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- Ray Harryhausen.
- Ray Harryhausen.
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- Ray Harryhausen.
- Ray Harryhausen.
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Ray Harryhausen monsters.
You know. They're all beautiful.
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- (dragon roars)
- (Woman screams)
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(creature snarls)
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(dinosaur roars)
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(creature roars)
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I loVe Ray Harryhausen films.
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Those were a huge influence on me
as a kid.
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I never knew who Ray Harryhausen was.
I Just saw these things happening.
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It was only later that I discoVered
it was one guy giVing life to these things.
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(man) That is Very difficult.
To define myself in two words.
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I would say I was a filmmaker
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rather than Just an animator
or a special effects person.
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I'm in on the story at the beginning.
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Sometimes I initiate the story.
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I wear many different hats
in the production.
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I even. At the end of the day.
Go out and help sell the picture.
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Ray is the only technician really
who is an auteur.
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It is a Very unique position.
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There really isn't anyone else like it.
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He has a huge body of work.
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There was nobody else
who was doing that sort of work.
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I mean. He's the only person.
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He himself is deeply influenced
by the master Willis O'Brien.
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Who had done King Kong.
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(Ray) When I first saw King Kong
in 1933.
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I wanted to do something
in the film business.
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Well. In 1933. when I was 13.
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King Kong. Nothing like it
had been put on the screen.
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(Narrator) 'Truly
the thrill of thrills.
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'don't miss it
this time.'
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And it haunted me for years.
Even though it was a little Jerky.
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This creature is amazing. You know.
It's so big. You know.
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It Just left an enormous impression.
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It wasn't only the technical expertise.
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It was the whole production of the film.
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They took you by the hand
from the mundane world of the depression
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and brought you
into the most outrageous fantasy
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that has ever been put
on the screen.
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It really set me off on my career.
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I didn't know how the film was made
when I first saw it.
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Finally. It came out in magazines
how King Kong was stop motion.
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And that intrigued me.
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So I started experimenting on my own
as a hobby. In my garage.
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I took courses in photography
at USc at night school
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and I studied Various things.
Art direction and film editing.
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It gradually developed from a hobby
into a profession.
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I couldn't find anybody
to make the figures
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so I had to learn
to make them myself.
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I couldn't find anybody to photograph it.
So I learned photography
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and learned to do things myself.
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Stop motion animation
is really basically
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the same principle
as the animated cartoon.
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Only instead of using flat drawings.
You use a dimensional model.
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This has a rubber coating
on the outside of a metal armature
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and as the shutter is closed
on one frame of film.
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You moVe it slightly.
You moVe the arms
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and you haVe to keep it all
in synchronisation.
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And then when you get hundreds
of these still pictures.
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It giVes the illusion that
the thing is moVing on its own.
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In my early days.
I did mostly experiments with dinosaurs.
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(man) We were both 18
and we both loVed King Kong
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and I met his dinosaurs in his garage.
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I said. "Oh. God. This is incredible!
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"You build these. do you?"
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He said. "Yes.
Let me show you a piece of film I did."
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And he showed me
a little tiny piece of 5mm film
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with his dinosaurs
roaming oVer a prehistoric landscape.
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I said. "You know something
I got to tell you?"
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He said. "What?" I said. "I think
you're gonna be my friend for life."
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I wanted to make
a film called Evolution.
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It was about the development
of life on Earth.
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And then Fantasia came along
and so I abandoned it.
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They could do it so much better
with disney.
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But I had all these tests that I had made
for dinosaurs for Evolution
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and I showed them to George pal.
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(man) George pal was
a European animator
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who went to America
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to make a series of films there
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and was commissioned by paramount
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to make the puppetoons series.
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My first professional Job
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was with the George pal
puppetoons before the war.
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The George pal technique.
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All the models were cut out
ahead of time in wood.
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So there wasn't much creatiVity.
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You simply substituted a new figure.
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There was Very little for an animator
to put his own personality into.
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But it was an enormous part
of Ray's early career.
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When he came out of the army
in around about 1946.
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He found a thousand foot
of Kodak 16mm footage.
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It was out of date.
So they were throwing it out.
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So he used that for his first films.
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And those were
the Motlner Goose stories
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that became the first
of the fairy tales.
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The fairy tales were really
what I call my teething rings.
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(Tony) That's where he really learnt
so much about filmmaking.
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And he went on to make
Little Red Riding Hood.
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Hansel and Gretel.
Rapunzel. King Midas.
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And eventually.
Tlne Tortoise And Tlne Hare.
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His mother and father helped him.
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His mother made a lot of the clothes
for the fairy tales
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and his father obViously did
a lot of the machining.
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The armatures and everything.
Based on Ray's designs.
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Fred and martha. His parents.
Were a huge part of his life.
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Most parents would haVe said. "No. No.
You'Ve gotta be a doctor or a plumber."
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I was Very fortunate. I should say.
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That my father knew a lot
about engineering and machine work
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and he used to make a lot of my armatures
on the lathe at home.
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(Tony) And Fred
continued to make the armatures
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until Just after First Men In Tlne Moon.
When he died.
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So all the armatures seen in all
the feature films were made by Fred.
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My first introduction to
the work of Ray Harryhausen
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was the Motlner Goose stories. Actually.
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00:07:18,647 --> 00:07:22,481
Which at the time I was not aware
that they were Ray Harryhausen's work.
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00:07:22,607 --> 00:07:24,643
(Frantic orchestral music)
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I was about nine or ten years old
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and. You know.
It was all cosy. christmas EVe.
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And this film came on.
Which was Hansel and Gretel.
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And I could not believe it. I was Just
so drawn into it. The magic of it.
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I don't know back then if I knew
how stop frame animation was done.
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00:07:47,487 --> 00:07:49,045
But I could see there were no strings.
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00:07:49,167 --> 00:07:54,002
I think Ray Harryhausen is really
the grandfather of stop frame animation.
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00:07:54,127 --> 00:07:59,247
I mean. I know that there was
Willis O'Brien as the great-grandfather.
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00:07:59,887 --> 00:08:01,878
I'd kept in touch with Willis O'Brien.
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00:08:02,007 --> 00:08:04,567
I had met him
when I was still in high school.
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00:08:04,687 --> 00:08:07,121
I called him up at mGm
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00:08:07,247 --> 00:08:10,125
and he kindly inVited me oVer.
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00:08:10,247 --> 00:08:15,321
I brought some of my dinosaurs
in my suitcase and showed them to him.
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00:08:15,447 --> 00:08:20,601
And finally.
After merian cooper and Willis O'Brien
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00:08:20,727 --> 00:08:22,797
were going to make
Miglnty Joe Young.
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I became Willis O'Brien's assistant.
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(Whistle blows)
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(Sirens blare)
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(Gorilla roars)
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Here we were
making another gorilla picture.
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Which wasn't quite like King Kong
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but it had a gorilla.
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And gorillas are my best friends.
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(Narrator) 'See mighty Joe Young.
Enraged by Hollywood pranksters.
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00:08:54,807 --> 00:09:00,279
'destroy film-land's swankiest nightclub
on the fabulous Sunset Strip.'
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Willis O'Brien was busy
getting the next set-ups ready
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00:09:03,847 --> 00:09:06,236
and making tests and everything.
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00:09:06,367 --> 00:09:10,121
So I ended up doing
about 90 percent of the animation.
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I think that's some of his best stuff.
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00:09:12,167 --> 00:09:15,045
cos the personality in Joe Young
is amazing.
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00:09:15,167 --> 00:09:17,840
And the way he moVes.
He does moVe like a gorilla.
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00:09:17,967 --> 00:09:20,959
Whereas King Kong
doesn't moVe like a gorilla at all.
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(Narrator) 'See the most fantastic
relationship between beast and beauty.
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00:09:24,847 --> 00:09:27,520
'A mere girl
mastering a primitiVe giant.'
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(Ray) I thought I'd get in the mood
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by eating celery and carrots
for my tea breaks
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so that I felt like a gorilla. (Laughs)
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The studio sent a cameraman
to the chicago Zoo to photograph a gorilla.
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All the gorilla did seem to do was
walk across the screen and pick his nose.
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00:09:47,407 --> 00:09:51,798
So we couldn't use that
to any great degree as a copy.
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00:09:51,927 --> 00:09:54,760
But it gaVe an idea
of how a gorilla moVes.
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(Narrator) 'Miglnty Joe Young. Whose
sensational exploits will startle you.'
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(Ray) After Miglnty Joe Young.
I did Tlne Beast Fronmn 20. 000 Fatlnonmns.
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00:10:02,767 --> 00:10:06,282
(dramatic orchestral music)
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(Roaring)
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(Explosions)
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(Screaming)
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(Beast roars)
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I didn't wanna duplicate
the Lost World concept
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of haVing a real known dinosaur.
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So we deVised this dinosaur
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00:10:38,087 --> 00:10:41,045
between the writers
and the producers and myself
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00:10:41,167 --> 00:10:43,397
and called it the Rhedosaurus.
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A different type of animal
that has never been seen before.
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(Narrator) 'The beast
would come back.
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00:10:49,407 --> 00:10:51,523
'Back to the caVerns
of the deepest Atlantic
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'where it was spawned.
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'An armoured giant... '
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00:10:55,127 --> 00:10:58,517
(Bradbury) Ray Harryhausen and I
showed up at the same time.
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00:10:58,647 --> 00:11:02,879
He said. "Well. Maybe some day
you'll write a screenplay for me
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00:11:03,007 --> 00:11:05,043
"and I'll do dinosaurs for you."
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00:11:05,167 --> 00:11:07,556
I said. "I'm gonna pray to God for that."
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00:11:13,047 --> 00:11:16,357
His budget for that was $5.000
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00:11:16,487 --> 00:11:19,957
to put all special effects together.
Build the models. Miniatures. Everything.
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00:11:22,847 --> 00:11:25,156
(Ray) When we were making
Miglnty Joe Young.
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00:11:25,287 --> 00:11:29,485
We had 27 people on the stage.
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00:11:29,607 --> 00:11:31,404
The budget went up so high.
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00:11:31,527 --> 00:11:34,439
So I tried to reduce
the whole process
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00:11:34,567 --> 00:11:37,559
to a simple way
of combining the liVe action
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00:11:37,687 --> 00:11:40,326
with the animated model.
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00:11:40,447 --> 00:11:42,244
(man) He'd shoot the liVe action first
188
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then he would proJect it
on a rear proJection screen back there.
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00:11:46,887 --> 00:11:48,445
Screen's here. proJector's back there.
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00:11:48,567 --> 00:11:50,444
proJect one frame at a time.
191
00:11:50,567 --> 00:11:52,922
In front of that. He would put a camera.
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00:11:53,047 --> 00:11:57,677
Then he'd put his animation table
and then he would take a puppet.
193
00:11:57,807 --> 00:12:02,961
He'd then matte out the animation stage
the puppet was sitting on with paint.
194
00:12:03,087 --> 00:12:04,884
So it was liVe action.
195
00:12:05,007 --> 00:12:08,522
Still frame. puppet. Still.
Black below.
196
00:12:08,647 --> 00:12:10,524
AdVance the proJector.
pose the puppet.
197
00:12:10,647 --> 00:12:12,877
Take a frame of film.
Et cetera. Et cetera.
198
00:12:13,007 --> 00:12:17,683
So what he'd do is he'd undo the
animation stage. Lower it out of the screen.
199
00:12:17,807 --> 00:12:20,605
He would then put a counter matte
which was painted
200
00:12:20,727 --> 00:12:24,640
to block out the area that
had preViously been exposed.
201
00:12:24,767 --> 00:12:27,839
And so then he would put
the proJector on frame one.
202
00:12:27,967 --> 00:12:29,480
Take a frame on the camera.
203
00:12:29,607 --> 00:12:31,120
put the proJector
on frame two.
204
00:12:31,247 --> 00:12:33,283
Take a frame on the camera.
Et cetera. Et cetera.
205
00:12:33,407 --> 00:12:35,875
Now he had all of the liVe action
206
00:12:36,007 --> 00:12:39,477
and the animation together in one go.
207
00:12:41,327 --> 00:12:47,357
(Ray) You could intricately interweaVe
the animated model with liVe actors.
208
00:12:47,487 --> 00:12:50,320
It looked like they were photographed
at the same time.
209
00:12:51,647 --> 00:12:53,524
I tried to do a lot of research.
210
00:12:53,647 --> 00:12:56,639
When I did Tlne Beast.
I studied lizards.
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00:12:56,767 --> 00:13:00,396
So you haVe an influence
of these creatures
212
00:13:00,527 --> 00:13:03,644
that are similar to
what may haVe happened in the past.
213
00:13:04,407 --> 00:13:08,958
(Tony) Tlne Beast Fronmn 20. 000 Fatlnonmns
being the first monster rampage moVie
214
00:13:09,087 --> 00:13:10,679
after King Kong. Really.
215
00:13:10,807 --> 00:13:15,039
And from Tlne Beast. Of course.
The Japanese made Godzilla.
216
00:13:15,167 --> 00:13:18,796
Who was a man in a suit
stomping around on miniature sets.
217
00:13:18,927 --> 00:13:24,081
(John Landis) Gojira is a direct result
of Beast Fronmn 20. 000 Fatlnonmns. Exactly.
218
00:13:24,207 --> 00:13:26,437
Toho said. "We'll make one of those!"
219
00:13:28,047 --> 00:13:30,959
Ray's creatures.
The way they moVe
220
00:13:31,087 --> 00:13:33,885
essentially is the way
we think of dinosaurs.
221
00:13:34,007 --> 00:13:37,079
How they moVe.
I mean. Even to this day.
222
00:13:37,207 --> 00:13:39,323
I mean. When you see a moVie
like Jurassic park...
223
00:13:39,447 --> 00:13:41,563
(dinosaur growls)
224
00:13:42,647 --> 00:13:45,366
- (man screams)
- (Bones crunch)
225
00:13:46,687 --> 00:13:50,157
It was. It was like
Ray did that kind of stuff all the time.
226
00:13:50,287 --> 00:13:53,199
Which is cool.
You wanna see people being eaten aliVe.
227
00:13:53,327 --> 00:13:54,919
You know.
That's what it's about.
228
00:13:55,047 --> 00:13:56,321
That's moVie-making!
229
00:13:56,447 --> 00:14:00,645
And Steven Spielberg.
When Ray was in town.
230
00:14:00,767 --> 00:14:04,442
Got him oVer to the editorial suite
for Jurassic park.
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00:14:04,567 --> 00:14:10,278
He showed me some of his beginning
of the cGI process
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00:14:10,407 --> 00:14:14,161
of the dinosaur
knocking the car off the bridge.
233
00:14:14,287 --> 00:14:19,600
Ray was blown away by it. He thought
it was Just really an amazing process.
234
00:14:19,727 --> 00:14:22,878
I couldn't say anything negatiVe
because it was most impressiVe!
235
00:14:23,007 --> 00:14:25,965
I Just wanna acknowledge the fact
that we wouldn't be here today
236
00:14:26,087 --> 00:14:29,477
making these moVies.
Like Jurassic park and like Avatar.
237
00:14:29,607 --> 00:14:32,804
Without Ray.
The father of all we do today
238
00:14:32,927 --> 00:14:37,842
in the business of science fiction.
Fantasy and adVenture.
239
00:14:37,967 --> 00:14:39,400
(James cameron) I'd see
a Ray Harryhausen film.
240
00:14:39,527 --> 00:14:43,122
And for the next fiVe weeks.
I was drawing comic books.
241
00:14:43,247 --> 00:14:45,556
My own comic books of that story.
242
00:14:45,687 --> 00:14:49,157
But not Just a clone of the story
but my own Version of it.
243
00:14:49,287 --> 00:14:51,005
So I was doing this for a long time.
244
00:14:51,127 --> 00:14:54,722
So Avatar really represented
an opportunity for me
245
00:14:54,847 --> 00:14:57,566
to do all those things
I had always dreamed about.
246
00:14:57,687 --> 00:15:02,761
I think Ray would haVe loVed to haVe
had access to the tools that we haVe now
247
00:15:02,887 --> 00:15:06,277
for computer-generated
animated characters
248
00:15:06,407 --> 00:15:09,444
because. You know. For him.
