0:00:22 > 0:00:25- Ray Harryhausen.- Ray Harryhausen. - Ray Harryhausen.- Ray Harryhausen.
0:00:25 > 0:00:29Ray Harryhausen monsters, you know, they're all beautiful.
0:00:39 > 0:00:41DRAGON ROARS WOMAN SCREAMS
0:00:45 > 0:00:47CREATURE SNARLS
0:00:51 > 0:00:53DINOSAUR ROARS
0:01:03 > 0:01:06CREATURE ROARS
0:01:07 > 0:01:09I love Ray Harryhausen films,
0:01:09 > 0:01:11those were a huge influence on me
0:01:11 > 0:01:12as a kid.
0:01:12 > 0:01:14I never knew who Ray Harryhausen was,
0:01:14 > 0:01:16I just saw these things happening.
0:01:16 > 0:01:17It was only later that I discovered
0:01:17 > 0:01:20it was one guy giving life to these things.
0:01:20 > 0:01:23That is very difficult, to define myself in two words.
0:01:23 > 0:01:25I would say I was a filmmaker
0:01:25 > 0:01:28rather than just an animator or a special effects person.
0:01:28 > 0:01:31I'm in on the story at the beginning.
0:01:31 > 0:01:33Sometimes I initiate the story.
0:01:33 > 0:01:36I wear many different hats in the production.
0:01:36 > 0:01:40I even, at the end of the day, go out and help sell the picture.
0:01:40 > 0:01:44Ray is the only technician really who is an auteur.
0:01:44 > 0:01:46It is a very unique position.
0:01:46 > 0:01:48There really isn't anyone else like it.
0:01:48 > 0:01:49He has a huge body of work.
0:01:49 > 0:01:54There was nobody else who was doing that sort of work.
0:01:54 > 0:01:56I mean, he's the only person.
0:01:56 > 0:02:00He himself is deeply influenced by the master Willis O'Brien,
0:02:00 > 0:02:02who had done King Kong.
0:02:02 > 0:02:05Ray When I first saw King Kong in 1933,
0:02:05 > 0:02:08I wanted to do something in the film business.
0:02:10 > 0:02:12Well, in 1933, when I was 13,
0:02:12 > 0:02:16King Kong, nothing like it had been put on the screen.
0:02:16 > 0:02:19'Truly the thrill of thrills.
0:02:19 > 0:02:21'Don't miss it this time.'
0:02:27 > 0:02:31And it haunted me for years, even though it was a little jerky.
0:02:31 > 0:02:34This creature is amazing, you know, it's so big, you know?
0:02:34 > 0:02:36It just left an enormous impression.
0:02:36 > 0:02:39It wasn't only the technical expertise,
0:02:39 > 0:02:42it was the whole production of the film.
0:02:42 > 0:02:46They took you by the hand from the mundane world of the Depression
0:02:46 > 0:02:49and brought you into the most outrageous fantasy
0:02:49 > 0:02:51that has ever been put on the screen.
0:02:51 > 0:02:53It really set me off on my career.
0:02:53 > 0:02:57I didn't know how the film was made when I first saw it.
0:02:57 > 0:03:00Finally, it came out in magazines how King Kong was stop motion.
0:03:00 > 0:03:02And that intrigued me,
0:03:02 > 0:03:06so I started experimenting on my own as a hobby, in my garage.
0:03:09 > 0:03:14I took courses in photography at USC at night school
0:03:14 > 0:03:19and I studied various things, art direction and film editing.
0:03:20 > 0:03:23It gradually developed from a hobby into a profession.
0:03:23 > 0:03:26I couldn't find anybody to make the figures
0:03:26 > 0:03:28so I had to learn to make them myself.
0:03:28 > 0:03:32I couldn't find anybody to photograph it so I learned photography
0:03:32 > 0:03:34and learned to do things myself.
0:03:36 > 0:03:38Stop motion animation is really basically
0:03:38 > 0:03:41the same principle as the animated cartoon,
0:03:41 > 0:03:45only instead of using flat drawings, you use a dimensional model.
0:03:45 > 0:03:49This has a rubber coating on the outside of a metal armature
0:03:49 > 0:03:54and as the shutter is closed on one frame of film
0:03:54 > 0:03:56you move it slightly, you move the arms
0:03:56 > 0:03:59and you have to keep it all in synchronisation.
0:03:59 > 0:04:02And then when you get hundreds of these still pictures,
0:04:02 > 0:04:07it gives the illusion that the thing is moving on its own.
0:04:07 > 0:04:10In my early days, I did mostly experiments with dinosaurs.
0:04:13 > 0:04:17We were both 18 and we both loved King Kong
0:04:17 > 0:04:20and I met his dinosaurs in his garage.
0:04:20 > 0:04:23I said, "Oh, God, this is incredible!
0:04:23 > 0:04:25"You build these, do you?"
0:04:25 > 0:04:29He said, "Yes. Let me show you a piece of film I did."
0:04:29 > 0:04:33And he showed me a little tiny piece of 5mm film
0:04:33 > 0:04:38with his dinosaurs roaming over a prehistoric landscape.
0:04:38 > 0:04:42I said, "You know something I got to tell you?"
0:04:42 > 0:04:47He said, "What?" I said, "I think you're going to be my friend for life."
0:04:50 > 0:04:53I wanted to make a film called Evolution.
0:04:53 > 0:04:56It was about the development of life on Earth.
0:05:06 > 0:05:09And then Fantasia came along and so I abandoned it.
0:05:09 > 0:05:12They could do it so much better with Disney.
0:05:12 > 0:05:17But I had all these tests that I had made for dinosaurs for Evolution
0:05:17 > 0:05:20and I showed them to George Pal.
0:05:20 > 0:05:22George Pal was a European animator
0:05:22 > 0:05:24who went to America
0:05:24 > 0:05:27to make a series of films there
0:05:27 > 0:05:29and was commissioned by Paramount
0:05:29 > 0:05:30to make the Puppetoons series.
0:05:30 > 0:05:32My first professional job
0:05:32 > 0:05:35was with the George Pal Puppetoons before the war.
0:05:35 > 0:05:37The George Pal technique,
0:05:37 > 0:05:40all the models were cut-out ahead of time in wood.
0:05:40 > 0:05:42So there wasn't much creativity,
0:05:42 > 0:05:45you simply substituted a new figure.
0:05:45 > 0:05:50There was very little for an animator to put his own personality into.
0:05:50 > 0:05:54But it was an enormous part of Ray's early career.
0:05:56 > 0:05:59When he came out of the army in around about 1946,
0:05:59 > 0:06:05he found a thousand foot of Kodak 16mm footage.
0:06:05 > 0:06:08It was out of date, so they were throwing it out.
0:06:08 > 0:06:10So he used that for his first films
0:06:10 > 0:06:12and those were the Mother Goose stories
0:06:12 > 0:06:14that became the first of the fairy tales.
0:06:14 > 0:06:17The fairy tales were really what I call my teething rings.
0:06:17 > 0:06:21That's where he really learnt so much about film making.
0:06:21 > 0:06:24And he went on to make Little Red Riding Hood,
0:06:24 > 0:06:27Hansel and Gretel Rapunzel, King Midas,
0:06:27 > 0:06:29and eventually, The Tortoise And The Hare.
0:06:29 > 0:06:31His mother and father helped him.
0:06:31 > 0:06:34His mother made a lot of the clothes for the fairy tales
0:06:34 > 0:06:36and his father obviously did a lot of the machining,
0:06:36 > 0:06:40the armatures and everything, based on Ray's designs.
0:06:40 > 0:06:45Fred and Martha, his parents, were a huge part of his life.
0:06:45 > 0:06:49Most parents would have said, "No, no, you've gotta be a doctor or a plumber."
0:06:49 > 0:06:51I was very fortunate, I should say,
0:06:51 > 0:06:57that my father knew a lot about engineering and machine work
0:06:57 > 0:07:02and he used to make a lot of my armatures on the lathe at home.
0:07:02 > 0:07:05And Fred continued to make the armatures
0:07:05 > 0:07:08until just after First Men In The Moon, when he died.
0:07:08 > 0:07:11So all the armatures seen in all the feature films were made by Fred.
0:07:11 > 0:07:14My first introduction to the work of Ray Harryhausen
0:07:14 > 0:07:17was the Mother Goose stories, actually,
0:07:17 > 0:07:21which at the time I was not aware that they were Ray Harryhausen's work.
0:07:21 > 0:07:23FRANTIC ORCHESTRAL MUSIC
0:07:26 > 0:07:29I was about nine or ten years old
0:07:29 > 0:07:33and, you know, it was all cosy, Christmas Eve,
0:07:33 > 0:07:36and this films came on, which was Hansel and Gretel.
0:07:36 > 0:07:41And I could not believe it, I was just so drawn into it, the magic of it.
0:07:41 > 0:07:45I don't know back then if I knew how stop frame animation was done,
0:07:45 > 0:07:47but I could see there were no strings.
