape. I feltthatjusthavingflat time. The selection of brass also made our
ISLAND was one a[Disney's mast expensive sides did away with the interest ofthe thing. job easier in the nal Cygnus destruction se
lms, but critically ondnanrially it did badly. The But my design, really, was not leapt at. While quences. Brass is much easier to handle than
seri/it was just too banal I did enjoy the dirigible lwas rst workingon it, Ron Miller kept close plastic. It's malleable to acertain degree, and
design on that, though. but as much as Ilihedit. there tabs on the design, and he wasn't happy with holds its conguration. We could therefore
was something comical about it— this beautiil device it. One ofthe things he said was that it looked bend it when we started to destroy it. . .itjust
hadasaggingnase— completely limp.’ What happened? like an erector set. Well, at that point he was wouldn't y apart like plastic would.
ISIAND AT THE TOP OFTHE WORLD right. It did. But as we advanced on the design, What nally nned up your design ofthe black
was a very disappointing experience for me. I Ron's attitude changed and now I'm proud hole itsel/.7
had designed the dirigible, just to single out to say that we've managed to come up with a You know, I havea bit ofdiiculty verbal-
one instance, but I went away for awhile. Bob spacecraft that's never really been seen before. izing that. For me, the black hole is a very
Stevenson redesigned it and changed the nose I really must say something about Ron as visual idea. as opposed to a verbal experience.
a bit. I can't say I was completely responsible. our producer. Ron has been a great help to I recall that I did try to capture a sense of
Wh1nISL-IND/ITIIIETDPOFTHE WORLD us. For a start, he hasn't stood over us and mystery and a feeling of very strong, very
ziled in I974, you said that “I've gone as/or as I said, “When are you going to get this done?" elemental power. The fact that I've always
wont to go in rrrvjilm career. I've got a lottrtherta He's set a due-date, which has been unfor- toyed with working with water in a lm could
go in rrivpaiiili'1ig."WIiat was it about THE BIJCK giveable, but at least we'll forgive him if we go a way towards explaining the whirlpool
HOLE that lured you bark to Disney again? get nished. But he doesn't say, “Well, this is effect. I suppose. But you must not thinkthat
It certainly wasn't for the matte work. I going to cost too much. You're going to have that's all there was to it. You see, I see it much
haven't been involved in mattes at all lately. I to cut down." You see, we appreciate what better than I can explain it.
had become close friends with Winston Hibler, THE BLACK HOLE is costing and we try to
who was the producer on |§LAND_, and when keep it as low as we can. At the same time we mg“. Pm, I.-[h.,";“m, _;,_ -I ,Ml,,,pmnl"w/MAMm-
we were nishing that particular film he said, have to spend money, and we have to repeat P(;pp,~_g,,,,p, ,,,,(1/_;L,lN[; A T1-"E TOP 0; THE
“There's one more picture I'd like you to effects until we get them right. Quite often “UR”; ,;,,,”,,,,,,> H/,.,,_,;,,,,,-5 /,,,I,,,,,;,,,,,-,,,, m,,,,/H,
come back for, if we ever make it." And that some other producer would ask. “What'stak- n/),,,, ,,,,,,-, an ,),,,,,‘,, ,,,,p,,g, ,~/s__/"I", ,1_1,,,,;pn'4g,
‘"35 (lled iPQ%E }l:R?l:E l 3‘ f;lI"‘~_ ll Elgaollg 5° Qngbw _“?llY EC; ll? W9"; We and Ellltlshtltr share-it an Oscar I\'amimitinn[ar:lr1
was t roug i t at iecame initi y iii- n y o get it, ut it o ten ta es a ong time. I)|r(¢1|'anor1ISL-I,\'[),1lTTIlE TOPOFTIIE i1'0nu)_
volved with THE BIAC K HOLE, little realizing We are one of the few companies that has set .\'irI1'_\‘it'It1i eeirlirr, in H164, I‘.-lffllifllt‘ II'U7I the Oscar
the work that lay ahead. When I rst agreed to out to do a picture like this, set a nish date for the spmat I'|.itt|1l rpm 11/ .\I.4RI' POPPINS, one of
do the lm I was sure that my involvement and then found itself coming to that date in t-e atrarrls mm Irv lhattm.