The stop motion puppetry
249
00:15:09,567 --> 00:15:14,083
was a way for him to get the images
that were in his head up on film.
250
00:15:14,207 --> 00:15:16,357
And that was the only way to do it
at that time.
251
00:15:16,487 --> 00:15:22,084
(Ray) We had to compromise on scenes
that you'd wanna do differently
252
00:15:22,207 --> 00:15:24,880
because of the technical limitations.
253
00:15:25,007 --> 00:15:28,636
But we didn't know there would be
anything different at the time.
254
00:15:28,767 --> 00:15:35,320
So Just as O'Brien. When he started
Tlne Lost World and King Kong.
255
00:15:35,447 --> 00:15:38,564
They used the facilities
that they had at that time
256
00:15:38,687 --> 00:15:41,918
and you didn't anticipate
257
00:15:42,047 --> 00:15:44,800
the new types of electronics
258
00:15:44,927 --> 00:15:47,725
that can do
the most amazing things.
259
00:15:47,847 --> 00:15:51,522
If Ray were working right now. He'd be
using the tools that we're using right now.
260
00:15:51,647 --> 00:15:53,717
He wouldn't cling to the puppetry.
261
00:15:53,847 --> 00:15:57,123
His imagination would require
262
00:15:57,247 --> 00:16:01,320
that he used the best.
Most fantastic techniques aVailable.
263
00:16:01,447 --> 00:16:03,915
(Ray) Well. I don't know.
It's hard to say.
264
00:16:04,047 --> 00:16:06,925
It's Just another way of making films.
265
00:16:07,047 --> 00:16:09,481
I think I would prefer to make films
266
00:16:09,607 --> 00:16:13,282
with the model animation
rather than cGI. Today even.
267
00:16:13,927 --> 00:16:17,283
(dramatic orchestral music)
268
00:16:32,927 --> 00:16:36,806
(Tony) charles H. Schneer
was a young producer working at columbia
269
00:16:36,927 --> 00:16:40,556
and he saw
Tlne Beast Fronmn 20. 000 Fatlnonmns
270
00:16:40,687 --> 00:16:42,166
and wanted to meet Ray.
271
00:16:42,287 --> 00:16:45,563
charles said. "Well. I wanna make a moVie
about a giant octopus
272
00:16:45,687 --> 00:16:48,155
"that attacks San Francisco."
273
00:16:48,287 --> 00:16:50,926
(Screaming)
274
00:16:51,807 --> 00:16:53,525
They did
this film together
275
00:16:53,647 --> 00:16:56,559
and they had terrible problems
with the San Francisco bridge.
276
00:16:56,687 --> 00:17:00,726
We were obliged to submit the script of
It canmne Fronmn Beneatln Tlne Sea
277
00:17:00,847 --> 00:17:02,838
to the city fathers for approVal
278
00:17:02,967 --> 00:17:05,276
so we could get
the cooperation of the police.
279
00:17:05,407 --> 00:17:07,875
When they read the script.
They turned it down
280
00:17:08,007 --> 00:17:11,716
because they said
it would make the public lose confidence
281
00:17:11,847 --> 00:17:14,725
that a creature can pull down
the Golden Gate Bridge.
282
00:17:14,847 --> 00:17:17,839
So we had to do things
through deVious means.
283
00:17:17,967 --> 00:17:20,800
We put a camera
in the back of a bakery truck
284
00:17:20,927 --> 00:17:25,523
and went back and forth on the bridge
to get proJection plates secretly.
285
00:17:25,647 --> 00:17:27,638
I mean. It's a fantasy film
286
00:17:27,767 --> 00:17:30,804
and I'm sure that no-one lost confidence
in the Golden Gate Bridge
287
00:17:30,927 --> 00:17:34,840
because a giant octopus
pulled it down. (Laughs)
288
00:17:37,327 --> 00:17:39,602
(Screaming)
289
00:17:39,727 --> 00:17:45,245
The octopus in It canmne Fronmn Beneatln
Tlne Sea only had six legs.
290
00:17:45,367 --> 00:17:48,962
That was because of the budget
restrictions. Ray had to saVe money.
291
00:17:49,087 --> 00:17:50,486
And therefore he dropped two legs.
292
00:17:50,607 --> 00:17:52,643
Literally dropped two legs.
So it's only got six.
293
00:17:52,767 --> 00:17:57,522
So you never see all of the tentacles out
at one time because he hid them.
294
00:17:57,647 --> 00:17:59,763
Ray loVes calling it the Sixtopus.
295
00:17:59,887 --> 00:18:02,276
(dramatic orchestral music)
296
00:18:05,767 --> 00:18:08,565
(man) When we did
pirates Of Tlne caribbean here at ILm.
297
00:18:08,687 --> 00:18:12,919
Hal Hickel and all the guys that worked
on that were big Harryhausen fans.
298
00:18:13,047 --> 00:18:16,483
And. For example.
The Kraken had six legs
299
00:18:16,607 --> 00:18:19,565
because the octopus
had a limited number of legs. Of course.
300
00:18:21,167 --> 00:18:22,964
And a lot of the feeling of daVy.
301
00:18:23,087 --> 00:18:26,124
That sort of. You know.
In-your-face performance
302
00:18:26,247 --> 00:18:27,999
came right from seeing Ray's film
303
00:18:28,127 --> 00:18:31,039
where it's an in-your-face
performance going on.
304
00:18:31,167 --> 00:18:36,639
When Harryhausen animated the octopus
for It canmne Fronmn Beneatln Tlne Sea.
305
00:18:36,767 --> 00:18:39,076
I can imagine it must haVe been
pretty difficult for him
306
00:18:39,207 --> 00:18:42,836
to get the character into tentacles.
There's no face.
307
00:18:42,967 --> 00:18:47,006
We had a huge adVantage when we
created the tentacles for dr Octopus
308
00:18:47,127 --> 00:18:50,005
because we created faces. Basically.
309
00:18:50,127 --> 00:18:54,279
So we would haVe a certain opening
of the mechanical aspects of it
310
00:18:54,407 --> 00:18:55,999
that would create anger.
311
00:18:56,127 --> 00:18:58,243
We would haVe another one
that would be curiosity.
312
00:18:58,367 --> 00:19:00,323
Another one that would be sadness.
313
00:19:00,447 --> 00:19:04,122
And each tentacle had a range of emotion.
314
00:19:04,247 --> 00:19:07,478
I think it's pretty obVious that Sam Raimi
is a huge fan of Ray Harryhausen
315
00:19:07,607 --> 00:19:10,440
if you take a look at the work
on Spider-Man 2.
316
00:19:10,567 --> 00:19:12,444
dr Octopus. I mean. come on.
317
00:19:12,567 --> 00:19:17,516
Ray Harryhausen. To me. The most
important thing that he has done
318
00:19:17,647 --> 00:19:20,525
is to be an influence and to inspire
319
00:19:20,647 --> 00:19:22,603
literally a generation
320
00:19:22,727 --> 00:19:24,843
or probably two generations
of filmmakers.
321
00:19:24,967 --> 00:19:27,925
I don't know anyone else that has taken
322
00:19:28,047 --> 00:19:31,722
all these young adolescent children
who watched his moVies
323
00:19:31,847 --> 00:19:35,726
and turned them into filmmakers.
directors. Writers. Special effects men.
324
00:19:37,967 --> 00:19:42,324
I wanted the moVie to be an homage
to the Ray Harryhausen moVies.
325
00:19:42,447 --> 00:19:47,282
I'm Very flattered that they find
that our films were that attractiVe
326
00:19:47,407 --> 00:19:51,605
and tried to make
a similar type of image.
327
00:19:51,727 --> 00:19:53,365
(Sirens blare)
328
00:19:53,487 --> 00:19:55,443
(Narrator) 'The whole
world is under attack.
329
00:19:55,567 --> 00:19:57,285
'can it surViVe? '
330
00:19:57,407 --> 00:19:59,079
(Screaming)
331
00:20:11,487 --> 00:20:13,125
I found it a challenge
332
00:20:13,247 --> 00:20:17,604
to try and make the metallic obJects
like the flying saucer
333
00:20:17,727 --> 00:20:19,240
haVe an intelligence inside.
334
00:20:19,367 --> 00:20:22,837
Even though we never showed
the actual people inside.
335
00:20:22,967 --> 00:20:24,844
And that came out about the time
336
00:20:24,967 --> 00:20:29,279
when there was a lot of flying saucer
clippings in the newspaper.
337
00:20:29,407 --> 00:20:32,205
(dennis muren) How can you bring
a personality into a flying saucer?
338
00:20:32,327 --> 00:20:37,117
And there were a lot of moVies made
with saucers in the '50s
339
00:20:37,247 --> 00:20:38,805
that were pretty dull to look at.
340
00:20:38,927 --> 00:20:40,918
But Ray gaVe them personality and life
341
00:20:41,047 --> 00:20:43,686
and you were Just enthralled as a kid
looking at them.
342
00:20:55,527 --> 00:20:57,995
(Tony) These are two
of the flying saucers.
343
00:20:58,127 --> 00:21:00,004
They were designed by Ray.
344
00:21:00,127 --> 00:21:02,322
Very carefully designed by Ray
in great detail.
345
00:21:02,447 --> 00:21:07,237
And they were machined and built
by Ray's father.
346
00:21:07,367 --> 00:21:09,597
With Ray. Fred Harryhausen.
347
00:21:09,727 --> 00:21:13,766
Ray built into the design
three nodules on each flying saucer
348
00:21:13,887 --> 00:21:17,118
so that he could actually
suspend the actual machine.
349
00:21:17,247 --> 00:21:21,035
And from each of the nodules
would come up to the aerial brace.
350
00:21:21,167 --> 00:21:24,079
(Screeching)
351
00:21:24,207 --> 00:21:26,323
He'd used wire braces.
352
00:21:26,447 --> 00:21:28,642
If you think of a string puppet.
353
00:21:28,767 --> 00:21:32,203
You haVe a cross like that
from which the strings hang
354
00:21:32,327 --> 00:21:33,999
so you can manipulate the puppet.
355
00:21:34,127 --> 00:21:36,687
He inVented a geared aerial brace
356
00:21:36,807 --> 00:21:40,004
where it would tilt the flying saucer.
357
00:21:40,127 --> 00:21:42,436
So they'd be able to go in
at a certain angle.
358
00:21:46,127 --> 00:21:50,439
I knocked oVer the Washington monument
long before Tim Burton did. (Laughs)
359
00:21:50,567 --> 00:21:53,957
His films. When I saw them. He Just...
360
00:21:54,087 --> 00:21:56,362
You felt the hand of an artist with him.
361
00:21:56,487 --> 00:21:59,445
And it's something that's always
touched me and I'Ve always remembered.
362
00:21:59,567 --> 00:22:01,478
No matter what technology you use.
363
00:22:01,607 --> 00:22:04,917
You know. Whether it's
stop motion or cell
364
00:22:05,047 --> 00:22:08,517
or liVe action or cGI.
365
00:22:08,647 --> 00:22:11,366
You know. It doesn't really matter
what the technique is.
366
00:22:11,487 --> 00:22:13,603
You try to find artists.
367
00:22:13,727 --> 00:22:15,524
They come in many forms.
368
00:22:21,007 --> 00:22:24,920
Tlne Aninmnal World was a film
that was being made by Irwin Allen.
369
00:22:25,047 --> 00:22:27,959
An ex-agent
who had become a producer.
370
00:22:28,087 --> 00:22:29,884
And he wanted to put a film together
371
00:22:30,007 --> 00:22:32,760
about the animal world.
The animal kingdom.
372
00:22:32,887 --> 00:22:37,403
He used 16mm film a lot
and blew it up to 35
373
00:22:37,527 --> 00:22:40,917
from different cameramen
who had made pictures
374
00:22:41,047 --> 00:22:43,720
in Jungles and remote areas.
375
00:22:43,847 --> 00:22:47,840
But it was going to haVe
an opening sequence of dinosaurs.
376
00:22:47,967 --> 00:22:52,404
So Irwin Allen asked Willis O'Brien
to design the special effects
377
00:22:52,527 --> 00:22:56,361
and Willis O'Brien asked Ray
to do the animation.
378
00:22:56,487 --> 00:22:58,921
He would do the set-ups.
I.e. He would design everything.
379
00:22:59,047 --> 00:23:02,881
It's only a Very short sequence. I think
it's between 10 and 15 minutes long.
380
00:23:03,007 --> 00:23:05,999
(Ray) I remember
when the first publicity came out.
381
00:23:06,127 --> 00:23:10,564
The reViewers mentioned the dinosaur
sequence before any other sequence
382
00:23:10,687 --> 00:23:13,121
and said that
that was the highlight of the picture.
383
00:23:13,887 --> 00:23:17,323
So Willis O'Brien and I
were most grateful for that.
384
00:23:17,967 --> 00:23:20,925
(Narrator) '20 Million
Miles To Eartln. '
385
00:23:21,047 --> 00:23:24,005
(Roaring)
386
00:23:24,127 --> 00:23:26,516
(Woman screams)
387
00:23:27,407 --> 00:23:30,365
(Roaring)
388
00:23:33,087 --> 00:23:34,998
(Roaring)
389
00:23:39,447 --> 00:23:41,358
(creature roars)
390
00:23:44,327 --> 00:23:49,560
The creature in 20 Million Miles
To Eartln went through many changes.
391
00:23:49,687 --> 00:23:54,477
It was Very stout. It had horns at one point.
It had one eye at one point.
392
00:23:54,607 --> 00:23:57,917
(Tony) Originally
20 Million Miles To Eartln was made.
393
00:23:58,047 --> 00:24:02,279
As written by Ray and a dear friend of his.
charlotte Knight.
394
00:24:02,407 --> 00:24:06,116
As Tlne cyclops.
And was gonna be attacking chicago.
395
00:24:06,247 --> 00:24:09,080
(Ray) That was an early concept
of the Ymir.
396
00:24:09,207 --> 00:24:12,040
(Tony) But Ray wanted to go to Italy.
Specifically Rome.
397
00:24:12,167 --> 00:24:15,125
(Ray) So I changed it around
because I wanted a trip to Europe.
398
00:24:15,247 --> 00:24:20,275
And that's where he changed the creature
from a cyclops into the Ymir.
399
00:24:20,407 --> 00:24:24,366
(Ray) Finally I arriVed
at the humanoid torso.
400
00:24:24,487 --> 00:24:27,285
Sort of a lizard combination
with a humanoid torso.
401
00:24:27,407 --> 00:24:31,639
Because I felt you could get much more
emotion out of a humanoid type of figure
402
00:24:31,767 --> 00:24:34,122
rather than an animal type of figure.
403
00:24:34,247 --> 00:24:38,365
(man) The Ymir. coming at the end
of Ray's black and white period.
404
00:24:38,487 --> 00:24:42,958
Is probably the best black and white
monster that he ever created.
405
00:24:43,087 --> 00:24:45,282
particularly in the early stages
when it's small
406
00:24:45,407 --> 00:24:48,126
and it's doing things like this.
407
00:24:48,247 --> 00:24:52,035
All the humanoid gestures
that make these monsters so personable
408
00:24:52,167 --> 00:24:55,079
and make them
so much more appealing.
409
00:24:55,207 --> 00:24:58,836
The design of the creature that we haVe
in piranlna is a little bit like the Ymir.
410
00:24:58,967 --> 00:25:02,437
In piranlna. There was no stop motion
monster written into the script.
411
00:25:02,567 --> 00:25:04,478
The stop motion monster
was in the moVie
412
00:25:04,607 --> 00:25:08,680
simply because Jon daVison.
The producer. And I liked stop motion.
413
00:25:08,807 --> 00:25:10,399
Any kind of stop motion from my moVies
414
00:25:10,527 --> 00:25:12,643
is a tribute to Ray Harryhausen
Or Willis O'Brien.
415
00:25:12,767 --> 00:25:16,203
You can't make a creature film
without thinking of Ray Harryhausen
416
00:25:16,327 --> 00:25:19,842
because he created creatures
that were so sympathetic.
417
00:25:19,967 --> 00:25:23,323
And let's face it. He made
the greatest monster moVies of all time.