0:07:47 > 0:07:52I think Ray Harryhausen is really the grandfather of stop frame animation.
0:07:52 > 0:07:58I mean, I know that there was Willis O'Brien as the great-grandfather.
0:07:58 > 0:08:00I'd kept in touch with Willis O'Brien.
0:08:00 > 0:08:03I had met him when I was still in high school.
0:08:03 > 0:08:05I called him up at MGM
0:08:05 > 0:08:08and he kindly invited me over.
0:08:08 > 0:08:14I brought some of my dinosaurs in my suitcase and showed them to him.
0:08:14 > 0:08:19And finally, after Merian Cooper and Willis O'Brien
0:08:19 > 0:08:21were going to make Mighty Joe Young,
0:08:21 > 0:08:24I became Willis O'Brien's assistant.
0:08:26 > 0:08:28WHISTLE BLOWS
0:08:29 > 0:08:33SIRENS BLARE
0:08:38 > 0:08:39GORILLA ROARS
0:08:39 > 0:08:42Here we were making another gorilla picture,
0:08:42 > 0:08:45which wasn't quite like King Kong
0:08:45 > 0:08:47but it had a gorilla.
0:08:47 > 0:08:50And gorillas are my best friends.
0:08:50 > 0:08:53'See Mighty Joe Young, enraged by Hollywood pranksters,
0:08:53 > 0:08:58'destroy filmland's swankiest nightclub on the fabulous Sunset Strip.'
0:08:58 > 0:09:02Willis O'Brien was busy getting the next setups ready
0:09:02 > 0:09:04and making tests and everything,
0:09:04 > 0:09:08so I ended up doing about 90 percent of the animation.
0:09:08 > 0:09:10I think that's some of his best stuff
0:09:10 > 0:09:13cos the personality in Joe Young is amazing.
0:09:13 > 0:09:16And the way he moves, he does move like a gorilla.
0:09:16 > 0:09:19Whereas King Kong doesn't move like a gorilla at all.
0:09:19 > 0:09:23'See the most fantastic relationship between beast and beauty,
0:09:23 > 0:09:26'a mere girl mastering a primitive giant.'
0:09:26 > 0:09:28I thought I'd get in the mood
0:09:28 > 0:09:31by eating celery and carrots for my tea breaks
0:09:31 > 0:09:34so that I felt like a gorilla. HE LAUGHS
0:09:36 > 0:09:41The studio sent a cameraman to the Chicago Zoo to photograph a gorilla.
0:09:41 > 0:09:45All the gorilla did seem to do was walk across the screen and pick his nose,
0:09:45 > 0:09:50so we couldn't use that to any great degree as a copy,
0:09:50 > 0:09:53but it gave an idea of how a gorilla moves.
0:09:53 > 0:09:57'Mighty Joe Young, whose sensational exploits will startle you.'
0:09:57 > 0:10:01Ray After Mighty Joe Young, I did The Beast From 20,000 Fathoms.
0:10:01 > 0:10:04DRAMATIC ORCHESTRAL MUSIC PLAYS
0:10:07 > 0:10:09ROARING
0:10:10 > 0:10:12EXPLOSIONS
0:10:14 > 0:10:17SCREAMING
0:10:17 > 0:10:19BEAST ROARS
0:10:27 > 0:10:31I didn't want to duplicate the Lost World concept
0:10:31 > 0:10:34of having a real known dinosaur
0:10:34 > 0:10:36so we devised this dinosaur
0:10:36 > 0:10:39between the writers and the producers and myself
0:10:39 > 0:10:42and called it the Rhedosaurus,
0:10:42 > 0:10:46a different type of animal that has never been seen before.
0:10:46 > 0:10:48'The beast would come back,
0:10:48 > 0:10:50'back to the caverns of the deepest Atlantic
0:10:50 > 0:10:51'where it was spawned.
0:10:51 > 0:10:53'An armoured giant...'
0:10:53 > 0:10:57Ray Harryhausen and I showed up at the same time.
0:10:57 > 0:11:01He said, "Well, maybe some day you'll write a screenplay for me
0:11:01 > 0:11:03"and I'll do dinosaurs for you."
0:11:03 > 0:11:06I said, "I'm going to pray to God for that."
0:11:11 > 0:11:15His budget for that was 5,000
0:11:15 > 0:11:18to put all special effects together, build the models, miniatures, everything.
0:11:21 > 0:11:23Ray When we were making Mighty Joe Young
0:11:23 > 0:11:28we had 27 people on the stage.
0:11:28 > 0:11:30The budget went up so high.
0:11:30 > 0:11:33So I tried to reduce the whole process
0:11:33 > 0:11:36to a simple way of combining the live action
0:11:36 > 0:11:39with the animated model.
0:11:39 > 0:11:40He'd shoot the live action first
0:11:40 > 0:11:42then he would project it
0:11:42 > 0:11:45on a rear projection screen back there.
0:11:45 > 0:11:47Screen's here, projector's back there,
0:11:47 > 0:11:49project one frame at a time.
0:11:49 > 0:11:51In front of that, he would put a camera.
0:11:51 > 0:11:56Then he'd put his animation table and then he would take a puppet.
0:11:56 > 0:12:01He'd then matte out the animation stage the puppet was sitting on with paint.
0:12:01 > 0:12:03So it was live action,
0:12:03 > 0:12:07still frame, puppet, still, black below.
0:12:07 > 0:12:09Advance the projector, pose the puppet,
0:12:09 > 0:12:11take a frame of film, et cetera, et cetera.
0:12:11 > 0:12:16So what he'd do is he'd undo the animation stage, lower it out of the screen,
0:12:16 > 0:12:19he would then put a counter matte which was painted
0:12:19 > 0:12:23to block out the area that had previously been exposed.
0:12:23 > 0:12:26And so then he would put the projector on frame one,
0:12:26 > 0:12:28take a frame on the camera,
0:12:28 > 0:12:29put the projector on frame two,
0:12:29 > 0:12:32take a frame on the camera, et cetera, et cetera.
0:12:32 > 0:12:34Now he had all of the live action
0:12:34 > 0:12:38and the animation together in one go.
0:12:39 > 0:12:46Ray You could intricately interweave the animated model with live actors.
0:12:46 > 0:12:49It looked like they were photographed at the same time.
0:12:50 > 0:12:52I tried to do a lot of research.
0:12:52 > 0:12:55When I did The Beast I studied lizards.
0:12:55 > 0:12:59So you have an influence of these creatures
0:12:59 > 0:13:03that are similar to what may have happened in the past.
0:13:03 > 0:13:07The Beast From 20,000 Fathoms being the first monster rampage movie
0:13:07 > 0:13:09after King Kong, really,
0:13:09 > 0:13:13and from The Beast, of course, the Japanese made Godzilla.
0:13:13 > 0:13:17Who was a man in a suit stomping around on miniature sets.
0:13:17 > 0:13:22Gojira is a direct result of Beast From 20,000 Fathoms, exactly.
0:13:22 > 0:13:25Toho said, "We'll make one of those!"
0:13:26 > 0:13:29Ray's creatures, the way they move
0:13:29 > 0:13:32essentially is the way we think of dinosaurs,
0:13:32 > 0:13:35how they move. I mean, even to this day.
0:13:35 > 0:13:38I mean, when you see a movie like Jurassic Park...
0:13:38 > 0:13:40DINOSAUR GROWLS
0:13:41 > 0:13:42MAN SCREAMS
0:13:42 > 0:13:44BONES CRUNCH
0:13:45 > 0:13:48It was, it was like Ray did that kind of stuff all the time,
0:13:48 > 0:13:51which is cool, you want to see people being eaten alive.
0:13:51 > 0:13:53You know, that's what it's about.
0:13:53 > 0:13:55That's moviemaking!
0:13:55 > 0:13:59And Steven Spielberg, when Ray was in town,
0:13:59 > 0:14:03got him over to the editorial suite for Jurassic Park.
0:14:03 > 0:14:08He showed me some of his beginning of the CGI process
0:14:08 > 0:14:12of the dinosaur knocking the car off the bridge.
0:14:12 > 0:14:18Ray was blown away by it. He thought it was just really an amazing process.
0:14:18 > 0:14:21I couldn't say anything negative because it was most impressive!
0:14:21 > 0:14:24I just want to acknowledge the fact that we wouldn't be here today
0:14:24 > 0:14:28making these movies, like Jurassic Park and like Avatar
0:14:28 > 0:14:31without Ray. The father of all we do today
0:14:31 > 0:14:36in the business of science fiction, fantasy and adventure.
0:14:36 > 0:14:38I'd see a Ray Harryhausen film,
0:14:38 > 0:14:41and for the next five weeks, I was drawing comic books,
0:14:41 > 0:14:44my own comic books of that story.
0:14:44 > 0:14:47But not just a clone of the story but my own version of it.