88
:N__<
_g_U‘__5
 Y

the Palomino bridge set, and bttilding antl Now if you look at sotne ol tht- color photo-
builtling and building tttttil it became a very graphs that the telescopes have taken—a§tt’o-
buss'- looking set. I think that son oft"ontribu- notnical slides atttl .\\l('l\* \'ou'll see there are
tion is great. And, because ol it. I thittk it lots ofgas sheetsout inspace, lotsofcolorstn
worked well. space. But the attontplishtnent ol that t'olor~
Purl qflhc Palomino tr! tlcnuls n'rItnnI_v tccms tr\'ing to photograph a dark hackingi turned
I0 hr I/tr rrsu/I 0/!/inst" 24 I'l' .tcrrrns llml trrrr out to he a \'en' tlillicult technical process.
inrlullvd tn 1!. The hacking has to he dark, ofeottrst: to get
Oh. that was fatttastie, trying to get all the the color dillerentials rigln hetwet*n the stars
screens to work together. When the\' linallv and tltehrilliant't-ofthe dark blue hackgrottnd
did. it was just a marvelous ellect. we linall\' tlecitletlon. Now, ordinarilv, when
Sinrett-I-'n*spmkuzgtjtrls, THl-'Iil.~lI.'KII()L1- you pttt lights on a hat kittg, the tltittg dies
lists (t20flIn'rn, tnrlmlntg tI|1nm!t1n's, nmltnlhlhul hecause the lights start to make the whole
number I temtrler lime much [one tens rtnmmtrtl hr hacking look grav. We kept tr_\'ing— unsuccess-
huiltiing Iltmt? full_\'~ to get a decent blue night sk_s' effet‘t. It
Set eotismtttioit started ill)UllIIl\I'l‘(' months sutltlenlv dawned on ttte that pt-rltaps the
before we began lirst ttttit shooting, which textural sitrlact- ol the tnttslin hatkittg itsell
was in October of'78. The first unit stull, by \s'as the problem. Sol tried varnishing it. We
the wa_\', took hetsveen I35 and I50 davs. gave it about seven coatsol varnish and linall_\'
That's a lot of tittte. But John Manshritlge gtttasttrfaceottit that was nice antlshin_s', and
alwavsnianaged to keep alteadufGars'. tltough tlterefore wasn't as rough. You see, if the
it was nip and tuck sotnetitnes. material is stnooth when the lights sltine on
Tfteholngmmrt'qtu'nn‘mt !h1'Pnlomt'no|.t tlnklltg. it, vou don‘t reect offof all the little pieces
Hon‘ tmt I/ml ncmm/11|rhrri7 that stitkup ottt oftltetnaterial and causeit to
Tht- technique we ttsed on that was a s_\'s- go gray.
I-Ilrntliatelaurlmttpurtrtjlltrltm‘:“—tmIrPaIomino tent that we have ttsed in other things. We ()t'rrnn Slttgc ilttrtltmltt tttmkcmtnhtnr!/tn!
1I1tYI|l1[llYt"IIt'fI|('||.\ xtoprtulnl hnnzmtlullt [m lming. tnade sortie tests of this svstetn at the bt'gin- tenstr! up /in filming I/tr rl|mm'!tt' .trrm's 1] the
ning ofthe filtn, hecattse we felt we could use Cygrtut hmtkup. I utnum‘ /tt‘t' .tIrttm trut Il.U'lfV/fl!
.411 (Imickshank mmliartninn tttitttttalplruiral it on THE BLACK HOLE. It all really derives Ihntr .tt'qm‘1tcr.t.7
method you both dreisrdnjiltning Ih! black hole from an earl_\' process that was ttsetl to great Mostly live steam. We also used some car»
itself Cauldyntt nrdplairt il? effect in METROPOLIS. hon-tlioxide smoke and quite a few red gels
Well, we ha to devise something that .-In‘ tn‘ lalking abtml I/te Shuflun prorrs to give it that lier_s' look. But |nostl_v they have
would giveusasense ofscale,andafeelingof Yes, bttt mtrs is reallv a IIIt>\‘t‘ forward thisbigoldfathoilerhereonthelottogetthat
dcath and oniinousness. As I said, fora long front the Shuftan. It uses reflective glass, reflet"- steatn working. Wt-‘d get a ittll head ol steattt
timt'I'd wanted to test outasystem ofspinning ti\'e in the sense that you see a ghost itnage up and then Terr_\' wottld tome up with places
water to produce a whirlpool effect. It does through it. We put this glass wa_\' olffroni the to put our models. Olten as not wt-‘d say.