418
00:25:23,447 --> 00:25:26,484
(dramatic orchestral music)
419
00:25:28,327 --> 00:25:31,637
His monsters haVe a heart.
420
00:25:31,767 --> 00:25:34,327
His monsters are charming.
421
00:25:34,447 --> 00:25:36,483
So you might be frightened by them.
422
00:25:36,607 --> 00:25:40,520
But when the moVie's done. That's what
you remember and you care about it.
423
00:25:53,807 --> 00:26:00,201
(Tony) Ray never calls
any of his creations monsters.
424
00:26:00,327 --> 00:26:03,524
They're never called monsters.
They're always called creatures.
425
00:26:03,647 --> 00:26:06,639
(dramatic orchestral music)
426
00:26:16,647 --> 00:26:19,445
I destroyed New York
with the beast.
427
00:26:19,567 --> 00:26:23,242
I destroyed San Francisco
with the octopus.
428
00:26:23,367 --> 00:26:26,677
I destroyed Rome
with the Ymir
429
00:26:26,807 --> 00:26:30,720
and I destroyed Washington
with the flying saucers.
430
00:26:30,847 --> 00:26:32,758
And that got rather tedious.
431
00:26:32,887 --> 00:26:37,915
So I was looking for a new aVenue
in which to use stop motion animation.
432
00:26:38,047 --> 00:26:40,277
And I latched upon Sinbad.
433
00:26:40,407 --> 00:26:43,717
(dynamic
orchestral music)
434
00:26:50,807 --> 00:26:52,525
(creature roars)
435
00:26:58,687 --> 00:27:03,317
'Tlne 7tln Voyage Of Sinbad
is the eighth wonder of the screen! '
436
00:27:03,447 --> 00:27:07,599
The first sketch I made
was the skeleton on the spiral staircase.
437
00:27:07,727 --> 00:27:10,924
And then I made
six or seven other drawings.
438
00:27:11,047 --> 00:27:15,086
I did a 20-page outline
of how the story could develop.
439
00:27:15,207 --> 00:27:18,882
And I took it around Hollywood
and nobody was interested.
440
00:27:19,007 --> 00:27:22,477
Howard Hughes had Just made
Tlne Son of Sinbad.
441
00:27:22,607 --> 00:27:24,723
It flopped at the box office.
442
00:27:24,847 --> 00:27:29,125
So most of the producers
that I showed it to. My drawings.
443
00:27:29,247 --> 00:27:31,317
They said.
"Oh. costume pictures are dead."
444
00:27:31,447 --> 00:27:33,005
No. It cannot be so.
445
00:27:33,127 --> 00:27:37,166
(Ray) I brought the drawings out
and charles Schneer got Very excited.
446
00:27:37,287 --> 00:27:40,677
But I had Visions in mind
of doing it laVishly
447
00:27:40,807 --> 00:27:44,322
like Tlne Tlnief Of Bagdad
that Alexander Korda made.
448
00:27:44,447 --> 00:27:46,324
So I re-eValuated it
449
00:27:46,447 --> 00:27:48,722
and redesigned it
450
00:27:48,847 --> 00:27:52,601
so that we could make it
for an inexpensiVe sum.
451
00:27:54,647 --> 00:27:57,639
When he hooked up with charles Schneer.
Who was a sympathetic producer.
452
00:27:57,767 --> 00:28:00,042
He gained a lot of power
453
00:28:00,167 --> 00:28:03,000
and therefore he was able to go to
the story conferences
454
00:28:03,127 --> 00:28:05,766
and able to design the moVie
through the storyboards
455
00:28:05,887 --> 00:28:08,879
and really haVe an extreme effect
456
00:28:09,007 --> 00:28:11,885
at putting his mark on the pictures.
457
00:28:17,807 --> 00:28:21,117
(Ray) We got several writers
to formulate a script.
458
00:28:21,247 --> 00:28:26,037
A comprehensiVe script.
Using my drawings as the basis.
459
00:28:26,167 --> 00:28:27,998
And that's how
Tlne 7tln Voyage developed.
460
00:28:28,127 --> 00:28:33,326
I remember growing up
with maria montez films.
461
00:28:33,447 --> 00:28:34,800
She and Sabu and John Hall
462
00:28:34,927 --> 00:28:38,966
made a series of Arabian Niglnts
pictures for UniVersal.
463
00:28:39,087 --> 00:28:41,442
One was called
Ali Baba And Tlne 40 Tlnieves.
464
00:28:41,567 --> 00:28:44,684
And they would talk about the Roc.
They would talk about the cyclops.
465
00:28:44,807 --> 00:28:46,479
But you never saw it on the screen.
466
00:28:48,487 --> 00:28:50,637
(cyclops roars)
467
00:28:50,767 --> 00:28:54,362
The critics started saying that it was
animated. The creatures were animated.
468
00:28:54,487 --> 00:28:57,160
The aVerage person
hears the word animation.
469
00:28:57,287 --> 00:28:59,755
They immediately think of a cartoon.
470
00:28:59,887 --> 00:29:03,926
So we found that many people.
particularly adults. Stayed away
471
00:29:04,047 --> 00:29:06,038
because they thought
it was for children.
472
00:29:06,167 --> 00:29:11,525
So we tried to deVise a new name called
dynamation from "dynamic animation."
473
00:29:11,647 --> 00:29:13,239
(Narrator) 'This is dynamation! '
474
00:29:13,367 --> 00:29:15,961
(dramatic orchestral music)
475
00:29:22,607 --> 00:29:24,996
I designed the cyclops Very carefully
476
00:29:25,127 --> 00:29:28,597
because I didn't want people to think
it was a man in a suit.
477
00:29:28,727 --> 00:29:33,801
So I put goat legs on.
Like a satyr in ancient mythology.
478
00:29:33,927 --> 00:29:38,125
And I gaVe him an appearance
and three fingers
479
00:29:38,247 --> 00:29:43,082
so that no-one could assume that
there was a man inside the cyclops.
480
00:29:43,207 --> 00:29:45,038
And I think it worked out Very well.
481
00:29:45,167 --> 00:29:46,964
Whereas I was beginning to learn
482
00:29:47,087 --> 00:29:49,920
how to alter a human face
and a human head.
483
00:29:50,047 --> 00:29:52,163
Harryhausen could do anything.
484
00:29:52,287 --> 00:29:55,120
He could make a huge wingspan
on a creature.
485
00:29:55,247 --> 00:29:59,240
He could make something haVe a single
eye and make it blink. Backward-bent legs.
486
00:29:59,367 --> 00:30:02,325
He could make dragons.
He could make octopus.
487
00:30:02,447 --> 00:30:04,517
I couldn't do that. I could change
the shape of someone's nose.
488
00:30:04,647 --> 00:30:06,524
I could turn myself into mr Hyde.
489
00:30:06,647 --> 00:30:10,356
I could turn my friends into the mummy.
But I couldn't do these fantastic creations.
490
00:30:10,487 --> 00:30:12,318
And so. Yeah.
I guess I was a little bit Jealous
491
00:30:12,447 --> 00:30:14,403
because it seemed
way out of my league.
492
00:30:14,527 --> 00:30:19,317
I get more fan mail coming in about the
cyclops I think than any other character.
493
00:30:19,447 --> 00:30:21,563
My faVourite Harryhausen creature
is always gonna be
494
00:30:21,687 --> 00:30:23,643
the cyclops in 7tln Voyage
495
00:30:23,767 --> 00:30:26,201
because that was the one that.
You know...
496
00:30:26,327 --> 00:30:29,319
Suddenly it's in colour
and it comes out on the beach
497
00:30:29,447 --> 00:30:33,156
and it's huge and it's got this strange
sort of motion to it you can't figure out
498
00:30:33,287 --> 00:30:35,323
and it's angry
499
00:30:35,447 --> 00:30:38,120
and it's gonna get poor Sinbad.
500
00:30:38,247 --> 00:30:39,839
And. You know.
You never forget that.
501
00:30:39,967 --> 00:30:44,199
It was so inspiring
that it made you wanna make moVies.
502
00:30:44,327 --> 00:30:46,283
Are we going anywhere special tonight?
503
00:30:46,407 --> 00:30:50,320
I Just got us into a little place
called. Erm. Harryhausen.
504
00:30:50,447 --> 00:30:51,960
(Laughs)
505
00:30:52,647 --> 00:30:55,605
You know. Ray. My first success.
If you like. In moVies
506
00:30:55,727 --> 00:30:57,285
was when I was 15 years old
507
00:30:57,407 --> 00:31:01,480
and I made a film for a high school
competition called Tlne Valley.
508
00:31:01,607 --> 00:31:04,724
And it actually won the award
for best special effects
509
00:31:04,847 --> 00:31:09,523
and this was the star of that moVie.
510
00:31:09,647 --> 00:31:13,117
You'll see a similarity
511
00:31:13,247 --> 00:31:16,683
to somebody that you created
a long time ago.
512
00:31:18,327 --> 00:31:20,079
When I was 12. 13 years old.
513
00:31:20,207 --> 00:31:24,359
And other kids were getting interested
in cars and sports and girls.
514
00:31:24,487 --> 00:31:29,083
I used to like monsters.
And I particularly loVed Ray's films.
515
00:31:29,207 --> 00:31:33,917
I think peter Jackson said he had a bunch
of stop motion things that he had done.
516
00:31:34,047 --> 00:31:37,323
He wanted to be Ray Harryhausen.
He tried doing this stuff and was like.
517
00:31:37,447 --> 00:31:40,086
"No. Maybe I'll be a director instead!"
518
00:31:40,207 --> 00:31:41,845
Without Tlne 7tln Voyage Of Sinbad.
519
00:31:41,967 --> 00:31:43,400
You would never haVe
Tlne Lord of tlne Rings.
520
00:31:43,527 --> 00:31:48,647
peter had developed
his way of directing scenes
521
00:31:48,767 --> 00:31:52,476
and I had developed my way
of directing and designing scenes
522
00:31:52,607 --> 00:31:54,199
and when we did Lord of tlne Rings.
523
00:31:54,327 --> 00:31:58,366
We collaborated on designing
and directing sequences
524
00:31:58,487 --> 00:32:02,958
which emulated what we felt
was the best of Harryhausen.
525
00:32:03,087 --> 00:32:06,841
Ray Harryhausen.
He's a child himself. To some degree.
526
00:32:06,967 --> 00:32:12,041
He's able to connect
with the audience and say.
527
00:32:12,167 --> 00:32:14,123
"Isn't this amazing. Isn't this cool?
528
00:32:14,247 --> 00:32:16,522
"creatures. Monsters.
Let's bring them to life."
529
00:32:23,847 --> 00:32:27,044
On Alice in Wonderland.
Tim Burton obViously is a big fan of Ray's
530
00:32:27,167 --> 00:32:29,237
and the last sequence
with the Jabberwocky.
531
00:32:29,367 --> 00:32:33,076
We wanted to touch a little bit
on Ray's work.
532
00:32:33,207 --> 00:32:35,801
So the Jabberwocky does
certain stances and things.
533
00:32:35,927 --> 00:32:39,681
He doesn't fly. He does more
Harryhauseny type of moVement.
534
00:32:39,807 --> 00:32:41,559
(Jabberwocky roars)
535
00:32:41,687 --> 00:32:45,919
And the location it takes place in is
kinda like taking Rob Stromberg's designs.
536
00:32:46,047 --> 00:32:47,844
A bit of Jason And Tlne Argonauts
537
00:32:47,967 --> 00:32:51,846
squeezed into the spiral staircase
to nowhere from 7tln Voyage.
538
00:32:55,687 --> 00:32:58,201
(Ray) If you had James Bond
fighting a skeleton.
539
00:32:58,327 --> 00:33:00,636
It'd be comical.
540
00:33:00,767 --> 00:33:05,887
But haVing a legendary character
like Sinbad. Who personifies adVenture.
541
00:33:06,007 --> 00:33:10,398
You would accept it more readily
as a melodramatic story.
542
00:33:12,767 --> 00:33:18,285
We had Enzo musumeci.
Who was an Italian fencing expert.
543
00:33:18,407 --> 00:33:22,480
And when we would rehearse. He would
play the skeleton in Tlne 7tln Voyage.
544
00:33:22,607 --> 00:33:24,996
He'd giVe claps of his hands
to get a beat.
545
00:33:25,127 --> 00:33:30,963
They knew that at that point. They had to
stop their sword and not let it go through.
546
00:33:36,807 --> 00:33:40,356
When the first 7tln Voyage Of Sinbad
was released in England.
547
00:33:40,487 --> 00:33:42,717
They cut out
the whole skeleton sequence.
548
00:33:46,647 --> 00:33:48,399
They said it would frighten children.
549
00:33:48,527 --> 00:33:51,041
Good Lord.
What you see on the screen today
550
00:33:51,167 --> 00:33:54,079
is more horrifying
than any skeleton on the screen!
551
00:33:54,807 --> 00:33:58,243
(maJestic
orchestral music)
552
00:34:21,567 --> 00:34:25,162
Tlne 3 Worlds Of Gulliver
was a classic story
553
00:34:25,287 --> 00:34:27,926
and that really
brought us oVer to Europe.
554
00:34:30,007 --> 00:34:33,317
Required big people and little people.
Little Liputians.
555
00:34:33,447 --> 00:34:35,836
We used to haVe to wait
maybe six weeks
556
00:34:35,967 --> 00:34:39,801
to get a composite print
of what we called traVelling matte
557
00:34:39,927 --> 00:34:45,047
where two pieces of film are interwoVen
with one another in the optical printer.
558
00:34:45,167 --> 00:34:49,445
And the Rank laboratory
had a traVelling matte system
559
00:34:49,567 --> 00:34:53,003
that would make the picture
Very practical.
560
00:34:53,127 --> 00:34:56,437
So we decided to moVe
our whole operation to Europe
561
00:34:56,567 --> 00:35:02,722
and use the sodium backing
that the Rank laboratory had in England.
562
00:35:07,327 --> 00:35:09,318
Music I found Very important.
563
00:35:09,447 --> 00:35:12,200
I discoVered that
when I first saw King Kong.
564
00:35:12,327 --> 00:35:17,242
The fact that the score for King Kong
enhanced the film so much.
565
00:35:17,367 --> 00:35:19,722
I became interested in music
566
00:35:19,847 --> 00:35:23,806
and what it could do
to heighten the emotion of the Visual.
567
00:35:23,927 --> 00:35:26,839
Ray has a passion for film music.
568
00:35:26,967 --> 00:35:31,597
He actually animates to music sometimes
to giVe him inspiration.
569
00:35:31,727 --> 00:35:34,116
A Very famous one is the snake woman
from 7tln Voyage Of Sinbad.
570
00:35:34,247 --> 00:35:36,556
He used to play Slnelnerazade to that
571
00:35:36,687 --> 00:35:41,044
and that gaVe him inspiration
before Bernard Herrmann came onboard.
572
00:35:41,167 --> 00:35:46,924
Bernie Herrmann. I used to listen to
his music on Orson Welles' radio show.
573
00:35:47,047 --> 00:35:48,924
(Tony) It was charles Schneer
that managed
574
00:35:49,047 --> 00:35:51,515
to get Bernard Herrmann onboard
575
00:35:51,647 --> 00:35:55,845
and he went on to write exceptional scores
for 7tln Voyage Of Sinbad.
576
00:35:55,967 --> 00:35:59,118
Gulliver. Mysterious Island
and Jason And Tlne Argonauts.
577
00:35:59,247 --> 00:36:04,605
And his music is Very unique
and was Just made for our type of film.
578
00:36:04,727 --> 00:36:08,117
(dynamic orchestral music)
579
00:36:12,127 --> 00:36:14,595
The scores that Bernard Herrmann wrote
for Ray Harryhausen
580
00:36:14,727 --> 00:36:18,242
are certainly some of the most exciting.
I think. That he wrote.
581
00:36:18,367 --> 00:36:20,437
- Where's GulliVer?
- Here I am!
582
00:36:20,567 --> 00:36:22,205
down here.
583
00:36:22,327 --> 00:36:24,397
(dramatic orchestral music)
584
00:36:25,527 --> 00:36:28,405
Glumdalclitch! down here!
585
00:36:35,687 --> 00:36:38,281
Bernard Herrmann
was Very strange and Very quirky
586
00:36:38,407 --> 00:36:40,284
but he also had the adVenture sense.