0:14:47 > 0:14:49So I was doing this for a long time.
0:14:49 > 0:14:53So Avatar really represented an opportunity for me
0:14:53 > 0:14:56to do all those things I had always dreamed about.
0:14:56 > 0:15:01I think Ray would have loved to have had access to the tools that we have now
0:15:01 > 0:15:05for computer-generated animated characters
0:15:05 > 0:15:08because, you know, for him, the stop motion puppetry
0:15:08 > 0:15:12was a way for him to get the images that were in his head up on film.
0:15:12 > 0:15:15And that was the only way to do it at that time.
0:15:15 > 0:15:20We had to compromise on scenes that you'd want to do differently
0:15:20 > 0:15:23because of the technical limitations.
0:15:23 > 0:15:27But we didn't know there would be anything different at the time.
0:15:27 > 0:15:34So just as O'Brien, when he started The Lost World and King Kong,
0:15:34 > 0:15:37they used the facilities that they had at that time
0:15:37 > 0:15:40and you didn't anticipate
0:15:40 > 0:15:43the new types of electronics
0:15:43 > 0:15:46that can do the most amazing things.
0:15:46 > 0:15:50If Ray were working right now, he'd be using the tools that we're using right now.
0:15:50 > 0:15:52He wouldn't cling to the puppetry.
0:15:52 > 0:15:55His imagination would require
0:15:55 > 0:16:00that he used the best, most fantastic techniques available.
0:16:00 > 0:16:02Well, I don't know, it's hard to say.
0:16:02 > 0:16:05It's just another way of making films.
0:16:05 > 0:16:08I think I would prefer to make films
0:16:08 > 0:16:12with the model animation rather than CGI, today even.
0:16:12 > 0:16:15DRAMATIC ORCHESTRAL MUSIC
0:16:31 > 0:16:35Charles H Schneer was a young producer working at Columbia
0:16:35 > 0:16:39and he saw The Beast From 20,000 Fathoms
0:16:39 > 0:16:40and wanted to meet Ray.
0:16:40 > 0:16:44Charles said, "Well, I want to make a movie about a giant octopus
0:16:44 > 0:16:46"that attacks San Francisco."
0:16:46 > 0:16:50SCREAMING
0:16:50 > 0:16:52They did this film together
0:16:52 > 0:16:55and they had terrible problems with the San Francisco bridge.
0:16:55 > 0:16:59We were obliged to submit the script of It Came From Beneath The Sea
0:16:59 > 0:17:01to the city fathers for approval
0:17:01 > 0:17:03so we could get the cooperation of the police.
0:17:03 > 0:17:06When they read the script, they turned it down
0:17:06 > 0:17:10because they said it would make the public lose confidence
0:17:10 > 0:17:13that a creature can pull down the Golden Gate Bridge.
0:17:13 > 0:17:16So we had to do things through devious means.
0:17:16 > 0:17:19We put a camera in the back of a bakery truck
0:17:19 > 0:17:24and went back and forth on the bridge to get projection plates secretly.
0:17:24 > 0:17:26I mean, it's a fantasy film
0:17:26 > 0:17:29and I'm sure that no-one lost confidence in the Golden Gate Bridge
0:17:29 > 0:17:33because a giant octopus pulled it down.
0:17:35 > 0:17:38SCREAMING
0:17:38 > 0:17:44The octopus in It Came From Beneath The Sea only had six legs.
0:17:44 > 0:17:47That was because of the budget restrictions, Ray had to save money,
0:17:47 > 0:17:49and therefore he dropped two legs,
0:17:49 > 0:17:51literally dropped two legs, so it's only got six.
0:17:51 > 0:17:56So you never see all of the tentacles out at one time because he hid them.
0:17:56 > 0:17:58Ray loves calling it the Sixtopus.
0:17:58 > 0:18:00DRAMATIC ORCHESTRAL MUSIC
0:18:04 > 0:18:07When we did Pirates Of The Caribbean here at ILM,
0:18:07 > 0:18:09Hal Hickel and all the guys that
0:18:09 > 0:18:11worked on that were big Harryhausen fans.
0:18:11 > 0:18:15And, for example, the Kraken had six legs
0:18:15 > 0:18:18because the octopus had a limited number of legs, of course,
0:18:18 > 0:18:19in It Came From Beneath The Sea.
0:18:19 > 0:18:21And a lot of the feeling of Davy,
0:18:21 > 0:18:24that sort of, you know, in-your-face performance
0:18:24 > 0:18:26came right from seeing Ray's film
0:18:26 > 0:18:29where it's an in-your-face performance going on.
0:18:29 > 0:18:33When Harryhausen animated the octopus for
0:18:33 > 0:18:35It Came From Beneath The Sea,
0:18:35 > 0:18:37I can imagine it must have been pretty difficult for him
0:18:37 > 0:18:41to get the character into tentacles. There's no face.
0:18:41 > 0:18:45We had a huge advantage when we created the tentacles for Dr Octopus
0:18:45 > 0:18:48because we created faces, basically.
0:18:48 > 0:18:53So we would have a certain opening of the mechanical aspects of it
0:18:53 > 0:18:54that would create anger.
0:18:54 > 0:18:56We would have another one that would be curiosity,
0:18:56 > 0:18:59another one that would be sadness.
0:18:59 > 0:19:02And each tentacle had a range of emotion.
0:19:02 > 0:19:06I think it's pretty obvious that Sam Raimi is a huge fan of Ray Harryhausen
0:19:06 > 0:19:09if you take a look at the work on Spider-Man 2
0:19:09 > 0:19:11Dr Octopus. I mean, come on.
0:19:11 > 0:19:13Ray Harryhausen, to me, the
0:19:13 > 0:19:16most important thing that he has done
0:19:16 > 0:19:19is to be an influence and to inspire
0:19:19 > 0:19:21literally a generation
0:19:21 > 0:19:23or probably two generations of filmmakers.
0:19:23 > 0:19:26I don't know anyone else that has taken
0:19:26 > 0:19:30all these young adolescent children who watched his movies
0:19:30 > 0:19:34and turned them into filmmakers, directors, writers, special effects men.
0:19:36 > 0:19:41I wanted the movie to be an homage to the Ray Harryhausen movies.
0:19:41 > 0:19:45I'm very flattered that they find that our films were that attractive
0:19:45 > 0:19:50and tried to make a similar type of image.
0:19:50 > 0:19:52SIRENS BLARE
0:19:52 > 0:19:54'The whole world is under attack.
0:19:54 > 0:19:56'Can it survive?'
0:19:56 > 0:19:57SCREAMING
0:20:10 > 0:20:11I found it a challenge
0:20:11 > 0:20:16to try and make the metallic objects like the flying saucer
0:20:16 > 0:20:17have an intelligence inside,
0:20:17 > 0:20:21even though we never showed the actual people inside.
0:20:21 > 0:20:23And that came out about the time
0:20:23 > 0:20:28when there was a lot of flying saucer clippings in the newspaper.
0:20:28 > 0:20:30How can you bring a personality into a flying saucer?
0:20:30 > 0:20:35And there were a lot of movies made with saucers in the '50s
0:20:35 > 0:20:37that were pretty dull to look at.
0:20:37 > 0:20:39But Ray gave them personality and life
0:20:39 > 0:20:42and you were just enthralled as a kid looking at them.
0:20:54 > 0:20:56These are two of the flying saucers.
0:20:56 > 0:20:58They were designed by Ray,
0:20:58 > 0:21:01very carefully designed by Ray in great detail.
0:21:01 > 0:21:05And they were machined and built by Ray's father,
0:21:05 > 0:21:08with Ray, Fred Harryhausen.
0:21:08 > 0:21:12Ray built into the design three nodules on each flying saucer
0:21:12 > 0:21:15so that he could actually suspend the actual machine.
0:21:15 > 0:21:19And from each of the nodules would come up to the aerial brace.
0:21:19 > 0:21:22SCREECHING
0:21:22 > 0:21:25He'd used wire braces.
0:21:25 > 0:21:27If you think of a string puppet,
0:21:27 > 0:21:30you have a cross like that from which the strings hang
0:21:30 > 0:21:32so you can manipulate the puppet.
0:21:32 > 0:21:35He invented a geared aerial brace
0:21:35 > 0:21:38where it would tilt the flying saucer.
0:21:38 > 0:21:41So they'd be able to go in at a certain angle.
0:21:44 > 0:21:49I knocked over the Washington Monument long before Tim Burton did.
0:21:49 > 0:21:52His films, when I saw them, he just...
0:21:52 > 0:21:55You felt the hand of an artist with him.
0:21:55 > 0:21:58And it's something that's always touched me and I've always remembered.
0:21:58 > 0:22:00No matter what technology you use,
0:22:00 > 0:22:03you know, whether it's stop motion or cell
0:22:03 > 0:22:07or live action or CGI,
0:22:07 > 0:22:10you know, it doesn't really matter what the technique is,
0:22:10 > 0:22:12you try to find artists.