seem a shame to give this away, because it camera so that it‘tl eneotnpass the whole set. “No, Terry. it's itt tlte wrong spot, Move it
spoilsitfor sortie people~but.afterall.that's I'd like to think Ub Iwerks reallv did that over there." So wt-‘tl all pttll together and
the was’ we did it. sequence on this picture, for Uh was reall_\' littallv come up witlt the correct position and
First of all, we experimented in a small responsible for the ghosts you see at the get our steantv-looking shot. But the worst
tub of water. Then we had a large plexiglass HAUNTED MANSION at the thetne parks, part ol that was the shooting that the first ttnit
tank about six by six feet constructed, and I and this process I'tn talking ahottt is close to did. That got pretty ntiseral>le. What Gary
realized that we'd have to light it from below what Ub came up with. ltad to dowith all that steam was at hore. You
—I didn‘t want any reection on the surface Basicall_\', the tnethotl utilizes a projector see, the ship's sttpposetl to be breaking up,
that would reveal it as real water. We filled set sontedistance frotn the set inwhich s'ou‘re going tlowtt the hole atttl tnaking its own
this tank with water and installed a propeller shooting. You then place a pane of reflet'ti\'e steam. That was quite a nasts' chore to shoot
on the bottom, so that we would get a spinning glass at an angle ofapproxintatels' 45° to that, live. You had at tors. steant, sets, tatnerattten,
effect. We'd pourlaequers in bythebtteketful so that the projected image is ltitting the glass full size robots, wires, lights. all that. And all
—Art and Iwould be posed os'er the tank on and reflecting it. If you then get that angle on a \'t'n' small spate.
ladders—and gradually drop the camera torrect in relation to _s'onr cattteraiwlticlt is I'III- BL-IIIA‘ II()I.I- srrms In he ll pvt:/I-t'! llml
down, which was mounted over the tank itself. shooting tltrouglt that glass~ the image It‘llt't1.s t!|rnr[mntI:‘t rtwji c/In! Ihal I)!sm'\ '\ 1'1!/Iztlrlrn/fmr
Now, shootingthis at I5 times nonnal speed, itself back into the cantera. This is only a tftmttg.
or 360 frames per second. meant that Art had rottgh approximation of the method, which Most assurt'tll_\'! I think wt-‘re tlone e\'er\'-
thetrentendous problem ofgiving itenough requires a lot of adiusttnent to get tight. thingthat was alreadv as-ailablein tlu-httsiness
¢-xpogure to be able to keep it in l'Qeu5_ To (.'nttlti)'0|t be marr spmrl or that hatl been invented ht" George Mt-lies
achieve the total effect ofthe black hole, we Well. I think we'd like to be a little vague hy IQIU. We haven't rt-a|l\' done an_vthing
later matted-in stars and gradations ofcolor. on this, because as I said, this process is used different at all—ext'epl for A(IF.S. that is, the
Harrison did a lot ofthe work on that. After on the HAUNTI-ID MANSION attd we really newcotnputerixed catnera I~'.\'t-n itt thatwt-‘ve
Art and I had finished working with the tank, .shottldn't let on how we do that. But I can say ittst moved a little more forward from what
Harrison took our footage and madeamatte that. as I'tn sttre you know, your angle of Lucas had with his D_\'kstrallt-x. But we've
of it. He added stars to it and then put it incidence hastobetltesatnelortheprojected learned front his and gone lurtlter with it.