587
00:36:40,407 --> 00:36:43,797
Grand. But quirky and strange.
588
00:36:43,927 --> 00:36:48,318
(man) The Harryhausen moVies. For sure.
That's where Herrmann was at his best.
589
00:36:48,447 --> 00:36:52,884
As an orchestrator
doing incredibly unique things.
590
00:36:53,007 --> 00:36:54,725
Being extraordinarily colourful.
591
00:36:54,847 --> 00:36:57,964
And two. Being highly dramatic
in the best of ways.
592
00:36:58,087 --> 00:37:03,036
He contributes greatly
to the belieVability of it all
593
00:37:03,167 --> 00:37:05,044
because he takes it so seriously.
594
00:37:05,167 --> 00:37:10,446
EVery composer I'Ve ever known who's
worked in fantasy or horror films or sci-fi
595
00:37:10,567 --> 00:37:13,877
haVe talked about
how he's influenced them.
596
00:37:14,007 --> 00:37:15,759
Ray got on
with Bernard Herrmann Very well.
597
00:37:15,887 --> 00:37:20,403
As you can tell
from most of his animation sequences.
598
00:37:23,967 --> 00:37:27,482
We wanted to make fantasy memorable
599
00:37:27,607 --> 00:37:29,438
and I think that's occurred.
600
00:37:35,687 --> 00:37:37,405
(Woman screams)
601
00:37:40,207 --> 00:37:45,565
Fantasy. I would say.
Appealed to my sort of gothic mind.
602
00:37:45,687 --> 00:37:48,963
From my German ancestors.
I suppose.
603
00:37:49,087 --> 00:37:52,443
Fantasy is
magnificent on film.
604
00:37:52,567 --> 00:37:54,603
There's
no other medium
605
00:37:54,727 --> 00:37:57,799
that you can express yourself in fantasy
the way you can in films.
606
00:37:57,927 --> 00:38:01,442
(dramatic
orchestral music)
607
00:38:05,487 --> 00:38:08,240
(Narrator) 'Whatever you haVe imagined
in your wildest dreams
608
00:38:08,367 --> 00:38:11,564
'now becomes a Visual reality.
609
00:38:11,687 --> 00:38:15,680
'As Jules Verne's most fantastic adVenture
in space and time... '
610
00:38:15,807 --> 00:38:18,560
(Ray) Mysterious Island
was another problem.
611
00:38:18,687 --> 00:38:21,679
The studio. columbia pictures.
Had a script
612
00:38:21,807 --> 00:38:23,957
and after we'd made
Tlne 7tln Voyage.
613
00:38:24,087 --> 00:38:28,638
They felt that perhaps we would be
interested in doing Mysterious Island.
614
00:38:28,767 --> 00:38:30,837
Which was a Jules Verne story.
615
00:38:30,967 --> 00:38:33,640
We used the basic principles
of Tlne Mysterious Island.
616
00:38:33,767 --> 00:38:36,235
But we had to make it more interesting
617
00:38:36,367 --> 00:38:40,804
because it ended up as Just
how to surViVe on a desert island.
618
00:38:40,927 --> 00:38:43,760
We restoried the whole basic line
619
00:38:43,887 --> 00:38:47,436
to add to the final screenplay
that you saw on the screen.
620
00:38:47,567 --> 00:38:51,037
At first. It started out
as a prehistoric background.
621
00:38:51,167 --> 00:38:54,318
We were gonna haVe dinosaurs.
Then we decided against that.
622
00:38:54,447 --> 00:38:59,237
And finally. When captain Nemo
became prominent in the story.
623
00:38:59,367 --> 00:39:02,325
We decided to haVe it based on
624
00:39:02,447 --> 00:39:08,283
him trying to produce more food
for the world by growing everything large.
625
00:39:11,447 --> 00:39:15,201
We would haVe many so-called
sweat-box sessions
626
00:39:15,327 --> 00:39:19,161
where the writer would turn in
a certain number of pages
627
00:39:19,287 --> 00:39:21,676
and we would tear it apart
and analyse it.
628
00:39:21,807 --> 00:39:26,517
Then I would bring drawings
of what I thought we could do
629
00:39:26,647 --> 00:39:29,286
laVishly on the screen for little money.
630
00:39:29,407 --> 00:39:33,923
Then it was the writer's Job
to incorporate all these suggestions
631
00:39:34,047 --> 00:39:37,517
and drawings into the final screenplay.
632
00:39:47,927 --> 00:39:52,239
I haVe a two-year-old daughter
who loVes Mysterious Island.
633
00:39:52,367 --> 00:39:54,835
A moVie she calls
"Big chicken Fall down".
634
00:39:54,967 --> 00:39:57,435
(Woman screams)
635
00:40:04,047 --> 00:40:05,639
(Narrator) 'Jules Verne.
636
00:40:05,767 --> 00:40:09,396
'A man whose great stories
inspired such unusual films as
637
00:40:09,527 --> 00:40:13,440
Around Tlne World In 80 days.
20. 000 Leagues Under Tlne Sea.
638
00:40:13,567 --> 00:40:15,285
'Journey To Tlne centre Of Tlne Eartln.
639
00:40:15,407 --> 00:40:18,877
'Surpasses them all
with Mysterious Island. '
640
00:40:23,767 --> 00:40:25,758
(Screaming)
641
00:40:28,127 --> 00:40:32,120
The crab came from
Harrods department store.
642
00:40:32,247 --> 00:40:36,206
It was a liVe crab
when I bought it at the fish market
643
00:40:36,327 --> 00:40:41,685
and we had a lady at the museum
put it down in a humane way.
644
00:40:41,807 --> 00:40:43,718
She took all the meat out of the inside
645
00:40:43,847 --> 00:40:47,760
and I put an armature
in the actual crab.
646
00:40:53,767 --> 00:40:57,965
The next step was to try to put
Greek mythology on the screen.
647
00:40:59,087 --> 00:41:01,885
(maJestic
orchestral music)
648
00:41:13,647 --> 00:41:16,002
Some of the films
are better made than others.
649
00:41:16,127 --> 00:41:19,039
And some of them
haVe better scripts than others.
650
00:41:19,167 --> 00:41:23,604
I mean. Jason And Tlne Argonauts
probably has the most literate screenplay.
651
00:41:23,727 --> 00:41:25,365
And so it's a better moVie.
652
00:41:25,487 --> 00:41:27,876
A lot of people find
Jason And Tlne Argonauts
653
00:41:28,007 --> 00:41:30,202
is one of our best films.
654
00:41:30,327 --> 00:41:33,763
It's my faVourite
because it was the most complete.
655
00:41:36,207 --> 00:41:39,199
(Joe dante) The plots of Harryhausen
moVies are fairly consistent.
656
00:41:39,327 --> 00:41:42,763
And I think that's one of the reasons that
Jason And Tlne Argonauts sticks out.
657
00:41:42,887 --> 00:41:46,846
Because there's a lot of other
Greek baggage that goes with that story.
658
00:41:53,687 --> 00:41:57,282
(Ray) Basically. The Talos sequence
came from an idea I had
659
00:41:57,407 --> 00:41:59,318
about the colossus of Rhodes.
660
00:41:59,447 --> 00:42:01,119
(dramatic orchestral music)
661
00:42:06,647 --> 00:42:10,162
In the original tale
of Jason And Tlne Argonauts.
662
00:42:10,287 --> 00:42:14,599
Talos is Just
an eight-foot mechanical creature.
663
00:42:20,327 --> 00:42:22,158
(John Landis) If you look at Talos.
664
00:42:22,287 --> 00:42:24,721
How does a man of bronze moVe.
You know?
665
00:42:24,847 --> 00:42:27,884
And it's Just so miraculous
how that moVes
666
00:42:28,007 --> 00:42:30,840
and how he creates
this sense of size.
667
00:42:30,967 --> 00:42:33,117
How enormous. Enormous...
668
00:42:33,247 --> 00:42:36,796
I mean. What other monster is as big
as Talos? I mean. Just enormous!
669
00:42:36,927 --> 00:42:40,158
Without changing any expression.
670
00:42:40,287 --> 00:42:41,845
I mean. Talos is a statue.
671
00:42:41,967 --> 00:42:44,276
When he's dying.
672
00:42:44,407 --> 00:42:48,605
Grabbing for his throat.
The way he moVes is something!
673
00:42:48,727 --> 00:42:51,924
(man) I want to speak
on behalf of all the actors
674
00:42:52,047 --> 00:42:54,436
that appeared in Harryhausen films.
675
00:42:54,567 --> 00:42:57,445
They weren't all monsters.
They weren't all effects.
676
00:42:57,567 --> 00:43:00,035
There were real liVe actors in there.
677
00:43:00,167 --> 00:43:01,805
What I do remember
678
00:43:01,927 --> 00:43:07,320
was the hands-on ability he had
to direct us.
679
00:43:07,447 --> 00:43:09,119
I ran along the sand
680
00:43:09,247 --> 00:43:13,160
and what astonished me
was that Ray ran with me.
681
00:43:13,287 --> 00:43:16,359
And he said. "I looked up to the sky.
There was the monster."
682
00:43:16,487 --> 00:43:18,842
There was no monster.
Just a big blue emptiness.
683
00:43:18,967 --> 00:43:22,482
But he said. "Fall now!" I fell...
684
00:43:22,607 --> 00:43:24,996
We were trained to be classical actors.
685
00:43:25,127 --> 00:43:27,766
To appear at the OId Vic.
That was our standard.
686
00:43:27,887 --> 00:43:30,481
But there was I eating sand in palinuro.
687
00:43:30,607 --> 00:43:33,121
But loVed it. IoVed it!
688
00:43:33,247 --> 00:43:39,004
LoVed being there. Being part
of this titanic imagination of this man.
689
00:43:42,407 --> 00:43:45,763
(peter Jackson) I loVe the fact that
when you're watching one of his moVies.
690
00:43:45,887 --> 00:43:48,799
You're aware that you're looking
at literally a performance of his.
691
00:43:48,927 --> 00:43:52,476
I mean. He's acting
through all these different creatures.
692
00:43:52,607 --> 00:43:55,679
Whether it's a cyclops
or a snake with nine heads.
693
00:43:55,807 --> 00:44:00,005
I mean. You're seeing...
you're seeing his acting abilities.
694
00:44:00,127 --> 00:44:03,915
As an animator.
You haVe to kind of become an actor.
695
00:44:04,047 --> 00:44:06,163
You know. You're...
696
00:44:06,287 --> 00:44:08,801
Before you do a piece of action.
697
00:44:08,927 --> 00:44:11,236
You often either look at yourself
in the mirror
698
00:44:11,367 --> 00:44:14,837
or you act it through on Video
Just to see what it is.
699
00:44:14,967 --> 00:44:17,481
And you put something of yourself...
700
00:44:17,607 --> 00:44:21,566
You know. You try to put emotion
into an inanimate puppet.
701
00:44:21,687 --> 00:44:24,121
He sort of starts in his brain.
Goes through his fingers
702
00:44:24,247 --> 00:44:27,796
into the creatures that he's animating
and finally onto the screen.
703
00:44:27,927 --> 00:44:30,885
I asked him once. With the Hydra.
With all those seven heads.
704
00:44:31,007 --> 00:44:33,726
I said. "How did you keep track?"
He said. "I haVe no idea."
705
00:44:36,207 --> 00:44:39,802
(Tony) This is the seven-headed Hydra
from Jason And Tlne Argonauts.
706
00:44:39,927 --> 00:44:43,397
It's probably one of the biggest
of Ray's models.
707
00:44:43,527 --> 00:44:46,246
As you see. It has incredible detail.
708
00:44:46,367 --> 00:44:49,359
The complexity of it.
Seven heads. Two tails.
709
00:44:49,487 --> 00:44:52,559
Ray could never make anything
easy for himself.
710
00:44:52,687 --> 00:44:54,803
He would always make it
more complex each time.
711
00:44:54,927 --> 00:44:57,316
(Ray) The Hydra came
from the Hercules legend.
712
00:44:57,447 --> 00:44:59,358
We had to bring that in.
713
00:44:59,487 --> 00:45:03,366
We didn't want a dragon because there
had been dragons on the screen before.
714
00:45:03,487 --> 00:45:05,717
So we chose the Hydra.
715
00:45:05,847 --> 00:45:09,123
(Tony) This creature.
Like most of the creatures in Ray's films.
716
00:45:09,247 --> 00:45:14,082
Were built in Ray's workshop
in his London house.
717
00:45:14,207 --> 00:45:17,563
(dramatic orchestral music)
718
00:45:36,247 --> 00:45:40,604
(Ray) There is a sequence
in the original tale of Jason
719
00:45:40,727 --> 00:45:43,639
where corpses come out of the ground.
720
00:45:43,767 --> 00:45:47,316
Rotting corpses which are not
Very pleasant to look at.
721
00:45:47,447 --> 00:45:48,960
At least in that time.
722
00:45:49,087 --> 00:45:51,555
Well. We didn't want
to get an X for our film
723
00:45:51,687 --> 00:45:53,996
so we made them clean-cut skeletons.
724
00:45:54,127 --> 00:45:56,482
And we had seven skeletons.
725
00:45:56,607 --> 00:46:00,486
Seven is a magic number
all through mythology.
726
00:46:00,607 --> 00:46:03,440
And we had seven skeletons
fighting three men.
727
00:46:03,567 --> 00:46:07,321
He always tried. Like filmmakers do today.
To outdo themselVes.
728
00:46:07,447 --> 00:46:11,998
And that's why one skeleton developed
from 7tln Voyage
729
00:46:12,127 --> 00:46:15,164
into seven skeletons
in Jason And Tlne Argonauts.
730
00:46:15,287 --> 00:46:18,085
Why haVe one when you can haVe seven?
(Laughs)
731
00:46:28,247 --> 00:46:31,762
This is one of the original skeletons
from Jason.
732
00:46:31,887 --> 00:46:36,165
He has every Joint
that a real skeleton would haVe.
733
00:46:36,287 --> 00:46:38,642
We photographed the liVe action first
734
00:46:38,767 --> 00:46:42,885
with stuntmen who portrayed the skeletons
who were swordsmen.
735
00:46:43,007 --> 00:46:44,838
We'd time it Very carefully
736
00:46:44,967 --> 00:46:47,197
and maybe rehearse it ten times.
737
00:46:47,327 --> 00:46:49,283
And then the final piece of film.
738
00:46:49,407 --> 00:46:51,557
The stuntmen are remoVed
739
00:46:51,687 --> 00:46:53,723
and the actors shadow-box.
740
00:46:53,847 --> 00:46:58,523
And that as a piece of film
I rear-proJect behind these skeletons
741
00:46:58,647 --> 00:47:02,435
so that the human being
is the same size as the skeleton.
742
00:47:02,567 --> 00:47:04,364
(Frantic orchestral music)
743
00:47:06,647 --> 00:47:11,516
When the skeleton kills Andrew Faulds
against the temple
744
00:47:11,647 --> 00:47:14,957
and Andrew Faulds falls on the ground.
745
00:47:15,087 --> 00:47:17,555
And the skeleton looks around
746
00:47:17,687 --> 00:47:20,360
and he then Jumps oVer the body.
747
00:47:20,487 --> 00:47:23,240
That's an aerial brace.
The use of an aerial brace.
748
00:47:23,367 --> 00:47:28,805
Aerial wire animation takes a lot longer
and it's Very complicated.
749
00:47:28,927 --> 00:47:32,886
Most people would haVe had it
stepping oVer or going around.
750
00:47:33,007 --> 00:47:34,884
But Ray had him Jumping oVer.
751
00:47:35,007 --> 00:47:37,601
That's the difference.
That's the Harryhausen touch.
752
00:47:37,727 --> 00:47:42,596
(Ray) Sometimes I would only get
about 13 to 15 frames a day.
753
00:47:42,727 --> 00:47:45,719
It took four months
to animate to the sequence.
754
00:47:45,847 --> 00:47:48,680
It only took two weeks
to photograph the liVe action.
755
00:47:48,807 --> 00:47:51,765
They pretty much used
every single frame that they shot. Too.
756
00:47:51,887 --> 00:47:55,402
So it was... He was Very economical.