0:22:12 > 0:22:14They come in many forms.
0:22:19 > 0:22:23The Animal World was a film that was being made by Irwin Allen,
0:22:23 > 0:22:26an ex-agent who had become a producer.
0:22:26 > 0:22:28And he wanted to put a film together
0:22:28 > 0:22:31about the animal world, the animal kingdom.
0:22:31 > 0:22:36He used 16mm film a lot and blew it up to 35
0:22:36 > 0:22:39from different cameramen who had made pictures
0:22:39 > 0:22:42in jungles and remote areas.
0:22:42 > 0:22:46But it was going to have an opening sequence of dinosaurs.
0:22:46 > 0:22:51So Irwin Allen asked Willis O'Brien to design the special effects
0:22:51 > 0:22:55and Willis O'Brien asked Ray to do the animation.
0:22:55 > 0:22:57He would do the setups, ie, he would design everything.
0:22:57 > 0:23:01It's only a very short sequence, I think it's between 10 and 15 minutes long.
0:23:01 > 0:23:04I remember when the first publicity came out,
0:23:04 > 0:23:09the reviewers mentioned the dinosaur sequence before any other sequence
0:23:09 > 0:23:12and said that that was the highlight of the picture.
0:23:12 > 0:23:16So Willis O'Brien and I were most grateful for that.
0:23:16 > 0:23:19'20 Million Miles To Earth. '
0:23:19 > 0:23:22ROARING
0:23:22 > 0:23:25WOMAN SCREAMS
0:23:26 > 0:23:28ROARING
0:23:31 > 0:23:33ROARING
0:23:38 > 0:23:40CREATURE ROARS
0:23:42 > 0:23:48The creature in 20 Million Miles To Earth went through many changes.
0:23:48 > 0:23:53It was very stout. It had horns at one point. It had one eye at one point.
0:23:53 > 0:23:56Originally 20 Million Miles To Earth was made,
0:23:56 > 0:24:01as written by Ray and a dear friend of his, Charlotte Knight,
0:24:01 > 0:24:04as The Cyclops, and was going to be attacking Chicago.
0:24:04 > 0:24:07That was an early concept of the Ymir.
0:24:07 > 0:24:10Tony But Ray wanted to go to Italy, specifically Rome.
0:24:10 > 0:24:13So I changed it around because I wanted a trip to Europe.
0:24:13 > 0:24:19And that's where he changed the creature from a Cyclops into the Ymir.
0:24:19 > 0:24:23Finally I arrived at the humanoid torso,
0:24:23 > 0:24:26sort of a lizard combination with a humanoid torso,
0:24:26 > 0:24:30because I felt you could get much more emotion out of a humanoid type of figure
0:24:30 > 0:24:32rather than an animal type of figure.
0:24:32 > 0:24:37The Ymir, coming at the end of Ray's black and white period,
0:24:37 > 0:24:41is probably the best black and white monster that he ever created,
0:24:41 > 0:24:44particularly in the early stages when it's small
0:24:44 > 0:24:46and it's doing things like this.
0:24:46 > 0:24:50All the humanoid gestures that make these monsters so personable
0:24:50 > 0:24:53and make them so much more appealing.
0:24:53 > 0:24:57The design of the creature that we have in Piranha is a little bit like the Ymir.
0:24:57 > 0:25:01In Piranha, there was no stop motion monster written into the script.
0:25:01 > 0:25:03The stop motion monster was in the movie
0:25:03 > 0:25:07simply because Jon Davison, the producer, and I liked stop motion.
0:25:07 > 0:25:09Any kind of stop motion from my movies
0:25:09 > 0:25:11is a tribute to Ray Harryhausen Or Willis O'Brien.
0:25:11 > 0:25:14You can't make a creature film without thinking of Ray Harryhausen
0:25:14 > 0:25:18because he created creatures that were so sympathetic.
0:25:18 > 0:25:22And let's face it, he made the greatest monster movies of all time.
0:25:22 > 0:25:25DRAMATIC ORCHESTRAL MUSIC
0:25:26 > 0:25:30His monsters have a heart.
0:25:30 > 0:25:33His monsters are charming.
0:25:33 > 0:25:35So you might be frightened by them,
0:25:35 > 0:25:39but when the movie's done, that's what you remember and you care about it.
0:25:52 > 0:25:58Ray never calls any of his creations monsters.
0:25:58 > 0:26:02They're never called monsters, they're always called creatures.
0:26:02 > 0:26:05DRAMATIC ORCHESTRAL MUSIC
0:26:15 > 0:26:18I destroyed New York with the beast,
0:26:18 > 0:26:22I destroyed San Francisco with the octopus,
0:26:22 > 0:26:25I destroyed Rome with the Ymir
0:26:25 > 0:26:29and I destroyed Washington with the flying saucers.
0:26:29 > 0:26:31And that got rather tedious.
0:26:31 > 0:26:36So I was looking for a new avenue in which to use stop motion animation.
0:26:36 > 0:26:38And I latched upon Sinbad
0:26:38 > 0:26:42DYNAMIC ORCHESTRAL MUSIC
0:26:49 > 0:26:51CREATURE ROARS
0:26:57 > 0:27:02'The 7th Voyage Of Sinbad is the eighth wonder of the screen!'
0:27:02 > 0:27:06The first sketch I made was the skeleton on the spiral staircase.
0:27:06 > 0:27:09And then I made six or seven other drawings.
0:27:09 > 0:27:13I did a 20-page outline of how the story could develop.
0:27:13 > 0:27:17And I took it around Hollywood and nobody was interested.
0:27:17 > 0:27:21Howard Hughes had just made The Son of Sinbad.
0:27:21 > 0:27:23It flopped at the box office.
0:27:23 > 0:27:27So most of the producers that I showed it to, my drawings,
0:27:27 > 0:27:30they said, "Oh, costume pictures are dead."
0:27:30 > 0:27:31No, it cannot be so.
0:27:31 > 0:27:35I brought the drawings out and Charles Schneer got very excited.
0:27:35 > 0:27:39But I had visions in mind of doing it lavishly
0:27:39 > 0:27:43like The Thief Of Bagdad that Alexander Korda made.
0:27:43 > 0:27:45So I re-evaluated it
0:27:45 > 0:27:47and redesigned it
0:27:47 > 0:27:51so that we could make it for an inexpensive sum.
0:27:53 > 0:27:56When he hooked up with Charles Schneer, who was a sympathetic producer,
0:27:56 > 0:27:58he gained a lot of power
0:27:58 > 0:28:01and therefore he was able to go to the story conferences
0:28:01 > 0:28:04and able to design the movie through the storyboards
0:28:04 > 0:28:07and really have an extreme effect
0:28:07 > 0:28:10at putting his mark on the pictures.
0:28:16 > 0:28:19We got several writers to formulate a script,
0:28:19 > 0:28:24a comprehensive script, using my drawings as the basis
0:28:24 > 0:28:26and that's how The 7th Voyage developed.
0:28:26 > 0:28:32I remember growing up with Maria Montez films.
0:28:32 > 0:28:33She and Sabu and John Hall
0:28:33 > 0:28:37made a series of Arabian Nights pictures for Universal.
0:28:37 > 0:28:40One was called Ali Baba And The 40 Thieves.
0:28:40 > 0:28:43And they would talk about the Roc, they would talk about the Cyclops,
0:28:43 > 0:28:45but you never saw it on the screen.
0:28:47 > 0:28:49CYCLOPS ROARS
0:28:49 > 0:28:53The critics started saying that it was animated, the creatures were animated.
0:28:53 > 0:28:55The average person hears the word animation,
0:28:55 > 0:28:58they immediately think of a cartoon.
0:28:58 > 0:29:02So we found that many people, particularly adults, stayed away
0:29:02 > 0:29:04because they thought it was for children.
0:29:04 > 0:29:10So we tried to devise a new name called Dynamation from "dynamic animation."
0:29:10 > 0:29:11'This is Dynamation!'
0:29:11 > 0:29:14DRAMATIC ORCHESTRAL MUSIC
0:29:21 > 0:29:23I designed the Cyclops very carefully
0:29:23 > 0:29:27because I didn't want people to think it was a man in a suit.
0:29:27 > 0:29:32So I put goat legs on, like a satyr in ancient mythology.
0:29:32 > 0:29:36And I gave him an appearance and three fingers
0:29:36 > 0:29:41so that no-one could assume that there was a man inside the Cyclops.
0:29:41 > 0:29:43And I think it worked out very well.
0:29:43 > 0:29:45Whereas I was beginning to learn
0:29:45 > 0:29:48how to alter a human face and a human head,
0:29:48 > 0:29:50Harryhausen could do anything.
0:29:50 > 0:29:53He could make a huge Wingspan on a creature.
0:29:53 > 0:29:57He could make something have a single eye and make it blink. Backward bent legs.
