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Old 12-10-2007, 03:51 PM   #41
eurosector
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Quote:
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I was never very moved by Kubrick's version of The Shining as a film. I've not read the book so I've nothing to judge it against. Not sure if the TV version made it over here or not. I don't recall seeing it anyway.
From IMDB: "Stanley Kubrick decided that having the hedge animals come alive was unworkable, so he opted for a hedge maze instead."

CGI hedge animals attacked the Torrance family in the 1997 re-make. It looked rather silly and too literal for me. The scene lacked the psychological terror of Kubrick's version. I wonder if Derek Meddings could've offered help in light of his previous work on TLTTF.
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Old 12-10-2007, 04:00 PM   #42
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There is always a way of doing these things. Henson's could turn out some pretty formidable hedge creatures. Doing it for real on the set helps. CG seems to suffer from two main faults. The CG creature either looks fake or it looks good but the way it moves looks fake. Good CG is not a cheap option.
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Old 12-10-2007, 05:07 PM   #43
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Generally speaking, I loathe CG effects. Sometimes they’re nice when used to enhance physical miniatures. Otherwise, too much reliance on them is a real turn-off for me (in my opinion).

Incidentally…..did anyone see the latest issue of Filmfax Plus magazine? It has a feature on model designer Mike Trim. I would actually buy it if wasn’t for the $10.00 plus tax pricetag and the mostly cheap B/W newsprint. It’s the type of paper used in paperback novels that doesn’t age gracefully.

http://www.filmfax.com/

Last edited by eurosector; 12-10-2007 at 07:08 PM.
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Old 13-10-2007, 01:46 AM   #44
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I used to work for the company that prints Filmfax (or at least they printed it a few years ago; no clue if it's still them). Sadly, we weren't allowed to take home free copies.
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Old 15-10-2007, 03:51 PM   #45
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The Filmfax features about Mike Trim appear to be a serialisation of the Future is Fab book, so it might make more sense just to buy the book - print quality is not a problem !

More details here -

http://www.miketrimart.com/

Thanks also to Tim for those very informative posts about Derek's film career - particularly regarding the problems he had with Batman. I believe Hudson Hawk was also an unhappy experience. The drive-in movie theatre sequence in Spies Like Us - yes, totally unnoticeable. It's also nice to see Derek turning up on screen in a cameo in that film (which he also does in Doppelganger, as one of the Eurosec security guards).

A little story about The Land That Time Forgot - Derek only became involved with this film due to an accidental meeting with Roger Dicken in Maidenhead high street. Roger mentioned that the film needed a special effects director, and as I understand it, Derek ended up supervising the dinosaur effects which Roger had initially been brought in to create.
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Old 15-10-2007, 04:29 PM   #46
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Quote:
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The Filmfax features about Mike Trim appear to be a serialisation of the Future is Fab book, so it might make more sense just to buy the book - print quality is not a problem!.....

.....It's also nice to see Derek turning up on screen in a cameo in that film (which he also does in Doppelganger, as one of the Eurosec security guards)......
You're right, it's much more worth it get the book.

I didn't know that Derek was an extra in Doppelganger. I guess that I'll have to look more closely the next time that I pop the movie in my DVD player.

Last edited by eurosector; 15-10-2007 at 04:39 PM.
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Old 15-10-2007, 04:36 PM   #47
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He's not that easy to see - these Eurosec security guards all look very alike ! But I'm pretty sure he's in the background of a scene in the Eurosec (ATV Elstree) foyer. I wouldn't have spotted him if he hadn't told me !
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Old 23-10-2007, 06:17 AM   #48
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Wow, lots of cool films to watch that Meddings had a hand in and I've watched most of them already (I loved ffolkes). The one clever bit I recall about Moonraker was the way they destroyed the Drax station on camera involved shooting it high speed and blasting it with a shotgun! Of course, the biggest technical challenge I imagine had to involve that manual windback of the camera film after every shot to compose the shot in the camera rather then using motion control and an optical printer. That took some serious work to pull off (which is why I love watching that film).
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Old 24-10-2007, 11:46 AM   #49
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Posted on another forum, here is the fabulous in-camera glass shot Meddings oversaw for SUPERGIRL:



It was achieved by pasting onto glass a cut out of a travlogue magazine of a mountain and a cut out still photo of that miniature fortress. Grease pencil was used to draw in the telephone poles and the whole thing was done as an in-camera foreground glass shot with a nodal pan!
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Old 24-10-2007, 06:00 PM   #50
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Amazing what you can do on the Pinewood backlot !
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Old 25-10-2007, 06:31 PM   #51
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Great shot above /\ I have so much respect for Meddings and people like him who have the genius to create convincing, spectacular effects without the aid of computers, especially when using miniatures. Someone said in a previous post that lots of CGI puts them off. Well I agree. I much prefered the old style effects to modern CG. I find the effects of the original Star Wars trilogy, Space Oddesy, moonraker etc more impressive and interesting to watch than the effects of the modern Star Wars trilogy, for example. It's that thought that what you are seeing is down to someone's creativity and inventive genius, and their ability to solve problems, rather that just watching a "computer game"
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Old 25-10-2007, 08:22 PM   #52
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Thanks for the explanation on that shot. I never fail to enjoy discovering how these things are done.
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Old 25-10-2007, 09:10 PM   #53
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Derek used a similar technique at the begininning of For Your Eyes Only to show a helicopter flying through a warehouse - that one's much less obviously a glass shot effect, because the sequence is more physically believable, but it would have been extremely dangerous to perform a stunt like that in reality.
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Old 26-10-2007, 01:21 AM   #54
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Well there you go, I thought it was real. Amazing.
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