against a background of stars. We then used itnageandthecatnera. You canseethisintage Whitlt reminds me to tell you that I do
that as our plate to put behind the Cygnus. then, ghost-like, in the t'anteta‘s lield ofvision. think we have the bt-st cotnputerived camera
T7I1t'nln1'nrd!st'g1t aflh! Cygmu and!h!Palnnu'no lt gives you the feeling of a hologratn. itt Holl_\'ss'ootl at this titne. It prohah|_\' cost us
re/Irrls n certain drnst'I_s' ofmlnr and detail that terms So actually the itnage itselfwas quite some a tttillion dollars, so it‘d hetter he got ttl. Since
murh rlmrtger, tdttmlly, Ihanyauratwagr spnrerhtp distance awa_\‘ frotn the actors antl the set. But we've taken the pains to get rid ofthe hugs in
briligr sci. we didn't have to he too t'oncerned as to /\CI-IS we've found that itworks exceptionall_\'
Apatterndid reveal itselfontheconstnto where it was in tnte space as long as it was well for tts. 'I‘honghtht-hugs dokeep coining,
tion ofthe ship interiors, ves. First, we would lined up to where it was supposed to he. as it is with alleotupttters, it seetns. It onl\' has
build the interiors and then Gary would give Bi-cattse, as you know, the camera has onl\' to have a llrspetk or the tnuest ntark on one
tts feedback and we'd go from there. Gary has one e\'e. It fools very easily. ol its lloppv discs lor it to send ottt the wrong
been ver_\‘, very deepls‘ involved with THE lI'rnporlctlntunmrhermm‘/.\‘:~l:1;!/lhnI_um ittfortnation and stttltleltls’ go ht-rserk. And il
BLACK HOLE, (See interview 9:214), At nne Imtf mine tlr/imlc tzlmr ttbmt! Itgh! .tnI1m't HI tflurr. that happens vou untsn‘t he stantling too close
point I remember we'd built this Palomino Indeed. We initially startetlout in the same to sotneol its tnat ltitlt'r\'. IIt~t.tuse it will knock
interior and Car§'said,“Gee. It's dull, There‘; was‘ e\‘ers'one else has~we had a flat hlatk vou down, It's an t-xtraordinar\' let-ling to
not enough things happening. Let's get some sk_\' with stars. But after a bit I decided I sutltlenl\' see this tnetltatttsttt go berserk. At
more things inthere." So we kept on building wanted to have more depth added totlte sky. that point we have to tall tn the totnputer

90
'7
people, and they have to discover why the berserk it could have broken hisleg rightoff. I
I
'
computer's not giving out the tight infor< Ar a man whose entire lareer hat been lied in
niation. Computers are excellent, hut they're with the technical area: nf/ilm, hmu haueyou been '
tempt-rmental. The tiniest piece ofdust makes reacting Ia the recent spate nfbig-budget eirlsjilmx?
them feel very unconifonable. Humans can I'm so involved as a technician on this
stand a little dust much easier. picture that I haven't had thetimeto become I _
Iheirtherdeiirlopinmliiflhe matte scan camera involved with other peoples problems. All I an
must have been anather he!/iil aaltiaurr. can say ofthe pictures that I have managed to
If we hadn't had that particular device seeisthatIthinkthey'vecomeoffbeautifully.
then we wouldn't have had the many exciting I do understand that there are problems on ,
mattes that we do have in the picture, and we other pictures that I know nothing about. At I8
have nearl\' I 50 ofthem. Because ofthe matte the same time we feel that ifanvbodv wants to -
scan the shots now have very smooth mo\'es come over and look at our equipment. they quit.’
on them. You can truck on a matte, go Northl can—we don't have any secrets on our e ui
South on it, East/West. You're never still on ment. We've had peoplecome here fromlilmthltii‘
them. Ofcoursethat wasthe thingthat always studios to look at our ACES camera. because
used to give away mattes in the rst place— in we've learned from them and we feel that we Il'h|(fl has mum! yau trouble?
the past they were, of necessity, rock steady. should all learn from each other here. I mtist admit that we have had problems
You't'eju:! mentioned this enormous number af Then haw dayou react la the escalating prnmi- all the way down the line. When you try and
maltepairitings, but really, wan’! lhetnrlian ifmart nerire afthe Amer-izan lm technician? ptit a vehicle into space that a whole picture is
bf them be lajutt touch up a shat? It's very funny. For years we've been work- shot around, you're bound to have problems.