0:29:57 > 0:30:00He could make dragons, he could make octopus.
0:30:00 > 0:30:03I couldn't do that. I could change the shape of someone's nose.
0:30:03 > 0:30:05I could turn myself into Mr Hyde.
0:30:05 > 0:30:06I could turn my friends into the Mummy.
0:30:06 > 0:30:09But I couldn't do these fantastic creations.
0:30:09 > 0:30:11And so, yeah, I guess I was a little bit jealous
0:30:11 > 0:30:13because it seemed way out of my league.
0:30:13 > 0:30:18I get more fan mail coming in about the Cyclops I think than any other character.
0:30:18 > 0:30:20My favourite Harryhausen creature is always going to be
0:30:20 > 0:30:22the Cyclops in 7th Voyage
0:30:22 > 0:30:24because that was the one that, you know...
0:30:24 > 0:30:28Suddenly it's in colour and it comes out on the beach
0:30:28 > 0:30:31and it's huge and it's got this strange sort of motion to it you can't figure out
0:30:31 > 0:30:34and it's angry
0:30:34 > 0:30:36and it's going to get poor Sinbad.
0:30:36 > 0:30:38And, you know, you never forget that.
0:30:38 > 0:30:42It was so inspiring that it made you want to make movies.
0:30:42 > 0:30:45Are we going anywhere special tonight?
0:30:45 > 0:30:49I just got us into a little place called, erm, Harryhausen.
0:30:49 > 0:30:51HE LAUGHS
0:30:51 > 0:30:54You know, Ray, my first success, if you like, in movies
0:30:54 > 0:30:55was when I was 15 years old
0:30:55 > 0:31:00and I made a film for a high school competition called The Valley
0:31:00 > 0:31:03and it actually won the award for best special effects
0:31:03 > 0:31:08and this was the star of that movie.
0:31:08 > 0:31:11You'll see a similarity
0:31:11 > 0:31:15to somebody that you created a long time ago.
0:31:16 > 0:31:18When I was 12, 13 years old,
0:31:18 > 0:31:23and other kids were getting interested in cars and sports and girls,
0:31:23 > 0:31:27I used to like monsters, and I particularly loved Ray's films.
0:31:27 > 0:31:29I think Peter Jackson said he
0:31:29 > 0:31:32had a bunch of stop motion things that he had done.
0:31:32 > 0:31:36He wanted to be Ray Harryhausen. He tried doing this stuff and was like,
0:31:36 > 0:31:38"No, maybe I'll be a director instead!"
0:31:38 > 0:31:40Without The 7th Voyage Of Sinbad
0:31:40 > 0:31:42you would never have The Lord of the Rings.
0:31:42 > 0:31:47Peter had developed his way of directing scenes
0:31:47 > 0:31:51and I had developed my way of directing and designing scenes
0:31:51 > 0:31:52and when we did Lord of the Rings,
0:31:52 > 0:31:57we collaborated on designing and directing sequences
0:31:57 > 0:32:01which emulated what we felt was the best of Harryhausen.
0:32:01 > 0:32:05Ray Harryhausen, he's a child himself, to some degree.
0:32:05 > 0:32:10He's able to connect with the audience and say,
0:32:10 > 0:32:12"Isn't this amazing, isn't this cool?
0:32:12 > 0:32:15"Creatures, monsters, let's bring them to life."
0:32:22 > 0:32:25On Alice in Wonderland Tim Burton obviously is a big fan of Ray's
0:32:25 > 0:32:28and the last sequence with the Jabberwocky,
0:32:28 > 0:32:31we wanted to touch a little bit on Ray's work.
0:32:31 > 0:32:34So the Jabberwocky does certain stances and things.
0:32:34 > 0:32:38He doesn't fly. He does more Harryhausen-y type of movement.
0:32:38 > 0:32:40JABBERWOCKY Roars
0:32:40 > 0:32:44And the location it takes place in is kind of like taking Rob Stromberg's designs,
0:32:44 > 0:32:46a bit of Jason And The Argonauts
0:32:46 > 0:32:50squeezed into the spiral staircase to nowhere from 7th Voyage.
0:32:54 > 0:32:56If you had James Bond fighting a skeleton,
0:32:56 > 0:32:59it'd be comical.
0:32:59 > 0:33:04But having a legendary character like Sinbad, who personifies adventure,
0:33:04 > 0:33:09you would accept it more readily as a melodramatic story.
0:33:11 > 0:33:17We had Enzo Musumeci, who was an Italian fencing expert.
0:33:17 > 0:33:21And when we would rehearse, he would play the skeleton in The 7th Voyage.
0:33:21 > 0:33:23He'd give claps of his hands to get a beat.
0:33:23 > 0:33:29They knew that at that point, they had to stop their sword and not let it go through.
0:33:35 > 0:33:39When the first 7th Voyage Of Sinbad was released in England,
0:33:39 > 0:33:41they cut out the whole skeleton sequence.
0:33:45 > 0:33:47They said it would frighten children.
0:33:47 > 0:33:49Good Lord, what you see on the screen today
0:33:49 > 0:33:52is more horrifying than any skeleton on the screen!
0:33:53 > 0:33:56MAJESTIC ORCHESTRAL MUSIC
0:34:20 > 0:34:23The 3 Worlds Of Gulliver was a classic story
0:34:23 > 0:34:26and that really brought us over to Europe,
0:34:26 > 0:34:28because The 3 Worlds Of Gulliver
0:34:28 > 0:34:32required big people and little people, little Lilliputians.
0:34:32 > 0:34:34We used to have to wait maybe six weeks
0:34:34 > 0:34:38to get a composite print of what we called travelling matte
0:34:38 > 0:34:43where two pieces of film are interwoven with one another in the optical printer.
0:34:43 > 0:34:48And the Rank laboratory had a travelling matte system
0:34:48 > 0:34:51that would make the picture very practical.
0:34:51 > 0:34:55So we decided to move our whole operation to Europe
0:34:55 > 0:35:01and use the sodium backing that the Rank laboratory had in England.
0:35:05 > 0:35:08Music I found very important.
0:35:08 > 0:35:10I discovered that when I first saw King Kong.
0:35:10 > 0:35:15The fact that the score for King Kong enhanced the film so much,
0:35:15 > 0:35:18I became interested in music
0:35:18 > 0:35:22and what it could do to heighten the emotion of the visual.
0:35:22 > 0:35:25Ray has a passion for film music.
0:35:25 > 0:35:30He actually animates to music sometimes to give him inspiration.
0:35:30 > 0:35:32A very famous one is the snake woman from 7th Voyage Of Sinbad.
0:35:32 > 0:35:35He used to play Scheherazade to that
0:35:35 > 0:35:39and that gave him inspiration before Bernard Herrmann came on board.
0:35:39 > 0:35:45Bernie Herrmann, I used to listen to his music on Orson Welles' radio show.
0:35:45 > 0:35:47It was Charles Schneer that managed
0:35:47 > 0:35:50to get Bernard Herrmann on board
0:35:50 > 0:35:54and he went on to write exceptional scores for 7th Voyage Of Sinbad
0:35:54 > 0:35:57Gulliver, Mysterious Island and Jason And The Argonauts.
0:35:57 > 0:36:03And his music is very unique and was just made for our type of film.
0:36:03 > 0:36:06DYNAMIC ORCHESTRAL MUSIC
0:36:10 > 0:36:13The scores that Bernard Herrmann wrote for Ray Harryhausen
0:36:13 > 0:36:16are certainly some of the most exciting, I think, that he wrote.
0:36:16 > 0:36:19- Where's Gulliver? - Here I am!
0:36:19 > 0:36:20Down here.
0:36:20 > 0:36:23DRAMATIC ORCHESTRAL MUSIC
0:36:24 > 0:36:27Glumdalclitch! Down here!
0:36:33 > 0:36:34Bernard Herrmann
0:36:34 > 0:36:36was very strange and very quirky
0:36:36 > 0:36:39but he also had the adventure sense.
0:36:39 > 0:36:42Grand, but quirky and strange.
0:36:42 > 0:36:45The Harryhausen movies, for sure, that's where
0:36:45 > 0:36:47Herrmann was at his best,
0:36:47 > 0:36:51as an orchestrator doing incredibly unique things,
0:36:51 > 0:36:53being extraordinarily colourful,
0:36:53 > 0:36:56and two, being highly dramatic in the best of ways.
0:36:56 > 0:37:01He contributes greatly to the believability of it all
0:37:01 > 0:37:03because he takes it so seriously.
0:37:03 > 0:37:09Every composer I've ever known who's worked in fantasy or horror films or sci-fi
0:37:09 > 0:37:12have talked about how he's influenced them.
0:37:12 > 0:37:14Ray got on with Bernard Herrmann very well,
0:37:14 > 0:37:19as you can tell from most of his animation sequences.
0:37:22 > 0:37:26We wanted to make fantasy memorable
0:37:26 > 0:37:28and I think that's occurred.