757
00:47:55,527 --> 00:47:57,757
Almost everything was take one.
758
00:47:57,887 --> 00:48:01,880
98 percent. 99 percent was take one.
759
00:48:02,007 --> 00:48:04,726
An amazing achievement
if you think about it.
760
00:48:04,847 --> 00:48:09,045
We never had money or budget or time
to do retakes.
761
00:48:09,167 --> 00:48:12,159
(Steve Johnson) I think if he finessed it
and did two takes. Three takes.
762
00:48:12,287 --> 00:48:13,959
It wouldn't come from his heart.
763
00:48:14,087 --> 00:48:16,282
He would refine it too much
in his mind
764
00:48:16,407 --> 00:48:18,637
and it would not be
what he initially thought.
765
00:48:18,767 --> 00:48:23,397
And H.R. Giger taught me that. The more
quickly you get your ideas out of your head
766
00:48:23,527 --> 00:48:27,315
and up on the screen or onto the canVas.
The more real it's gonna be.
767
00:48:27,447 --> 00:48:30,041
I believe cliVe Barker told me
the same thing.
768
00:48:30,167 --> 00:48:32,681
He said. "When I'm painting.
I like to make mistakes."
769
00:48:32,807 --> 00:48:37,278
And I think that has a lot to do with
why Harryhausen's stuff really resonates
770
00:48:37,407 --> 00:48:40,001
and sticks and stays in all of our minds.
Because it's Very pure.
771
00:48:40,127 --> 00:48:42,436
(Frantic orchestral music)
772
00:48:46,927 --> 00:48:49,999
When I was about 12 years old.
I remember rushing home.
773
00:48:50,127 --> 00:48:53,722
I couldn't wait to see Jason
And Tlne Argonauts for the first time.
774
00:48:53,847 --> 00:48:56,042
And I was Just so gobsmacked.
775
00:48:56,167 --> 00:48:59,125
The skeleton fight
in Jason And Tlne Argonauts?
776
00:48:59,247 --> 00:49:01,681
I can practically remember
what row I was sitting in
777
00:49:01,807 --> 00:49:05,880
at this little theatre in OrangeVille.
Ontario. At the age of nine
778
00:49:06,007 --> 00:49:08,521
when the images of those skeletons
leaped off the screen
779
00:49:08,647 --> 00:49:10,444
and drilled straight into my dNA.
780
00:49:10,567 --> 00:49:14,162
I know this isn't real
but. Boy. It sure looks real.
781
00:49:14,287 --> 00:49:19,805
And that's the feeling I had as a young boy
in the theatre watching Ray's films.
782
00:49:19,927 --> 00:49:23,920
When you're transported as a
young person to these fantastic worlds.
783
00:49:24,047 --> 00:49:26,197
Whether it was Greece or wherever it was.
784
00:49:26,327 --> 00:49:30,923
And skeletons moVe around
and swordfights happen. This is magic!
785
00:49:32,127 --> 00:49:34,925
(Frantic orchestral music)
786
00:49:35,047 --> 00:49:38,244
I'm sure there's a direct link
between those demonic skeletons
787
00:49:38,367 --> 00:49:41,086
and the chrome death figure
in Tlne Ternmninator.
788
00:49:41,207 --> 00:49:43,277
So. Ray. I hope you can forgiVe me
789
00:49:43,407 --> 00:49:47,082
and remember that imitation
is the sincerest form of flattery.
790
00:49:47,207 --> 00:49:52,486
I see a lot of sequences
that we had originally done years ago
791
00:49:52,607 --> 00:49:56,156
reproduced in Various films of today.
792
00:50:12,487 --> 00:50:13,966
Very flattering!
793
00:50:14,087 --> 00:50:16,885
(Narrator) 'Tlne First Men In Tlne Moon.
794
00:50:18,287 --> 00:50:20,960
'An experience unparalleled
on the screen
795
00:50:21,087 --> 00:50:23,555
'as two worlds meet and clash.'
796
00:50:23,687 --> 00:50:24,836
(Ray) H.G. Wells.
797
00:50:24,967 --> 00:50:26,639
I was a great admirer.
And I wanted...
798
00:50:26,767 --> 00:50:30,362
After Miglnty Joe Young.
I wanted to do War of tlne Worlds
799
00:50:30,487 --> 00:50:35,003
and I made a lot of drawings
and an outline for the story structure.
800
00:50:43,887 --> 00:50:46,959
I wrote to Orson Welles
but I never got an answer.
801
00:50:47,087 --> 00:50:48,884
I wanted to do Tlne Tinmne Maclnine
802
00:50:49,007 --> 00:50:52,238
but somebody else
had already taken the rights.
803
00:50:52,367 --> 00:50:56,485
Finally we did a Wells story
called First Men In Tlne Moon.
804
00:50:56,607 --> 00:51:00,202
(dramatic string music)
805
00:51:07,847 --> 00:51:12,716
We tried to keep that feeling that
the insects developed an intelligence
806
00:51:12,847 --> 00:51:14,963
rather than the mammals.
807
00:51:15,087 --> 00:51:16,679
I think Ray Harryhausen
would probably say
808
00:51:16,807 --> 00:51:18,525
that he was influenced
by Georges melies.
809
00:51:18,647 --> 00:51:21,036
If you look at his work.
It really is part of a continuum
810
00:51:21,167 --> 00:51:22,725
that goes back to the birth of cinema.
811
00:51:22,847 --> 00:51:24,997
(Slow piano music)
812
00:51:27,447 --> 00:51:30,962
Actually. Ray has
a personal business card
813
00:51:31,087 --> 00:51:32,645
of Georges melies.
814
00:51:32,767 --> 00:51:36,362
Ray. Oh. Yes.
A huge admiration for melies.
815
00:51:36,487 --> 00:51:39,923
And I think most fantasy filmmakers do.
816
00:51:40,047 --> 00:51:42,436
(man) The First Men In Tlne Moon
aliens are...
817
00:51:42,567 --> 00:51:45,161
Nowadays we would look
at them as kind of
818
00:51:45,287 --> 00:51:48,916
this B-grade. You know. cliche.
Kind of like...
819
00:51:49,047 --> 00:51:50,719
But a cliche I actually really loVe.
820
00:51:50,847 --> 00:51:52,644
I loVe the fact
that when we design aliens
821
00:51:52,767 --> 00:51:55,122
for feature films or comics
or games or whatever.
822
00:51:55,247 --> 00:51:58,922
Humans keep on going back
to the same grab bag of elements.
823
00:51:59,047 --> 00:52:01,436
They're insectoid or they're reptilian
824
00:52:01,567 --> 00:52:06,800
or they're. Like. Octopi
or cephalopods and stuff.
825
00:52:06,927 --> 00:52:09,316
We Just go back to the same cliches
again and again.
826
00:52:09,447 --> 00:52:13,326
EVerything humans think is creepy. crawly
and disgusting. That's what aliens become.
827
00:52:14,527 --> 00:52:15,721
(man) Stand back!
828
00:52:15,847 --> 00:52:19,476
(Vincenzo Natali) Essentially the best
effects films. Like district 9.
829
00:52:19,607 --> 00:52:21,916
Are the ones where you can feel
the hand of the creator
830
00:52:22,047 --> 00:52:24,117
within the design and execution
of the creatures.
831
00:52:24,247 --> 00:52:27,842
What's important to remember is when you
look at the link between Ray Harryhausen
832
00:52:27,967 --> 00:52:30,481
and the work of. Say. ILm or phil Tippett
833
00:52:30,607 --> 00:52:34,156
is how much there actually is
in common between them.
834
00:52:34,287 --> 00:52:36,118
And really. In essence.
835
00:52:36,247 --> 00:52:40,035
How little has changed
in spite of how the technology's eVolVed.
836
00:52:45,127 --> 00:52:47,322
(creature growls)
837
00:52:50,887 --> 00:52:56,245
I'm always saying to the guys
that I work with now on computer graphics.
838
00:52:56,367 --> 00:52:58,517
You know. "do it like Ray Harryhausen."
839
00:52:58,647 --> 00:53:04,040
Or. "Why don't you Just look at a
Harryhausen shot and see what he did?"
840
00:53:04,167 --> 00:53:06,442
And I'm always going back to that well
841
00:53:06,567 --> 00:53:09,320
because of the economy
and the simplicity.
842
00:53:09,447 --> 00:53:11,881
Take guard!
843
00:53:12,007 --> 00:53:15,716
There's this tendency with computer
graphics. Because you can do it.
844
00:53:15,847 --> 00:53:19,726
If you want somebody to reach
and pull something in.
845
00:53:19,847 --> 00:53:23,965
There tends to be. Like. These ridiculous
flourishes and all this extra stuff.
846
00:53:24,087 --> 00:53:28,205
It's like. "What's that about?"
"Just do it." you know?
847
00:53:28,327 --> 00:53:31,763
"Just get to it and tell the story
as directly as possible."
848
00:53:31,887 --> 00:53:34,640
One of the ironies is
all the great innoVators
849
00:53:34,767 --> 00:53:37,042
in computer-generated animation
850
00:53:37,167 --> 00:53:38,964
are all stop motion animators.
851
00:53:39,087 --> 00:53:42,284
I mean. You know.
phil Tippett. dennis muren.
852
00:53:42,407 --> 00:53:45,126
These guys. They were all animators.
853
00:53:45,247 --> 00:53:48,956
The first Job I got was actually
doing stop motion for a commercial
854
00:53:49,087 --> 00:53:53,638
and I think that really sort of helped
to figure out the character.
855
00:53:53,767 --> 00:53:56,156
What its performance is.
What it's feeling.
856
00:53:56,287 --> 00:53:59,723
And communicating that idea
in a few frames to the public.
857
00:53:59,847 --> 00:54:02,042
The role of the animator is changing.
858
00:54:02,167 --> 00:54:06,160
First of all. You'Ve got motion capture.
You'Ve got all these tools aVailable to you.
859
00:54:06,287 --> 00:54:08,403
So the actors are giVing us
amazing reference.
860
00:54:08,527 --> 00:54:11,883
- How will I know if he chooses me?
- He will try to kill you.
861
00:54:12,007 --> 00:54:15,124
The cG character
would be from their performance.
862
00:54:15,247 --> 00:54:19,718
Exactly as they did it.
down to the minutest detail.
863
00:54:19,847 --> 00:54:22,964
And so the animators.
Who are Very important in the process.
864
00:54:23,087 --> 00:54:24,645
They would do the tail. The ears.
865
00:54:24,767 --> 00:54:26,997
And they would ensure
that the actor's performance
866
00:54:27,127 --> 00:54:30,005
was exactly replicated in the cG.
867
00:54:30,127 --> 00:54:34,279
Art challenges technology.
Technology inspires the art.
868
00:54:34,407 --> 00:54:39,003
And I would argue
that's the way that every master
869
00:54:39,127 --> 00:54:42,278
of every medium of animation.
870
00:54:42,407 --> 00:54:45,399
Be it puppet animation.
clay animation.
871
00:54:45,527 --> 00:54:48,564
computer animation.
Hand-drawn animation.
872
00:54:48,687 --> 00:54:51,565
That exact thing happens with them.
873
00:54:51,687 --> 00:54:56,442
Well. There's room for every type of media
for entertainment.
874
00:54:56,567 --> 00:54:59,923
After all. That's the end product.
Is to entertain the public.
875
00:55:00,047 --> 00:55:02,277
If you can entertain them with a yo-yo.
876
00:55:02,407 --> 00:55:05,160
Well. That's fine.
Use a yo-yo for entertainment.
877
00:55:05,287 --> 00:55:06,606
But that's rather difficult.
878
00:55:10,127 --> 00:55:12,118
(Narrator)
'One million Years Bc.
879
00:55:12,247 --> 00:55:16,525
'Lntroducing the fabulous Raquel Welch
as Loana The Fair One.
880
00:55:16,647 --> 00:55:19,719
'John Richardson as Tumak.'
881
00:55:21,487 --> 00:55:23,842
(Ray) One Million Bc is another matter.
882
00:55:23,967 --> 00:55:26,197
I made that for Hammer films.
883
00:55:26,327 --> 00:55:29,637
And they bought the rights
to a remake of it.
884
00:55:29,767 --> 00:55:33,316
A 1940 film with Victor mature
and carole Landis.
885
00:55:33,447 --> 00:55:35,677
I don't like retakes. Basically.
886
00:55:35,807 --> 00:55:39,083
But I felt we could do better
than the original
887
00:55:39,207 --> 00:55:42,165
where they used lizards
with fins glued on their back
888
00:55:42,287 --> 00:55:46,838
and they had a tyrannosaurus
with a man in a rubber suit
889
00:55:46,967 --> 00:55:51,085
that looked so phony.
They had to keep hiding it behind bushes.
890
00:55:51,207 --> 00:55:55,041
So all you saw was an eye
or a finger or something.
891
00:55:55,167 --> 00:55:59,957
So I wanted to change that concept
by using animation.
892
00:56:00,087 --> 00:56:02,396
(dinosaur roars)
893
00:56:04,167 --> 00:56:07,557
A lot of the motion
is developed on the screen
894
00:56:07,687 --> 00:56:09,518
and comes from the character.
895
00:56:09,647 --> 00:56:12,798
If you haVe a dinosaur.
I like to keep it actiVe
896
00:56:12,927 --> 00:56:15,487
by haVing the tail
swooshing all the time.
897
00:56:23,087 --> 00:56:26,159
I used to read dinosaur books
898
00:56:26,287 --> 00:56:30,724
and imagine going to see them.
What it would be like to stand next to them
899
00:56:30,847 --> 00:56:34,157
and then I discoVered this film
where there are real people with dinosaurs
900
00:56:34,287 --> 00:56:35,925
and I couldn't believe it.
901
00:56:36,047 --> 00:56:37,639
(Roaring)
902
00:56:50,767 --> 00:56:53,565
My influence was charles R. Knight.
903
00:56:53,687 --> 00:56:56,918
The key figure in
the American museum of Natural History.
904
00:56:57,047 --> 00:57:01,279
He was the first one to restore dinosaurs
from the basic skeletons.
905
00:57:01,407 --> 00:57:05,116
Here is an example
of some prehistoric restorations
906
00:57:05,247 --> 00:57:09,286
and then we start actually
from the skeleton. The basic skeleton.
907
00:57:09,407 --> 00:57:13,639
To plan the armature
for the rubber models.
908
00:57:13,767 --> 00:57:17,726
And then we go to the museums
and actually see the skeletons
909
00:57:17,847 --> 00:57:20,520
and try to develop our animals
910
00:57:20,647 --> 00:57:24,845
in a way that they're well known
from the museum point of View.
911
00:57:24,967 --> 00:57:26,798
(dinosaur roars)
912
00:57:26,927 --> 00:57:29,680
Ray Harryhausen's work
had a huge influence on us
913
00:57:29,807 --> 00:57:31,399
during the design of King Kong.
914
00:57:32,207 --> 00:57:34,357
There were lots of ways
we could possibly go
915
00:57:34,487 --> 00:57:36,717
with the design of the creatures
and the dinosaurs.
916
00:57:36,847 --> 00:57:39,566
And peter said he didn't want them
to be real dinosaurs.
917
00:57:39,687 --> 00:57:41,325
He wanted them
to be moVie dinosaurs.
918
00:57:41,447 --> 00:57:46,316
So we were trying to eVoke that era
of dinosaurs from moVie history
919
00:57:46,447 --> 00:57:47,960
and really capture that.
920
00:57:48,087 --> 00:57:51,204
And in that sense. They're more
sort of monsters and characters
921
00:57:51,327 --> 00:57:52,965
more than they're true animals.
922
00:57:53,087 --> 00:57:55,396
(dinosaurs roar)
923
00:57:57,967 --> 00:58:01,323
(Woman) I remember one scene
when we were in Lanzarote.
924
00:58:01,447 --> 00:58:05,122
This is when these pterodactyls
were kind of coming oVer us.
925
00:58:05,247 --> 00:58:08,205
And we didn't know this.
We didn't see this.
926
00:58:08,327 --> 00:58:13,526
But Ray got onto a flatbed truck
927
00:58:13,647 --> 00:58:15,797
and droVe in front of us
928
00:58:15,927 --> 00:58:22,685
while we. In our little wet.