Well, I'd say about 30 ofthose mattes are ing in the background and no one wanted to All the time. Our biggest problem, though.
really spectacularjust terric stuff. Then, as talk to or about us at all. And suddenly the was to get ACES working properly. That was
you say, the rest are parts of sets and so on. technicians have become the little kings. It'll the real wony at the beginning. ACES is a
The main corridoroftheCygnus though, the last for awhile and then it'll all go down the tempermental animal. We're never sure that
huge central corethat fortnsthe back-bone of drain again. it's going to get out of the right side of the
theship—that really looks spectacular in matte. like all cycles. bed. But then without it we never could have
Gium its capabilities, u'a.t the matte scantlly Oh sure. It's cyclic. managed the things we have done.
taken advantage 0/7 Year: ago I heard Dauglas Trumbull mention he There's been a lot of pre-planning on this
Harrison used it in everything. It was de~ ll that the term "special ejctt“ was a complete lm. It was all on storyboards to begin with.
livered at roughly the same time as we started misnomer. It was hilrfreling that an enlirelm is a Gary had the storyboards made up, and then
the lm. special e/]?rL before we actually started anything we had a
Sa the matte scan warn’! spenrallv developed I'm sure he learned that from Stanley Ku- series of meetings. Then—if we could stay
far THE BL4 CK HOLE? brick Kubrick, you know, has the same feeling awake— we'd all give our opinions. Then Gary
No. It was made because Harrison felt Gary Nelson has. Gaiy feels that since he's and I would nally maltethe nal decisions,
that there was a necessity for it. for mattes in working on an effects picture he must be on how we were going to go on the effects.
general, and notjust on this picture. He had involved in everything we do. Gary would There were times, though, that when we came
quite some diiculty in persuading the people sometimes get quite put out ifwe'd forgotten to do it, what we'd decided on didn't always
here that there was some necessity for it in the to call him on something. But if we did that work out. So we'd change things around and
first place. we were usually thinking, “Well, Gary's busy go to other systems. For instance, we were
Themattescan isvery similartoourACES shooting the rst unit. Why bother him with going to do a tremendous amount ofthis in
camera system, as you know. It's the same this?" And Gary would say, “Why didn'tyou rear-projection, and, as it turns out. other

i
slave system, only ACES is more advanced. call me? You knew you were going to shoot than the mattes, we don't have any rear-pro-
We‘re on a much longer track, for one thing. it." So Gary's been very much involved with jection in the lm at all. I'd thought upagreat
Harrison's also had computer problems with this project. scheme for rear-projection by using the same
the matte scan, primarily at the beginning of On a/ilm that‘; aslled with trrhriiml minutae technique that they use in matte work, and
production. Here's an example of what I'm as this, is it possible lo single aul any partimlar area felt that we could do rear-projection thatway.
talking abut, using ACES as an example. Art
Cf\|i(k5h3nk gneg pi-Qgmmmgd the cgmputer Prlrr I-'llrruh4in' mi Ihr Palomino brulgr tel ilisriissrt hun‘ the /lrnjrrtrii iimigr 11/ lhr hlurh htilr ti-ill look with
to makea shot. wound it up, reheat-5¢d it‘ and lI|Y!'(lY Gan .\‘i-lniii Vll lift. ulm'urnl In ltir hlaik hnlrt and riiimiamgniptirr hank Phillip: v/nr ngtiii
it worked out well. Now the actual shot was _‘_‘ 4
underway when the readout, the main read-
out, began saying that the camera system was
doing a certain thing while the bacltup— there
is a slave or backup or some other kind of
system that sort of monitorswhat ir‘s doing-
was saying that even though the main com-
puter was performing this function, it wasn't
doing the function it said it was doin . In
other words, it was lying to us. lncrediile.
What shot was this that all this was going an?
That was one of those sequences when we
were panning over the Cy us and getting a
point of view shot, travefiiig across it and
getting very close to the model. We were in
danger of the Cygnus model being broken
by this heavy camera, because that camera
could plow right through our delicate model
if it did go berserk. So we were very fortunate
that it didn't. Sometimes, thou h, it would
swing round and someonewould shout. “Watch
out.‘ Ir's gone mad again!" And anybody or
anything that got in its way could have been
destroyed. It has tremendous power when it
goes—there‘sjust no stopping it. lfsomeone
had been standing close to it and his leg‘d
been in the way and the machine had gone
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5
 Subscribe to lilliEl=iitiTASTi0iIEl
The review oi horror,
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WrilerPreston NeaiJoneshss been artist Fred Phillips shows why the
programmed to observe and record Klingonsiusl didn't looklike Kiingons
normal lunctions oi the carbon-based until he tried giving them a set olialse
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