0:37:34 > 0:37:36WOMAN SCREAMS
0:37:38 > 0:37:44Fantasy, I would say, appealed to my sort of gothic mind,
0:37:44 > 0:37:47from my German ancestors, I suppose.
0:37:47 > 0:37:51Fantasy is magnificent on film.
0:37:51 > 0:37:53There's no other medium
0:37:53 > 0:37:56that you can express yourself in fantasy the way you can in films.
0:37:56 > 0:38:00DRAMATIC ORCHESTRAL MUSIC
0:38:04 > 0:38:07'Whatever you have imagined in your wildest dreams
0:38:07 > 0:38:10'now becomes a visual reality,
0:38:10 > 0:38:14'as Jules Verne's most fantastic adventure in space and time...'
0:38:14 > 0:38:17Mysterious Island was another problem.
0:38:17 > 0:38:20The studio, Columbia Pictures, had a script
0:38:20 > 0:38:22and after we'd made The 7th Voyage,
0:38:22 > 0:38:27they felt that perhaps we would be interested in doing Mysterious Island
0:38:27 > 0:38:29which was a Jules Verne story.
0:38:29 > 0:38:32We used the basic principles of The Mysterious Island
0:38:32 > 0:38:34but we had to make it more interesting
0:38:34 > 0:38:39because it ended up as just how to survive on a desert island.
0:38:39 > 0:38:42We restoried the whole basic line
0:38:42 > 0:38:46to add to the final screenplay that you saw on the screen.
0:38:46 > 0:38:49At first, it started out as a prehistoric background.
0:38:49 > 0:38:53We were going to have dinosaurs. Then we decided against that.
0:38:53 > 0:38:57And finally, when Captain Nemo became prominent in the story,
0:38:57 > 0:39:01we decided to have it based on
0:39:01 > 0:39:06him trying to produce more food for the world by growing everything large.
0:39:10 > 0:39:13We would have many so-called sweatbox sessions
0:39:13 > 0:39:17where the writer would turn in a certain number of pages
0:39:17 > 0:39:20and we would tear it apart and analyse it.
0:39:20 > 0:39:25Then I would bring drawings of what I thought we could do
0:39:25 > 0:39:27lavishly on the screen for little money.
0:39:27 > 0:39:32Then it was the writer's job to incorporate all these suggestions
0:39:32 > 0:39:36and drawings into the final screenplay.
0:39:46 > 0:39:50I have a two-year-old daughter who loves Mysterious Island
0:39:50 > 0:39:53a movie she calls "Big Chicken Fall Down".
0:39:53 > 0:39:56WOMAN SCREAMS
0:40:02 > 0:40:04'Jules Verne,
0:40:04 > 0:40:08'a man whose great stories inspired such unusual films as
0:40:08 > 0:40:12'Around The World In 80 Days, 20,000 Leagues Under The Sea,
0:40:12 > 0:40:13'Journey To The Centre Of The Earth,
0:40:13 > 0:40:17'surpasses them all with Mysterious Island.'
0:40:22 > 0:40:24SCREAMING
0:40:26 > 0:40:30The crab came from Harrods department store.
0:40:30 > 0:40:34It was a live crab when I bought it at the fish market
0:40:34 > 0:40:40and we had a lady at the museum put it down in a humane way.
0:40:40 > 0:40:42She took all the meat out of the inside
0:40:42 > 0:40:46and I put an armature in the actual crab.
0:40:52 > 0:40:56The next step was to try to put Greek mythology on the screen.
0:40:57 > 0:41:00MAJESTIC ORCHESTRAL MUSIC
0:41:12 > 0:41:14Some of the films are better made than others.
0:41:14 > 0:41:17And some of them have better scripts than others.
0:41:17 > 0:41:22I mean, Jason And The Argonauts probably has the most literate screenplay
0:41:22 > 0:41:24and so it's a better movie.
0:41:24 > 0:41:26A lot of people find Jason And The Argonauts
0:41:26 > 0:41:28is one of our best films.
0:41:28 > 0:41:32It's my favourite because it was the most complete.
0:41:34 > 0:41:37The plots of Harryhausen movies are fairly consistent
0:41:37 > 0:41:41and I think that's one of the reasons that Jason And The Argonauts sticks out
0:41:41 > 0:41:45because there's a lot of other Greek baggage that goes with that story.
0:41:52 > 0:41:56Basically, the Talos sequence came from an idea I had
0:41:56 > 0:41:58about the Colossus of Rhodes.
0:41:58 > 0:41:59DRAMATIC ORCHESTRAL MUSIC
0:42:05 > 0:42:08In the original tale of Jason And The Argonauts,
0:42:08 > 0:42:13Talos is just an eight-foot mechanical creature.
0:42:18 > 0:42:20If you look at Talos,
0:42:20 > 0:42:23how does a man of bronze move, you know?
0:42:23 > 0:42:26And it's just so miraculous how that moves
0:42:26 > 0:42:29and how he creates this sense of size,
0:42:29 > 0:42:31how enormous, enormous.
0:42:31 > 0:42:35I mean, what other monster is as big as Talos? I mean, just enormous!
0:42:35 > 0:42:38Without changing any expression.
0:42:38 > 0:42:40I mean, Talos is a statue.
0:42:40 > 0:42:43When he's dying,
0:42:43 > 0:42:47grabbing for his throat, the way he moves is something!
0:42:47 > 0:42:50I want to speak on behalf of all the actors
0:42:50 > 0:42:53that appeared in Harryhausen films.
0:42:53 > 0:42:56They weren't all monsters, they weren't all effects,
0:42:56 > 0:42:58there were real live actors in there.
0:42:58 > 0:43:00What I do remember
0:43:00 > 0:43:06was the hands-on ability he had to direct us.
0:43:06 > 0:43:07I ran along the sand
0:43:07 > 0:43:11and what astonished me was that Ray ran with me.
0:43:11 > 0:43:15And he said, "I looked up to the sky, there was the monster."
0:43:15 > 0:43:17There was no monster, just a big blue emptiness.
0:43:17 > 0:43:21But he said, "Fall now!" I fell...
0:43:21 > 0:43:23We were trained to be classical actors,
0:43:23 > 0:43:26to appear at the Old Vic. That was our standard.
0:43:26 > 0:43:29But there was I eating sand in Palinuro.
0:43:29 > 0:43:31But loved it, loved it!
0:43:31 > 0:43:37Loved being there, being part of this titanic imagination of this man.
0:43:41 > 0:43:44I love the fact that when you're watching one of his movies,
0:43:44 > 0:43:47you're aware that you're looking at literally a performance of his.
0:43:47 > 0:43:51I mean, he's acting through all these different creatures,
0:43:51 > 0:43:54whether it's a Cyclops or a snake with nine heads.
0:43:54 > 0:43:58I mean, you're seeing... you're seeing his acting abilities.
0:43:58 > 0:44:02As an animator, you have to kind of become an actor.
0:44:02 > 0:44:04You know, you're...
0:44:04 > 0:44:07Before you do a piece of action,
0:44:07 > 0:44:09you often either look at yourself in the mirror
0:44:09 > 0:44:13or you act it through on video just to see what it is,
0:44:13 > 0:44:16and you put something of yourself...
0:44:16 > 0:44:20You know, you try to put emotion into an inanimate puppet.
0:44:20 > 0:44:22He sort of starts in his brain, goes through his fingers
0:44:22 > 0:44:26into the creatures that he's animating and finally onto the screen.
0:44:26 > 0:44:29I asked him once, with the Hydra, with all those seven heads,
0:44:29 > 0:44:32I said, "How did you keep track'?" He said, "I have no idea."
0:44:34 > 0:44:38This is the seven-headed Hydra from Jason And The Argonauts.
0:44:38 > 0:44:42It's probably one of the biggest of Ray's models.
0:44:42 > 0:44:44As you see, it has incredible detail.
0:44:44 > 0:44:48The complexity of it, seven heads, two tails.
0:44:48 > 0:44:51Ray could never make anything easy for himself.
0:44:51 > 0:44:53He would always make it more complex each time.
0:44:53 > 0:44:56The Hydra came from the Hercules legend.
0:44:56 > 0:44:58We had to bring that in.
0:44:58 > 0:45:02We didn't want a dragon because there had been dragons on the screen before,
0:45:02 > 0:45:04so we chose the Hydra.
0:45:04 > 0:45:07This creature, like most of the creatures in Ray's films,
0:45:07 > 0:45:12were built in Ray's workshop in his London house.
0:45:12 > 0:45:16DRAMATIC ORCHESTRAL MUSIC
0:45:34 > 0:45:39There is a sequence in the original tale of Jason
0:45:39 > 0:45:42where corpses come out of the ground,
0:45:42 > 0:45:46rotting corpses which are not very pleasant to look at,
0:45:46 > 0:45:47at least in that time.