Skimpy little pieces of leather.
929
00:58:22,807 --> 00:58:25,924
Brandished our spears...
(Laughs)
930
00:58:26,047 --> 00:58:30,404
...at these things.
(Growls. Laughs)
931
00:58:32,007 --> 00:58:35,363
(Ray) Raquel Welch
was cast in the picture.
932
00:58:35,487 --> 00:58:37,478
That was one of her first films.
933
00:58:37,607 --> 00:58:41,725
She never looked like a real caVewoman.
She wasn't supposed to.
934
00:58:41,847 --> 00:58:45,362
That wouldn't haVe been
Very entertaining to the public.
935
00:58:45,487 --> 00:58:49,082
If caVewomen in prehistoric days
looked like Raquel Welch.
936
00:58:49,207 --> 00:58:51,880
We'Ve regressed today! (Laughs)
937
00:59:00,167 --> 00:59:01,998
Gwangi was another story.
938
00:59:02,127 --> 00:59:05,722
Willis O'Brien started Gwangi at RKO
939
00:59:05,847 --> 00:59:07,883
way back in the '40s.
940
00:59:08,007 --> 00:59:11,761
And unfortunately. The war came along
and they cancelled the picture
941
00:59:11,887 --> 00:59:16,517
after OB spent about
a year preparing it.
942
00:59:16,647 --> 00:59:20,242
So he kindly
gaVe me a script years ago
943
00:59:20,367 --> 00:59:21,720
and I had it in my garage
944
00:59:21,847 --> 00:59:24,407
and charles and I
were looking for a subJect one time
945
00:59:24,527 --> 00:59:27,963
and I brought out
this whole script of Gwangi.
946
00:59:28,087 --> 00:59:30,806
O'Brien's original idea
was to haVe cowboys
947
00:59:30,927 --> 00:59:33,202
roping a dinosaur for the sideshow.
948
00:59:33,327 --> 00:59:37,718
That always impressed me. And we tried
to keep that part of it in the picture.
949
00:59:37,847 --> 00:59:41,920
(Tony) The lasso sequence in that.
Of course. Was incredibly complex.
950
00:59:42,047 --> 00:59:47,565
The lassos from both sides of the...
951
00:59:47,687 --> 00:59:51,202
the cowboys lassoing the monster
around the neck or on the foot.
952
00:59:51,327 --> 00:59:56,401
Would be lassoing this pole on this Jeep
which would be hurtling around.
953
00:59:56,527 --> 00:59:58,882
He put the screen together at the back
954
00:59:59,007 --> 01:00:02,716
so he obliterated the Jeep
with the monster stick.
955
01:00:02,847 --> 01:00:06,237
The miniature ropes would be
tied to the monster around the neck
956
01:00:06,367 --> 01:00:10,519
and that would go off at exactly.
Match the exact same direction
957
01:00:10,647 --> 01:00:13,559
as the liVe action would
on the rear proJection plate.
958
01:00:13,687 --> 01:00:18,203
It took well oVer two and a half months
to film that one sequence.
959
01:00:18,327 --> 01:00:20,841
- (dinosaur roars)
- (men scream)
960
01:00:20,967 --> 01:00:23,322
(chaotic shouting)
961
01:00:23,447 --> 01:00:26,166
(man) Ray. We owe you more
than we can ever really express.
962
01:00:26,287 --> 01:00:31,919
Based on all of the roads
that you pioneered and built from dirt
963
01:00:32,047 --> 01:00:36,438
into a super-highway
of eventual digital technology.
964
01:00:39,287 --> 01:00:42,165
The V-rexes in King Kong were...
965
01:00:42,287 --> 01:00:45,597
They're fundamentally different
from what we know real dinosaurs to be.
966
01:00:45,727 --> 01:00:49,436
They had this heaVy-set tail that was
hanging down. They had three fingers
967
01:00:49,567 --> 01:00:54,004
and they're basically inspired by things
like Gwangi from Ray Harryhausen.
968
01:01:03,927 --> 01:01:08,637
(Joe dante) Harryhausen has never
worked with a. Quote. "great director."
969
01:01:08,767 --> 01:01:10,598
No-one ever says. You know.
970
01:01:10,727 --> 01:01:14,322
It's a Jim O'connolly moVie
or it's a Nathan Juran moVie.
971
01:01:14,447 --> 01:01:17,007
It's always a Ray Harryhausen moVie.
972
01:01:17,127 --> 01:01:21,040
It was his concepts.
The creatures in them were from his mind.
973
01:01:21,167 --> 01:01:22,964
So they were his films.
974
01:01:23,087 --> 01:01:25,043
A lot of directors couldn't see that.
975
01:01:25,167 --> 01:01:26,964
There were examples where the director
976
01:01:27,087 --> 01:01:30,045
did not approVe of Ray
being on location shoots.
977
01:01:30,167 --> 01:01:32,203
But didn't quite understand
why he was there.
978
01:01:32,327 --> 01:01:36,400
EVen though the scripts
would detail in Ray's drawings
979
01:01:36,527 --> 01:01:38,961
exactly what was gonna happen
in that sequence.
980
01:01:39,087 --> 01:01:41,965
(Ray) I make hundreds
of continuity drawings
981
01:01:42,087 --> 01:01:45,602
which show the progression
of the scene
982
01:01:45,727 --> 01:01:47,922
and then I direct
those scenes myself.
983
01:01:48,047 --> 01:01:50,607
Ray Harryhausen
was the star of those moVies.
984
01:01:50,727 --> 01:01:53,287
I couldn't really tell you
who the actors were in the films
985
01:01:53,407 --> 01:01:55,159
but I certainly remember the creatures.
986
01:01:55,287 --> 01:01:59,280
I mean. The thing with the films.
I think there's some terrible acting in it.
987
01:01:59,407 --> 01:02:01,238
The scripts aren't the greatest.
988
01:02:01,367 --> 01:02:06,680
But. Boy. His elements.
When he made clay liVe.
989
01:02:06,807 --> 01:02:09,082
Are still some of the best moments in film.
990
01:02:09,207 --> 01:02:12,040
(Woman) I was probably
about six or seven at the time
991
01:02:12,167 --> 01:02:14,601
and I remember two old ladies came up
992
01:02:14,727 --> 01:02:18,766
and said. "Oh. Hello. Sweetheart.
can we haVe a look in your baby buggy?"
993
01:02:18,887 --> 01:02:21,401
"Yeah. You can look at my dollies."
You know?
994
01:02:21,527 --> 01:02:23,757
pulled back and there was Gwangi!
995
01:02:23,887 --> 01:02:26,447
Of course. Instead of dolls.
I had dinosaurs.
996
01:02:26,567 --> 01:02:29,559
To me. It was normal.
dad had them all oVer the house.
997
01:02:29,687 --> 01:02:32,406
And he didn't haVe an oVen
998
01:02:32,527 --> 01:02:36,600
and so he used our oVen
to cook his creatures in.
999
01:02:36,727 --> 01:02:40,800
And lunch times and dinner times
used to be Very interesting
1000
01:02:40,927 --> 01:02:43,043
because everything
tasted of latex rubber.
1001
01:02:43,167 --> 01:02:48,446
And after a while of haVing roast chicken
tasting like rubber. It was not so funny.
1002
01:02:48,567 --> 01:02:52,401
(Ray) By the time we finished the picture.
Which took a year and a half.
1003
01:02:52,527 --> 01:02:54,404
They had sold the studio
1004
01:02:54,527 --> 01:02:57,405
and the new owners
didn't haVe any respect
1005
01:02:57,527 --> 01:03:00,200
for what the preVious owners sanctioned.
1006
01:03:00,327 --> 01:03:02,761
So they Just dumped Gwangi
on the market.
1007
01:03:02,887 --> 01:03:05,321
Unfortunately.
It was released too late.
1008
01:03:05,447 --> 01:03:08,564
If it had come out
in the '50s or early '60s.
1009
01:03:08,687 --> 01:03:10,643
I think it would haVe been
better receiVed.
1010
01:03:10,767 --> 01:03:14,680
The word Gwangi
suggests something like Godzilla.
1011
01:03:14,807 --> 01:03:17,605
So everybody thinks that
maybe it was made in Japan.
1012
01:03:17,727 --> 01:03:20,799
You'd need a Very big publicity campaign
1013
01:03:20,927 --> 01:03:24,124
to make people aware
that it was an unusual film.
1014
01:03:24,247 --> 01:03:27,796
It's sad because a lot of people feel
it's one of our better pictures. Too.
1015
01:03:28,447 --> 01:03:31,359
(Rousing
orchestral music)
1016
01:03:37,367 --> 01:03:40,086
(Narrator) 'See the sorcerer
of the black arts.
1017
01:03:40,207 --> 01:03:41,606
'The gold helmet faceless Vizier.
1018
01:03:43,167 --> 01:03:46,876
'The death fight of the centaur and the
griffin. The six-armed goddess of eVil.'
1019
01:03:47,007 --> 01:03:49,840
- (Roaring)
- (Explosion)
1020
01:03:49,967 --> 01:03:53,642
(Ray) Gwangi was not a big success
at the box office
1021
01:03:53,767 --> 01:03:57,521
so we decided to go back
to the Sinbad pictures.
1022
01:03:57,647 --> 01:04:03,404
So I deVised two stories.
Golden Voyage and Eye Of Tlne Tiger.
1023
01:04:11,047 --> 01:04:15,086
When you work with Ray.
You're absolutely sure what you're doing.
1024
01:04:15,207 --> 01:04:17,243
It comes from his drawings.
1025
01:04:17,367 --> 01:04:22,441
drawings that I. As a sculptor.
could reproduce his things in full size.
1026
01:04:22,567 --> 01:04:26,719
His work is so accurate in conception
1027
01:04:26,847 --> 01:04:29,759
that there's no ambiguity.
So I knew what I was doing.
1028
01:04:29,887 --> 01:04:33,402
Ray was the king. The god.
1029
01:04:33,527 --> 01:04:36,166
And you did what he said.
1030
01:04:42,607 --> 01:04:44,837
One of the toughest things
about integrating a character
1031
01:04:44,967 --> 01:04:48,118
is really making it appear
to be in the scene.
1032
01:04:48,247 --> 01:04:50,807
And the best way to do that is to...
1033
01:04:51,887 --> 01:04:54,765
...create something
that physically happens. Really on set.
1034
01:04:54,887 --> 01:04:57,765
And it had to be rigged
by the special effects department.
1035
01:04:59,687 --> 01:05:02,645
(dreamy orchestral music)
1036
01:05:19,767 --> 01:05:26,479
Working with Ray Harryhausen
was the most amazing experience for me.
1037
01:05:26,607 --> 01:05:29,883
I was a relatiVely.
Well. Very unknown actress
1038
01:05:30,007 --> 01:05:35,764
and had never worked
with his stop motion dynamation.
1039
01:05:38,767 --> 01:05:40,405
There was nothing to work with.
1040
01:05:40,527 --> 01:05:45,123
Ray used to show us
these wonderful drawings that he'd done
1041
01:05:45,247 --> 01:05:48,842
and say. "Now. This is what
you're going to be reacting to.
1042
01:05:48,967 --> 01:05:55,156
"But it's not a drawing. It's a real-life.
Huge. Enormous creature.
1043
01:05:55,287 --> 01:05:57,323
"17. 20-foot high.
1044
01:05:57,447 --> 01:05:59,597
"So this is what
you're gonna be reacting to."
1045
01:05:59,727 --> 01:06:02,878
So you kind of become like a child.
In a way.
1046
01:06:03,007 --> 01:06:04,599
And remember how you used to play.
1047
01:06:04,727 --> 01:06:08,117
And then Ray.
His eye-line was a stick.
1048
01:06:08,247 --> 01:06:13,640
So he'd haVe the stick.
And on the stick he'd drawn this eye.
1049
01:06:13,767 --> 01:06:16,122
Which for me was the centaur's eye.
1050
01:06:17,567 --> 01:06:19,478
And Ray would wield the eye.
1051
01:06:19,607 --> 01:06:23,316
"Look at the eye! Look at the eye!"
And this was Ray's eye-line for the actors.
1052
01:06:23,447 --> 01:06:26,166
(Joe dante) It's hard to get actors
to look in the right place.
1053
01:06:26,287 --> 01:06:29,279
They look like they're looking further
than they're supposed to.
1054
01:06:29,407 --> 01:06:33,036
It takes a particular kind of actor
who can look at a distance
1055
01:06:33,167 --> 01:06:36,523
and make you think he's looking in the
middle distance as opposed to far away.
1056
01:06:36,647 --> 01:06:39,400
(Narrator) 'Behind this door
lies a world of wonders.
1057
01:06:39,527 --> 01:06:42,599
'A studio where special effects wizard
Ray Harryhausen
1058
01:06:42,727 --> 01:06:44,718
'and producer charles Schneer
1059
01:06:44,847 --> 01:06:49,682
'make the unreal real in the magic
of dynarama for countless moViegoers.
1060
01:06:50,727 --> 01:06:53,400
'Ln their new film.
Tlne Golden Voyage Of Sinbad.
1061
01:06:53,527 --> 01:06:56,360
'Schneer and Harryhausen
moVe from the drawing board
1062
01:06:56,487 --> 01:06:58,239
'to a sunny beach in maJorca.'
1063
01:06:58,367 --> 01:07:03,316
(Ray) We were originally going to shoot
Tlne Golden Voyage in India.
1064
01:07:03,447 --> 01:07:07,042
And Kali was a result of
planning the picture for India.
1065
01:07:07,167 --> 01:07:12,958
But when we changed our mind
and shot it in Spain. For many reasons.
1066
01:07:13,087 --> 01:07:15,203
We left the Kali sequence in.
1067
01:07:15,327 --> 01:07:19,161
We felt it would be
a Very good dramatic situation.
1068
01:07:19,287 --> 01:07:21,517
(Sitar music)
1069
01:07:27,407 --> 01:07:31,764
(Ray) my work
seemed to bridge O'Brien's period
1070
01:07:31,887 --> 01:07:35,641
into the modern Star Wars effects.
1071
01:07:50,447 --> 01:07:53,484
I think my faVourite creature
from a Ray Harryhausen film
1072
01:07:53,607 --> 01:07:55,882
would probably be
from the first one I ever saw.
1073
01:07:56,007 --> 01:07:57,963
Which was
Tlne Golden Voyage Of Sinbad.
1074
01:07:58,087 --> 01:08:01,397
And it was the Kali.
The giant statue that comes to life.
1075
01:08:01,527 --> 01:08:06,157
And it was Just so shocking to see it
so beautifully rendered and animated
1076
01:08:06,287 --> 01:08:09,962
and I think it stands the test of time.
It hasn't really aged one bit.
1077
01:08:10,087 --> 01:08:11,998
And I still find it terrifying.
1078
01:08:16,527 --> 01:08:22,523
Many critics called our films a
special effects film. Which they were not.
1079
01:08:22,647 --> 01:08:25,639
We used every effect at the time
1080
01:08:25,767 --> 01:08:29,077
in order to put the fantasy subJect
on the screen.
1081
01:08:30,127 --> 01:08:32,402
(Narrator) 'Journey
across the oceans of antiquity
1082
01:08:32,527 --> 01:08:34,643
'to the northern edge
of the ancient world.'
1083
01:08:36,167 --> 01:08:38,681
'Filmed in the miracle of dynarama.
1084
01:08:38,807 --> 01:08:41,879
'come face-to-face
with the prehistoric troll.
1085
01:08:44,407 --> 01:08:48,161
'See the sorceress bring life
to the all-powerful minotaur.
1086
01:08:48,287 --> 01:08:51,404
'Sinbad And Tlne Eye Of Tlne Tiger. '
1087
01:08:51,527 --> 01:08:54,963
There's something that happens
with stop motion that I'Ve always felt.
1088
01:08:55,087 --> 01:09:00,525
When you use an actual model
rather than computer-generated images.
1089
01:09:00,647 --> 01:09:04,526
The model is strange.
1090
01:09:04,647 --> 01:09:07,002
It giVes the nightmare quality
of a fantasy.
1091
01:09:07,127 --> 01:09:09,402
(John Lasseter) It wasn't really
Very realistic.