0:45:47 > 0:45:50Well, we didn't want to get an X for our film
0:45:50 > 0:45:52so we made them clean-cut skeletons.
0:45:52 > 0:45:55And we had seven skeletons.
0:45:55 > 0:45:59Seven is a magic number all through mythology.
0:45:59 > 0:46:02And we had seven skeletons fighting three men.
0:46:02 > 0:46:06He always tried, like filmmakers do today, to outdo themselves.
0:46:06 > 0:46:10And that's why one skeleton developed from 7th Voyage
0:46:10 > 0:46:13into seven skeletons in Jason And The Argonauts.
0:46:13 > 0:46:16Why have one when you can have seven?
0:46:26 > 0:46:30This is one of the original skeletons from Jason.
0:46:30 > 0:46:34He has every joint that a real skeleton would have.
0:46:34 > 0:46:37We photographed the live action first
0:46:37 > 0:46:41with stuntmen who portrayed the skeletons who were swordsmen.
0:46:41 > 0:46:43We'd time it very carefully
0:46:43 > 0:46:45and maybe rehearse it ten times
0:46:45 > 0:46:48and then the final piece of film,
0:46:48 > 0:46:50the stuntmen are removed
0:46:50 > 0:46:52and the actors shadowbox.
0:46:52 > 0:46:57And that as a piece of film I rear-project behind these skeletons
0:46:57 > 0:47:01so that the human being is the same size as the skeleton.
0:47:01 > 0:47:03FRANTIC ORCHESTRAL MUSIC
0:47:05 > 0:47:10When the skeleton kills Andrew Faulds against the temple
0:47:10 > 0:47:13and Andrew Faulds falls on the ground
0:47:13 > 0:47:16and the skeleton looks around
0:47:16 > 0:47:19and he then jumps over the body
0:47:19 > 0:47:21that's an aerial brace, the use of an aerial brace.
0:47:21 > 0:47:27Aerial wire animation takes a lot longer and it's very complicated.
0:47:27 > 0:47:31Most people would have had it stepping over or going around
0:47:31 > 0:47:33but Ray had him jumping over.
0:47:33 > 0:47:36That's the difference. That's the Harryhausen touch.
0:47:36 > 0:47:41Sometimes I would only get about 13 to 15 frames a day.
0:47:41 > 0:47:44It took four months to animate to the sequence.
0:47:44 > 0:47:47It only took two weeks to photograph the live action.
0:47:47 > 0:47:50They pretty much used every single frame that they shot, too,
0:47:50 > 0:47:54so it was... He was very economical.
0:47:54 > 0:47:56Almost everything was take one.
0:47:56 > 0:48:0098%, 99% was take one.
0:48:00 > 0:48:03An amazing achievement if you think about it.
0:48:03 > 0:48:07We never had money or budget or time to do retakes.
0:48:07 > 0:48:10I think if he finessed it and did two takes, three takes,
0:48:10 > 0:48:12it wouldn't come from his heart.
0:48:12 > 0:48:15He would refine it too much in his mind
0:48:15 > 0:48:17and it would not be what he initially thought.
0:48:17 > 0:48:22And HR Giger taught me that. The more quickly you get your ideas out of your head
0:48:22 > 0:48:26and up on the screen or onto the canvas, the more real it's going to be.
0:48:26 > 0:48:28I believe Clive Barker told me the same thing.
0:48:28 > 0:48:31He said, "When I'm painting, I like to make mistakes."
0:48:31 > 0:48:35And I think that has a lot to do with why Harryhausen's stuff really resonates
0:48:35 > 0:48:38and sticks and stays in all of our minds, because it's very pure.
0:48:38 > 0:48:41FRANTIC ORCHESTRAL MUSIC
0:48:45 > 0:48:48When I was about 12 years old, I remember rushing home.
0:48:48 > 0:48:49I couldn't wait to see
0:48:49 > 0:48:52Jason And The Argonauts for the first time.
0:48:52 > 0:48:54And I was just so gobsmacked.
0:48:54 > 0:48:57The skeleton fight in Jason And The Argonauts,
0:48:57 > 0:49:00I can practically remember what row I was sitting in
0:49:00 > 0:49:04at this little theatre in Orangeville, Ontario, at the age of nine
0:49:04 > 0:49:07when the images of those skeletons leaped off the screen
0:49:07 > 0:49:09and drilled straight into my DNA.
0:49:09 > 0:49:12I know this isn't real but, boy, it sure looks real.
0:49:12 > 0:49:18And that's the feeling I had as a young boy in the theatre watching Ray's films.
0:49:18 > 0:49:22When you're transported as a young person to these fantastic worlds,
0:49:22 > 0:49:24whether it was Greece or wherever it was,
0:49:24 > 0:49:29and skeletons move around and swordfights happen, this is magic!
0:49:30 > 0:49:33FRANTIC ORCHESTRAL MUSIC
0:49:33 > 0:49:36I'm sure there's a direct link between those demonic skeletons
0:49:36 > 0:49:39and the chrome death figure in The Terminator
0:49:39 > 0:49:42So, Ray, I hope you can forgive me
0:49:42 > 0:49:45and remember that imitation is the sincerest form of flattery.
0:49:45 > 0:49:51I see a lot of sequences that we had originally done years ago
0:49:51 > 0:49:54reproduced in various films of today.
0:50:11 > 0:50:13Very flattering!
0:50:13 > 0:50:15'The first Men In The Moon.
0:50:16 > 0:50:19'An experience unparalleled on the screen
0:50:19 > 0:50:22'as two worlds meet and clash.'
0:50:22 > 0:50:23HG Wells,
0:50:23 > 0:50:25I was a great admirer, and I wanted...
0:50:25 > 0:50:29After Mighty Joe Young I wanted to do War of the Worlds
0:50:29 > 0:50:33and I made a lot of drawings and an outline for the story structure.
0:50:42 > 0:50:45I wrote to Orson Welles but I never got an answer.
0:50:45 > 0:50:47I wanted to do The Time Machine
0:50:47 > 0:50:51but somebody else had already taken the rights.
0:50:51 > 0:50:55Finally we did a Wells story called First Men In The Moon.
0:50:55 > 0:50:58DRAMATIC STRING MUSIC
0:51:06 > 0:51:11We tried to keep that feeling that the insects developed an intelligence
0:51:11 > 0:51:13rather than the mammals.
0:51:13 > 0:51:15I think Ray Harryhausen would probably say
0:51:15 > 0:51:17that he was influenced by Georges Melies.
0:51:17 > 0:51:19If you look at his work, it really is part of a continuum
0:51:19 > 0:51:21that goes back to the birth of cinema.
0:51:21 > 0:51:23SLOW PIANO MUSIC
0:51:26 > 0:51:29Actually, Ray has a personal business card
0:51:29 > 0:51:31of Georges Melies.
0:51:31 > 0:51:35Ray, oh, yes, a huge admiration for Melies,
0:51:35 > 0:51:38and I think most fantasy filmmakers do.
0:51:38 > 0:51:41The First Men in The Moon aliens are...
0:51:41 > 0:51:43Nowadays we would look at them as kind of
0:51:43 > 0:51:47this B-grade, you know, cliche, kind of like...
0:51:47 > 0:51:49But a cliche I actually really love.
0:51:49 > 0:51:51I love the fact that when we design aliens
0:51:51 > 0:51:53for feature films or comics or games or whatever,
0:51:53 > 0:51:57humans keep on going back to the same grab bag of elements.
0:51:57 > 0:52:00They're insectoid or they're reptilian
0:52:00 > 0:52:05or they're, like, octopi or cephalopods and stuff.
0:52:05 > 0:52:08We just go back to the same cliches again and again.
0:52:08 > 0:52:09Everything humans think is creepy,
0:52:09 > 0:52:12crawly and disgusting, that's what aliens become.
0:52:13 > 0:52:14Stand back!
0:52:14 > 0:52:18Essentially the best effects films, like District 9
0:52:18 > 0:52:20are the ones where you can feel the hand of the creator
0:52:20 > 0:52:22within the design and execution of the creatures.
0:52:22 > 0:52:26What's important to remember is when you look at the link between Ray Harryhausen
0:52:26 > 0:52:29and the work of, say, ILM or Phil Tippett
0:52:29 > 0:52:32is how much there actually is in common between them.
0:52:32 > 0:52:34And really, in essence,
0:52:34 > 0:52:38how little has changed in spite of how the technology's evolved.
0:52:43 > 0:52:44CREATURE GROWLS
0:52:49 > 0:52:51I'm always saying to the guys
0:52:51 > 0:52:55that I work with now on computer graphics,
0:52:55 > 0:52:57you know, "Do it like Ray Harryhausen,"
0:52:57 > 0:53:02or, "Why don't you just look at a Harryhausen shot and see what he did?"
0:53:02 > 0:53:05And I'm always going back to that well
0:53:05 > 0:53:08because of the economy and the simplicity.