1092
01:09:09,527 --> 01:09:12,963
But it was great
because he was creating fantasies.
1093
01:09:13,087 --> 01:09:14,998
I don't. As a filmmaker.
1094
01:09:15,127 --> 01:09:19,882
And at pixar. We don't ever wanna make
things that are absolutely perfectly real.
1095
01:09:20,007 --> 01:09:23,602
We like to. Like Ray.
Take a step back from reality.
1096
01:09:27,487 --> 01:09:29,842
(Ray) If you make fantasy too real.
1097
01:09:29,967 --> 01:09:34,324
I think it loses the quality
of a nightmare. Of a dream.
1098
01:09:34,967 --> 01:09:37,356
With stop motion.
You can never quite get it to look real
1099
01:09:37,487 --> 01:09:39,159
and that's actually an asset.
1100
01:09:39,287 --> 01:09:41,881
Because you get a sense of
the work that's gone into it
1101
01:09:42,007 --> 01:09:45,556
and it makes the performance
much more dynamic. possible.
1102
01:09:45,687 --> 01:09:48,360
There's really no constraints
except the artist doing it.
1103
01:09:48,487 --> 01:09:51,047
It's not the same as with a cG thing.
1104
01:09:51,167 --> 01:09:55,524
Because cG. Our brain seems to know
that's not quite the same
1105
01:09:55,647 --> 01:09:59,765
as an actual piece of physical material
that's been giVen life.
1106
01:09:59,887 --> 01:10:02,082
This is like the Golem.
1107
01:10:02,207 --> 01:10:06,041
I mean. Our whole world.
It's like God creating Adam.
1108
01:10:06,167 --> 01:10:10,957
You take clay and your giVe it life
and then it breathes. And Ray did that!
1109
01:10:11,087 --> 01:10:15,205
And it's the result of
that particular kind of animation. I think.
1110
01:10:15,327 --> 01:10:18,239
(dennis muren) There's something cold
about computer graphics.
1111
01:10:18,367 --> 01:10:20,085
I don't think it was always this way.
1112
01:10:20,207 --> 01:10:23,836
Maybe I'm looking back fondly
at some of the early stuff that was done
1113
01:10:23,967 --> 01:10:26,197
that seemed to me more realistic.
1114
01:10:26,327 --> 01:10:29,080
I think we could touch the dinosaur
in Jurassic.
1115
01:10:29,207 --> 01:10:32,836
As an industry. We're turning out
so many shots so quickly
1116
01:10:32,967 --> 01:10:36,926
that we haVen't had time to catch up
and learn how to do it.
1117
01:10:37,047 --> 01:10:41,086
And when we were doing the first stuff
at ILm. Back in the early '90s.
1118
01:10:41,207 --> 01:10:44,085
You know. We spent months
or even a couple of years
1119
01:10:44,207 --> 01:10:48,041
figuring out how to make this thing
look like an obJect and not like a graphic.
1120
01:10:48,167 --> 01:10:50,044
That was the big challenge at that point.
1121
01:10:50,167 --> 01:10:52,522
I would find it rather unappealing
1122
01:10:52,647 --> 01:10:58,040
to sit at a desk and Just push buttons
to get a Visual image on the screen.
1123
01:10:58,167 --> 01:11:00,158
I think they're really
two different things.
1124
01:11:00,287 --> 01:11:06,044
Stop motion is what it is.
An art form and a sense of tactile feel
1125
01:11:06,167 --> 01:11:08,476
and the artist is Visible in every frame.
1126
01:11:08,607 --> 01:11:11,883
cG is something else
that's more of a fluidity
1127
01:11:12,007 --> 01:11:14,077
and it's Just different.
1128
01:11:14,207 --> 01:11:16,562
Stop motion is still aliVe. It's not dead.
1129
01:11:16,687 --> 01:11:19,565
people say. "Oh. It's a lost art".
But it's not a lost art.
1130
01:11:19,687 --> 01:11:21,723
I mean. Henry Selick and Nick park.
1131
01:11:21,847 --> 01:11:24,202
There's a lot of people
doing stop motion still.
1132
01:11:24,327 --> 01:11:28,366
(John Lasseter) All the guys at Aardman
doing clay animation.
1133
01:11:28,487 --> 01:11:30,000
I mean. come on!
1134
01:11:30,127 --> 01:11:33,005
do you really wanna see
Wallace & Gronmnit
1135
01:11:33,127 --> 01:11:35,482
in any other medium? No!
1136
01:11:35,607 --> 01:11:37,677
The storytelling that they do.
1137
01:11:37,807 --> 01:11:40,446
The subJects that they choose.
1138
01:11:40,567 --> 01:11:43,559
Lend itself to the stop motion medium.
1139
01:11:43,687 --> 01:11:47,726
(Nick park) You know. When you're sat
there with a character. It's in front of you.
1140
01:11:47,847 --> 01:11:50,122
You use your fingers.
1141
01:11:50,247 --> 01:11:52,477
You're holding it. You're handling it.
1142
01:11:52,607 --> 01:11:54,962
There's a kind of...
There is a kind of connection.
1143
01:11:55,087 --> 01:11:57,521
Unlike all the other types of animation.
1144
01:11:57,647 --> 01:12:00,115
What you see is a real performance.
1145
01:12:00,247 --> 01:12:02,761
It starts at frame one
1146
01:12:02,887 --> 01:12:05,560
and the animator
has to make that Journey.
1147
01:12:05,687 --> 01:12:09,680
In other forms of animation.
You'll do these key poses
1148
01:12:09,807 --> 01:12:13,163
and then a computer or an assistant
will in-between.
1149
01:12:13,287 --> 01:12:16,085
And you can manipulate those
and change.
1150
01:12:16,207 --> 01:12:20,519
To lock yourself away in a studio
1151
01:12:20,647 --> 01:12:24,242
and be able to moVe something
with hundreds of Joints...
1152
01:12:24,367 --> 01:12:30,317
If you lose the thread.
The thing Just becomes nonsense.
1153
01:12:30,447 --> 01:12:34,156
(phil Tippett) Shots can sometimes take
up to 15 or 20 hours.
1154
01:12:34,287 --> 01:12:36,278
If there's a mistake.
If there's one mistake.
1155
01:12:36,407 --> 01:12:40,002
If the camera goes crazy
or your puppet breaks. You're doomed
1156
01:12:40,127 --> 01:12:42,277
and you haVe to
start the process all oVer again.
1157
01:12:42,407 --> 01:12:44,318
Occasionally. If the phone rings.
1158
01:12:44,447 --> 01:12:49,123
I answer it and that's maybe
where you'll see a little bit of a Jerk
1159
01:12:49,247 --> 01:12:52,683
because I'd forgotten
whether one head was going forward
1160
01:12:52,807 --> 01:12:54,957
or one head was going backward.
1161
01:12:55,087 --> 01:12:58,238
Now. With digital and Videotape.
1162
01:12:58,367 --> 01:13:01,643
The stop motion animators
haVe a way of keeping track.
1163
01:13:01,767 --> 01:13:03,723
Ray did it all in his head!
1164
01:13:03,847 --> 01:13:06,759
(monkey chatters)
1165
01:13:35,927 --> 01:13:40,159
You animate the model
and one pose leads to another pose.
1166
01:13:40,287 --> 01:13:44,075
It is like sculpting. You haVe to know
what you're doing and then Just do it.
1167
01:13:44,207 --> 01:13:48,439
Because if you try to think about it.
Your brain would implode.
1168
01:13:48,567 --> 01:13:51,877
It's not an intellectual thing.
It's an intuitiVe thing.
1169
01:13:52,007 --> 01:13:55,761
And I think that. For me.
Is really important. To haVe that contact
1170
01:13:55,887 --> 01:14:00,165
and you're manipulating it
frame by frame
1171
01:14:00,287 --> 01:14:03,518
so you're kind of struggling with it.
1172
01:14:03,647 --> 01:14:06,605
Like in any kind of a liVe performance.
1173
01:14:06,727 --> 01:14:08,206
You always leaVe an allowance
1174
01:14:08,327 --> 01:14:10,716
for some other adJustment
that you may wanna do.
1175
01:14:10,847 --> 01:14:13,077
You may be thinking that
you're gonna do this.
1176
01:14:13,207 --> 01:14:15,721
But you'll get into it
and all of a sudden you'll realise.
1177
01:14:15,847 --> 01:14:18,122
"You know what?
I could do this instead."
1178
01:14:18,247 --> 01:14:20,886
And so you can improVise.
1179
01:14:21,007 --> 01:14:25,444
(Ray) You may know the broad concept
of what's happening in the scene
1180
01:14:25,567 --> 01:14:29,321
but all the little details
are put in as you go along
1181
01:14:29,447 --> 01:14:31,403
by your imagination.
1182
01:14:39,687 --> 01:14:42,360
(creature roars)
1183
01:14:45,847 --> 01:14:50,796
There was a man who said. "Why do you
go to the trouble of using stop motion?
1184
01:14:50,927 --> 01:14:52,918
"Why don't you put a man in a suit?"
1185
01:14:53,047 --> 01:14:55,277
Well. That's the easy way out.
1186
01:14:55,407 --> 01:14:59,241
In the 15 features I'Ve made
and the many shorts.
1187
01:14:59,367 --> 01:15:01,198
I did all the animation myself.
1188
01:15:01,327 --> 01:15:04,478
And I was able to do that
up until the '80s.
1189
01:15:07,807 --> 01:15:10,799
I was a loner.
I preferred to work by myself
1190
01:15:10,927 --> 01:15:14,397
because animation requires
an enormous amount of concentration.
1191
01:15:14,527 --> 01:15:16,643
In the days of Ray Harryhausen.
It was Ray
1192
01:15:16,767 --> 01:15:19,201
and a guy that used to click the shutter
on the camera.
1193
01:15:19,327 --> 01:15:22,763
And he'd do the thing and the guy would
click. And it was two guys doing it.
1194
01:15:22,887 --> 01:15:24,798
Now it's an army.
1195
01:15:24,927 --> 01:15:28,317
Today. Of course.
It takes 80 people. 90 people.
1196
01:15:28,447 --> 01:15:31,166
You see them credited on the screen.
1197
01:15:31,287 --> 01:15:34,324
One person does the eye.
One person does the nose.
1198
01:15:34,447 --> 01:15:36,722
One person does the tail of the donkey.
1199
01:15:36,847 --> 01:15:40,044
One person's doing the facial.
Another person's doing the body.
1200
01:15:40,167 --> 01:15:43,364
Sometimes another person can be doing
even tail motion or ear motion.
1201
01:15:43,487 --> 01:15:47,082
people doing the layout.
people doing the muscle rigs.
1202
01:15:47,207 --> 01:15:50,358
people doing the facial rigs.
people doing the lighting.
1203
01:15:50,487 --> 01:15:53,638
You know. There's a whole team
that's a shader team.
1204
01:15:53,767 --> 01:15:56,839
There are people doing things
I don't even know what they do!
1205
01:15:56,967 --> 01:16:00,004
It's a different atmosphere.
1206
01:16:00,127 --> 01:16:02,925
Some shots that are done today
with computer graphics
1207
01:16:03,047 --> 01:16:06,835
were the entire budget for their moVies.
1208
01:16:06,967 --> 01:16:10,721
And so the economy of a singular guy
working on this thing.
1209
01:16:10,847 --> 01:16:15,762
It was Very important that he was able
to haVe creatiVe control oVer the stuff.
1210
01:16:15,887 --> 01:16:18,276
Now it's such a big organisation
1211
01:16:18,407 --> 01:16:21,763
with many. Many producers and
many effects technicians working on it.
1212
01:16:21,887 --> 01:16:24,003
It's difficult to giVe a singular Vision.
1213
01:16:24,127 --> 01:16:27,756
There really aren't Very many singular
Vision films actually made anymore.
1214
01:16:27,887 --> 01:16:30,685
Unless you're a Spielberg or a cameron
or a peter Jackson.
1215
01:16:30,807 --> 01:16:34,595
A director strong enough to be able
to put that Vision all the way through.
1216
01:16:34,727 --> 01:16:37,560
And even then.
It kind of needs to be watered down
1217
01:16:37,687 --> 01:16:39,405
cos there are so many people
working on it.
1218
01:16:39,527 --> 01:16:43,566
One person must arbitrate
between many. Many good ideas.
1219
01:16:43,687 --> 01:16:46,485
You know. Should it be lit like this
or should it be lit like that?
1220
01:16:46,607 --> 01:16:48,404
And they're all Valid choices.
1221
01:16:48,527 --> 01:16:51,325
Should the creature be green
or should it be brown?
1222
01:16:51,447 --> 01:16:53,483
Any choice you make is gonna be Valid
1223
01:16:53,607 --> 01:16:55,837
when you're working
with such talented people.
1224
01:16:55,967 --> 01:16:59,755
But one person does haVe to arbitrate
and sometimes it's a Very arbitrary choice.
1225
01:16:59,887 --> 01:17:03,675
That is defined by specific indiViduals.
By an author.
1226
01:17:03,807 --> 01:17:05,763
And in most cases. That's the director.
1227
01:17:05,887 --> 01:17:08,526
But with Ray Harryhausen.
It was the Visual effects artist.
1228
01:17:08,647 --> 01:17:12,196
I'm grateful that I was able
to do what I did
1229
01:17:12,327 --> 01:17:17,037
without haVing any interference
from the studio or from anyone.
1230
01:17:28,367 --> 01:17:32,519
I remember somebody made a film
some years ago about medusa
1231
01:17:32,647 --> 01:17:37,163
and they had Just an actress
with a wig on with snakes.
1232
01:17:37,287 --> 01:17:40,916
EVery time she walked. They would
bobble up and down. You know?
1233
01:17:41,047 --> 01:17:43,686
It wouldn't frighten a two-year-old child.
1234
01:17:43,807 --> 01:17:46,002
So I always wanted to animate medusa
1235
01:17:46,127 --> 01:17:50,325
and I had a great chance
when clasln Of Tlne Titans came about.
1236
01:17:50,447 --> 01:17:53,803
I tried to design her
so that she wouldn't haVe clothes.
1237
01:17:53,927 --> 01:17:56,361
That's why I gaVe her a reptilian body.
1238
01:17:56,487 --> 01:17:59,479
Because I didn't wanna animate
flowing cloth.
1239
01:17:59,607 --> 01:18:03,395
We gaVe her the arrow
from diana's bow and arrow
1240
01:18:03,527 --> 01:18:05,358
and the rattlesnake's tail.
1241
01:18:05,487 --> 01:18:10,197
So she could be a menace
from the sound-effect point of View.
1242
01:18:14,407 --> 01:18:18,082
It became a big problem
because she had 12 snakes in her hair
1243
01:18:18,207 --> 01:18:21,085
and each snake had to be moVed.
The head and the tail.
1244
01:18:21,207 --> 01:18:23,163
Every frame of film.
1245
01:18:23,287 --> 01:18:27,883
Along with her body and her face
and her eyes and the snake body.
1246
01:18:28,007 --> 01:18:30,726
The medusa sequence.
1247
01:18:30,847 --> 01:18:33,281
If you see that film.
1248
01:18:33,407 --> 01:18:36,956
The tension that builds up between...
1249
01:18:38,127 --> 01:18:40,197
...the actor and his shield
1250
01:18:40,327 --> 01:18:41,555
and everything
that goes on there.
1251
01:18:41,687 --> 01:18:45,680
And you realise the bulk of it
is Just stop motion.
1252
01:18:45,807 --> 01:18:49,402
close-ups of stop-motion.
It's a wonderful piece of work.
1253
01:18:49,527 --> 01:18:53,486
(Ray) I wanted green eyes for medusa.
But I couldn't get them
1254
01:18:53,607 --> 01:18:56,041
so I had to use blue eyes.
Unfortunately.
1255
01:18:56,167 --> 01:19:01,161
They were dolls' eyes. Little
baby dolls' eyes that were put in her skull.
1256
01:19:01,287 --> 01:19:06,281
And you would roll them around
with the stop motion process.
1257
01:19:06,407 --> 01:19:08,682
I would moVe them
with an eraser of a pencil.
1258
01:19:08,807 --> 01:19:11,241
(Guillermo del Toro) people think
if you design monsters.
1259
01:19:11,367 --> 01:19:13,597
You design them for the sake
of making them cool.
1260
01:19:13,727 --> 01:19:15,365
But you never do that.
1261
01:19:15,487 --> 01:19:20,117
You design them to be
the character that you want them to be.
1262
01:19:20,247 --> 01:19:22,715
A good monster has to haVe character.
1263
01:19:22,847 --> 01:19:24,678
Has to haVe a personality.
1264
01:19:24,807 --> 01:19:29,483
You know. It has to be
crazy. SaVage. Funny.
1265
01:19:29,607 --> 01:19:31,245
Whatever you wanna use.
1266
01:19:31,367 --> 01:19:35,155
You haVe to define it by the silhouette.
The details. You know?
1267
01:19:35,287 --> 01:19:39,075
And if the monster works like that
then it's a well-designed monster.
1268
01:19:39,207 --> 01:19:43,041
(Ray) The monster that attacked
Andromeda in Greek mythology.
1269
01:19:43,167 --> 01:19:45,920
There are Various concepts
of a dragon-like creature.
1270
01:19:46,047 --> 01:19:51,121
I wanted to make it semi-human so it
would make the story a little more logical.
1271
01:19:51,247 --> 01:19:56,116
I gaVe it sort of the arms of an octopus
with hands on the end of it.
1272
01:19:56,247 --> 01:19:59,876
And he developed
from that point of View.
1273
01:20:00,007 --> 01:20:04,478
The Kraken was a word
that is not in Greek mythology.
1274
01:20:04,607 --> 01:20:07,360
That comes from Norse mythology more.
1275
01:20:07,487 --> 01:20:11,799
We needed a word and I guess the writer
felt that was the right word to use.
1276
01:20:11,927 --> 01:20:14,999
(Steve Johnson) I do think
it's Very important to sketch creatures
1277
01:20:15,127 --> 01:20:17,083
before you sculpt them.
1278
01:20:17,207 --> 01:20:20,836
For the Very simple reason.
Again. It comes to the purity.
1279
01:20:20,967 --> 01:20:24,437
Your mind can moVe your hand on a paper
in two dimensions
1280
01:20:24,567 --> 01:20:27,718
much more quickly than it can
moVe your fingers in three dimensions.
1281
01:20:27,847 --> 01:20:29,963
And if you sculpt something.
It takes longer.
1282
01:20:30,087 --> 01:20:33,557
If you sketch something. You can do it
more quickly and get your concept out.
1283
01:20:33,687 --> 01:20:36,599
All my illustrations
are in black and white.
1284
01:20:36,727 --> 01:20:38,683
I never cared much for colour.
1285
01:20:38,807 --> 01:20:41,526
It took too long for one thing. For me.
1286
01:20:41,647 --> 01:20:45,799
And I was never groomed in colour.
To speak of.
1287
01:20:45,927 --> 01:20:48,725
I learned mostly by doing it myself.
1288
01:20:48,847 --> 01:20:53,204
Ray obViously did Very simple drawings
that were perfunctory.
1289
01:20:53,327 --> 01:20:56,478
Because they were for himself. He knew
he was gonna build from the design.
1290
01:20:56,607 --> 01:21:01,123
And he had that luxury of being the one
that was actually gonna realise everything
1291
01:21:01,247 --> 01:21:05,126
from design through to actual...
what was gonna get printed to each frame.
1292
01:21:05,247 --> 01:21:09,638
(Ray) my influences oVer the years
was largely GustaVe dore.
1293
01:21:09,767 --> 01:21:13,680
A French artist in the Victorian period.
1294
01:21:13,807 --> 01:21:18,005
He illustrated the Bible.
Many thousands of pictures.
1295
01:21:27,607 --> 01:21:32,078
Up until that time. Ray. Of course.
Had done all the animation on his own.
1296
01:21:32,207 --> 01:21:34,675
(Ray) When clasln Of Tlne Titans
came about.
1297
01:21:34,807 --> 01:21:38,083
I found that due to technical difficulties
1298
01:21:38,207 --> 01:21:42,246
I had to hire other people
to do some animation.
1299
01:21:42,367 --> 01:21:44,756
(Tony) And he found two animators
to help him.
1300
01:21:44,887 --> 01:21:47,401
The great Jim danforth.
An American animator.
1301
01:21:47,527 --> 01:21:50,724
And an English animator
called Steve Archer.
1302
01:21:50,847 --> 01:21:53,520
Steve did a lot of the Bubo sequences.
1303
01:21:53,647 --> 01:21:56,719
Jim. I believe. did a lot
of the pegasus sequences.
1304
01:21:56,847 --> 01:21:59,202
And their input into that film
was Just enormous.
1305
01:21:59,327 --> 01:22:02,524
When I came to London to do
An Anmnerican Werewolf In London.
1306
01:22:02,647 --> 01:22:04,797
I went to Visit him at pinewood.
1307
01:22:04,927 --> 01:22:08,317
He and Jim danforth were animating
pegasus. The flying horse.
1308
01:22:08,447 --> 01:22:13,043
And it was Just extraordinary
how much time it took to light.
1309
01:22:13,167 --> 01:22:15,681
I mean. Forget the animation.
Just to light.
1310
01:22:15,807 --> 01:22:17,718
Because they had to hide all the wires.
1311
01:22:17,847 --> 01:22:19,485
I think I was there four or fiVe hours.
1312
01:22:19,607 --> 01:22:24,727
They probably got two or three seconds
of usable footage. I mean. It was amazing!
1313
01:22:24,847 --> 01:22:26,519
(Steve Johnson) When an audience
goes to see a moVie
1314
01:22:26,647 --> 01:22:28,080
and there's a special effect.
1315
01:22:28,207 --> 01:22:30,198
It's kind of like
when you go to see a magician.
1316
01:22:30,327 --> 01:22:32,318
A magician pulls a rabbit out of a hat.
1317
01:22:32,447 --> 01:22:35,803
You know he's not really
pulling that rabbit out of his hat.
1318
01:22:35,927 --> 01:22:37,519
But you know he tricked you somehow.
1319
01:22:37,647 --> 01:22:39,922
And so you feel inVolVed
because you wanna figure it out.
1320
01:22:40,047 --> 01:22:42,515
This is the way it was
with Harryhausen's stuff
1321
01:22:42,647 --> 01:22:46,481
from his rear-proJection to his
liVe-action pieces to his stop motion.
1322
01:22:46,607 --> 01:22:49,917
How did he do it? One of the drawbacks
to computer animation.
1323
01:22:50,047 --> 01:22:54,245
It takes the audience out of the equation.
The audience isn't as inVolVed.
1324
01:22:54,367 --> 01:22:57,916
They generally know it's cGI.
So I think it puts a little bit of a distance
1325
01:22:58,047 --> 01:23:00,720
between the audience and the moVies.
Unfortunately.
1326
01:23:00,847 --> 01:23:02,599
I remember
in the old Janmnes Bond moVies
1327
01:23:02,727 --> 01:23:04,922
there would always be a huge stunt
at the beginning
1328
01:23:05,047 --> 01:23:07,607
and everybody would gasp
because it was so thrilling.
1329
01:23:07,727 --> 01:23:10,036
And it was actually being done
in front of their eyes.
1330
01:23:10,167 --> 01:23:13,318
Today you could do the same stunt
and people would say. "Oh. cGI."
1331
01:23:13,447 --> 01:23:16,086
The second you make a moVie
and you see 1.000 soldiers
1332
01:23:16,207 --> 01:23:19,802
or 100.000 soldiers running oVer a hill.
1333
01:23:19,927 --> 01:23:22,487
You know that
there are not 100.000 soldiers
1334
01:23:22,607 --> 01:23:27,965
aVailable to anybody on the face of
the planet today for any sensible cost.
1335
01:23:28,087 --> 01:23:30,362
And so you know that that is not real.
1336
01:23:30,487 --> 01:23:32,682
As real as it looks.
You know it's not real.
1337
01:23:32,807 --> 01:23:36,402
It's up to you to decide
1338
01:23:36,527 --> 01:23:42,284
how far you're gonna allow us
to push the enVelope of digital creatiVity.
1339
01:23:42,407 --> 01:23:45,046
You know. You accepted
my digital dinosaurs
1340
01:23:45,167 --> 01:23:47,761
because you wanted to enJoy
and be scared by the stories.
1341
01:23:47,887 --> 01:23:50,276
So you accepted the digital dinosaurs.
1342
01:23:50,407 --> 01:23:55,242
But there is a point
where audiences are going to reJect...
1343
01:23:56,287 --> 01:24:00,075
...digital special effects
and start to maybe go to moVies
1344
01:24:00,207 --> 01:24:04,120
where we actually do something
that existed in real space and real time.
1345
01:24:04,247 --> 01:24:07,239
Now there are so many effects being done
in so many films
1346
01:24:07,367 --> 01:24:10,439
and hundreds or thousands of shots
in each film.
1347
01:24:10,567 --> 01:24:13,365
There's a real danger
of the effects not being special anymore.
1348
01:24:13,487 --> 01:24:14,886
They're too common.
1349
01:24:15,007 --> 01:24:18,158
Young people haVe been brainwashed
by teleVision
1350
01:24:18,287 --> 01:24:20,357
to want everything quickly. You know.
1351
01:24:20,487 --> 01:24:24,878
And you Just can't haVe an explosion
every fiVe minutes in Greek mythology.
1352
01:24:25,007 --> 01:24:29,159
So I felt it was time to retire.
I felt I had had enough.
1353
01:24:42,767 --> 01:24:48,125
It's my incredible pleasure to present Ray
with a special BAFTA Award.
1354
01:24:48,247 --> 01:24:50,681
(Applause)
1355
01:24:56,047 --> 01:24:59,119
We declare the exhibition open!
1356
01:25:01,327 --> 01:25:04,205
(cheering and applause)
1357
01:25:04,327 --> 01:25:07,603
(All) Happy birthday to you
1358
01:25:07,727 --> 01:25:11,561
Happy birthday to you...
1359
01:25:23,927 --> 01:25:26,600
Happy birthday...
1360
01:25:45,287 --> 01:25:48,006
(Tony) The Ray and diana Harryhausen
Foundation.
1361
01:25:48,127 --> 01:25:51,164
It was set up in the 1980s by Ray
1362
01:25:51,287 --> 01:25:56,839
to educate people
into stop motion animation
1363
01:25:56,967 --> 01:26:00,755
and also to protect his heritage
for the future.
1364
01:26:00,887 --> 01:26:04,402
preserVation. conserVation
and other aspects of it
1365
01:26:04,527 --> 01:26:07,166
are our maJor. MaJor priority.
1366
01:26:07,287 --> 01:26:11,405
So we're desperately trying to saVe
the original models
1367
01:26:11,527 --> 01:26:16,521
because the material that he makes them
out of. Latex rubber. They're so fragile.
1368
01:26:16,647 --> 01:26:20,401
Vanessa and Jim danforth and I
1369
01:26:20,527 --> 01:26:23,758
went through Ray's garage in 2008
1370
01:26:23,887 --> 01:26:26,037
and found a treasure troVe.
1371
01:26:26,167 --> 01:26:28,442
I opened up a bag and found. Immediately.
1372
01:26:28,567 --> 01:26:30,558
A little wooden curlicue.
1373
01:26:30,687 --> 01:26:33,440
One of the dragon's horns
from 7tln Voyage Of Sinbad.
1374
01:26:33,567 --> 01:26:35,239
And then the other one.
1375
01:26:35,367 --> 01:26:37,676
Then I looked down
and saw a little character
1376
01:26:37,807 --> 01:26:40,924
with curly-toed shoes. It was Sinbad!
1377
01:26:41,047 --> 01:26:45,006
And Jim said. "That's the Sinbad
that was carried aloft by the Roc!"
1378
01:26:45,127 --> 01:26:47,925
And then there was a little piece
of rubber and I flipped it oVer.
1379
01:26:48,047 --> 01:26:49,719
It was the harpie's head!
1380
01:26:49,847 --> 01:26:53,157
And there were tons of things
and they were all there in the garage
1381
01:26:53,287 --> 01:26:55,323
for oVer 50 years.
1382
01:26:55,447 --> 01:26:58,484
And that's the great thing
about Ray Harryhausen's puppets.
1383
01:26:58,607 --> 01:27:00,598
He still has the originals. It's amazing.
1384
01:27:00,727 --> 01:27:03,764
(Ray) Yeah. That's one of my early
brontosauruses.
1385
01:27:04,887 --> 01:27:06,479
(Woman) He's quite big. So...
1386
01:27:06,607 --> 01:27:09,326
You'd haVe to be a Greek wrestler
to animate that!
1387
01:27:12,007 --> 01:27:16,125
The foundation is preserVing
the puppets and moulds
1388
01:27:16,247 --> 01:27:18,886
and Ray's diaries. Ray's sketches.
1389
01:27:19,007 --> 01:27:21,043
Behind the scenes photographs.
1390
01:27:21,167 --> 01:27:24,762
His dailies. His daily reels
from all his black and white films.
1391
01:27:24,887 --> 01:27:26,957
(Tony) The dailies.
The outtakes from Tlne Beast
1392
01:27:27,087 --> 01:27:29,157
right through to 7tln Voyage Of Sinbad
1393
01:27:29,287 --> 01:27:31,676
are all being preserVed now digitally
for the future.
1394
01:27:39,767 --> 01:27:43,885
peter Jackson
Volunteered to restore them.
1395
01:27:44,007 --> 01:27:45,520
So I went down to New Zealand
1396
01:27:45,647 --> 01:27:49,117
and peter and I recorded it
on high-definition Video.
1397
01:27:49,247 --> 01:27:52,842
(Tony) peter Jackson
has been amazingly generous.
1398
01:27:52,967 --> 01:27:54,958
Not only with time but with preserVation.
1399
01:27:55,087 --> 01:27:57,760
(John Landis) When Ray Visited
peter Jackson. He went to Weta.
1400
01:27:57,887 --> 01:28:00,242
He brought with him
one of the little skeletons
1401
01:28:00,367 --> 01:28:03,439
and peter took it
and had it scanned exactly.
1402
01:28:03,567 --> 01:28:06,479
And then from the scan.
They made a mould.
1403
01:28:06,607 --> 01:28:10,805
But what's incredible is that
the actual bronze you end up with
1404
01:28:10,927 --> 01:28:15,637
isn't a copy of the skeleton.
It is the skeleton. Exactly!
1405
01:28:15,767 --> 01:28:18,679
I Just want to say thank you
to peter Jackson. Randy cook.
1406
01:28:18,807 --> 01:28:21,560
And all those many others
who'Ve giVen us support.
1407
01:28:21,687 --> 01:28:24,360
His legacy. Of course. Is in good hands
1408
01:28:24,487 --> 01:28:29,402
because it's carried in the dNA
of so many film fans.
1409
01:28:29,527 --> 01:28:31,165
I think all of us
1410
01:28:31,287 --> 01:28:34,643
who are practitioners in the arts
of science fiction and fantasy moVies
1411
01:28:34,767 --> 01:28:39,204
now all feel that we're standing
on the shoulders of a giant.
1412
01:28:39,327 --> 01:28:42,399
If not for Ray's contribution
to the collectiVe dreamscape.
1413
01:28:42,527 --> 01:28:44,358
We would not be who we are.
1414
01:28:44,487 --> 01:28:48,082
Ray. Your inspiration
goes with us forever.
1415
01:28:48,207 --> 01:28:52,519
It represents a form of filmmaking
that really will never happen again.
1416
01:28:52,647 --> 01:28:55,719
But I think it's all the more special
because of that.
1417
01:28:55,847 --> 01:28:57,963
He's... you know.
1418
01:28:58,087 --> 01:29:03,400
His patience. His endurance.
Has inspired so many of us.
1419
01:29:04,727 --> 01:29:08,845
I'm glad to say that.
Just like I was impressed by King Kong.
1420
01:29:08,967 --> 01:29:12,198
people are impressed
by our films.
1421
01:29:12,327 --> 01:29:16,639
And other people are impressed by
peter Jackson and Spielberg and Lucas.
1422
01:29:16,767 --> 01:29:19,645
That's the way the snowball rolls on.
125275
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