0:53:08 > 0:53:10Take guard!
0:53:10 > 0:53:14There's this tendency with computer graphics, because you can do it,
0:53:14 > 0:53:18if you want somebody to reach and pull something in
0:53:18 > 0:53:22there tends to be, like, these ridiculous flourishes and all this extra stuff.
0:53:22 > 0:53:26It's like, "What's that about?" "Just do it," you know?
0:53:26 > 0:53:30"Just get to it and tell the story as directly as possible."
0:53:30 > 0:53:33One of the ironies is all the great innovators
0:53:33 > 0:53:35in computer-generated animation
0:53:35 > 0:53:37are all stop motion animators.
0:53:37 > 0:53:41I mean, you know, Phil Tippett, Dennis Muren,
0:53:41 > 0:53:43these guys, they were all animators.
0:53:43 > 0:53:47The first job I got was actually doing stop motion for a commercial
0:53:47 > 0:53:52and I think that really sort of helped to figure out the character,
0:53:52 > 0:53:54what its performance is, what it's feeling,
0:53:54 > 0:53:58and communicating that idea in a few frames to the public.
0:53:58 > 0:54:00The role of the animator is changing.
0:54:00 > 0:54:02First of all, you've got motion capture,
0:54:02 > 0:54:04you've got all these tools available to you,
0:54:04 > 0:54:07so the actors are giving us amazing reference.
0:54:07 > 0:54:10- How will I know if he chooses me? - He will try to kill you.
0:54:10 > 0:54:13The CG character would be from their performance,
0:54:13 > 0:54:18exactly as they did it, down to the minutest detail.
0:54:18 > 0:54:21And so the animators, who are very important in the process,
0:54:21 > 0:54:23they would do the tail, the ears,
0:54:23 > 0:54:25and they would ensure that the actor's performance
0:54:25 > 0:54:28was exactly replicated in the CG.
0:54:28 > 0:54:33Art challenges technology. Technology inspires the art.
0:54:33 > 0:54:37And I would argue that's the way that every master
0:54:37 > 0:54:41of every medium of animation,
0:54:41 > 0:54:44be it puppet animation, clay animation,
0:54:44 > 0:54:47computer animation, hand-drawn animation,
0:54:47 > 0:54:50that exact thing happens with them.
0:54:50 > 0:54:55Well, there's room for every type of media for entertainment.
0:54:55 > 0:54:58After all, that's the end product, is to entertain the public.
0:54:58 > 0:55:01If you can entertain them with a yoyo,
0:55:01 > 0:55:03well, that's fine, use a yoyo for entertainment.
0:55:03 > 0:55:05But that's rather difficult.
0:55:08 > 0:55:10'One Million Years BC.
0:55:10 > 0:55:15'Introducing the fabulous Raquel Welch as Loana The Fair One,
0:55:15 > 0:55:18'John Richardson as Tumak'
0:55:20 > 0:55:22One Million BC is another matter.
0:55:22 > 0:55:24I made that for Hammer films.
0:55:24 > 0:55:28And they bought the rights to a remake of it,
0:55:28 > 0:55:32a 1940 film with Victor Mature and Carole Landis.
0:55:32 > 0:55:34I don't like retakes, basically,
0:55:34 > 0:55:37but I felt we could do better than the original
0:55:37 > 0:55:40where they used lizards with fins glued on their back
0:55:40 > 0:55:45and they had a tyrannosaurus with a man in a rubber suit
0:55:45 > 0:55:49that looked so phony, they had to keep hiding it behind bushes.
0:55:49 > 0:55:53So all you saw was an eye or a finger or something.
0:55:53 > 0:55:58So I wanted to change that concept by using animation.
0:55:58 > 0:56:01DINOSAUR ROARS
0:56:02 > 0:56:06A lot of the motion is developed on the screen
0:56:06 > 0:56:08and comes from the character.
0:56:08 > 0:56:11If you have a dinosaur, I like to keep it active
0:56:11 > 0:56:14by having the tail swooshing all the time.
0:56:21 > 0:56:24I used to read dinosaur books
0:56:24 > 0:56:29and imagine going to see them. What it would be like to stand next to them
0:56:29 > 0:56:32and then I discovered this film where there are real people with dinosaurs
0:56:32 > 0:56:34and I couldn't believe it.
0:56:34 > 0:56:36ROARING
0:56:49 > 0:56:52My influence was Charles R Knight,
0:56:52 > 0:56:55the key figure in the American Museum of Natural History.
0:56:55 > 0:57:00He was the first one to restore dinosaurs from the basic skeletons.
0:57:00 > 0:57:03Here is an example of some prehistoric restorations
0:57:03 > 0:57:08and then we start actually from the skeleton, the basic skeleton,
0:57:08 > 0:57:12to plan the armature for the rubber models.
0:57:12 > 0:57:16And then we go to the museums and actually see the skeletons
0:57:16 > 0:57:19and try to develop our animals
0:57:19 > 0:57:23in a way that they're well known from the museum point of view.
0:57:23 > 0:57:25DINOSAUR ROARS
0:57:25 > 0:57:28Ray Harryhausen's work had a huge influence on us
0:57:28 > 0:57:30during the design of King Kong.
0:57:30 > 0:57:33There were lots of ways we could possibly go
0:57:33 > 0:57:35with the design of the creatures and the dinosaurs.
0:57:35 > 0:57:38And Peter said he didn't want them to be real dinosaurs,
0:57:38 > 0:57:40he wanted them to be movie dinosaurs.
0:57:40 > 0:57:45So we were trying to evoke that era of dinosaurs from movie history
0:57:45 > 0:57:46and really capture that.
0:57:46 > 0:57:49And in that sense, they're more sort of monsters and characters
0:57:49 > 0:57:51more than they're true animals.
0:57:51 > 0:57:54DINOSAURS ROAR
0:57:56 > 0:58:00I remember one scene when we were in Lanzarote,
0:58:00 > 0:58:03this is when these pterodactyls were kind of coming over us
0:58:03 > 0:58:07and we didn't know this, we didn't see this,
0:58:07 > 0:58:12but Ray got onto a flatbed truck
0:58:12 > 0:58:14and drove in front of us
0:58:14 > 0:58:21while we, in our little wet, skimpy little pieces of leather,
0:58:21 > 0:58:24brandished our spears...
0:58:24 > 0:58:26at these things.
0:58:26 > 0:58:29SHE GROWLS
0:58:30 > 0:58:34Raquel Welch was cast in the picture.
0:58:34 > 0:58:36That was one of her first films.
0:58:36 > 0:58:40She never looked like a real cavewoman. She wasn't supposed to.
0:58:40 > 0:58:44That wouldn't have been very entertaining to the public.
0:58:44 > 0:58:47If cave women in prehistoric days looked like Raquel Welch,
0:58:47 > 0:58:50we've regressed today!
0:58:58 > 0:59:00Gwangi was another story.
0:59:00 > 0:59:04Willis O'Brien started Gwangi at RKO
0:59:04 > 0:59:06way back in the '40s.
0:59:06 > 0:59:10And unfortunately, the war came along and they cancelled the picture
0:59:10 > 0:59:15after OB spent about a year preparing it.
0:59:15 > 0:59:19So he kindly gave me a script years ago
0:59:19 > 0:59:20and I had it in my garage
0:59:20 > 0:59:23and Charles and I were looking for a subject one time
0:59:23 > 0:59:26and I brought out this whole script of Gwangi.
0:59:26 > 0:59:29O'Brien's original idea was to have cowboys
0:59:29 > 0:59:31roping a dinosaur for the Sideshow.
0:59:31 > 0:59:36That always impressed me. And we tried to keep that part of it in the picture.
0:59:36 > 0:59:40The lasso sequence in that, of course, was incredibly complex.
0:59:40 > 0:59:46The lassos from both sides of the...
0:59:46 > 0:59:49the cowboys lassoing the monster around the neck or on the foot,
0:59:49 > 0:59:55would be lassoing this pole on this Jeep which would be hurtling around.
0:59:55 > 0:59:57He put the screen together at the back
0:59:57 > 1:00:01so he obliterated the Jeep with the monster stick.
1:00:01 > 1:00:05The miniature ropes would be tied to the monster around the neck
1:00:05 > 1:00:09and that would go off at exactly, match the exact same direction
1:00:09 > 1:00:12as the live action would on the rear projection plate.
1:00:12 > 1:00:16It took well over two and a half months to film that one sequence.
1:00:16 > 1:00:19DINOSAUR ROARS MEN SCREAM
1:00:19 > 1:00:22CHAOTIC SHOUTING
1:00:22 > 1:00:24Ray, we owe you more than we can ever really express,
1:00:24 > 1:00:30based on all of the roads that you pioneered and built from dirt
1:00:30 > 1:00:35into a superhighway of eventual digital technology.
1:00:37 > 1:00:40The V-rexes in King Kong were...
1:00:40 > 1:00:42They're fundamentally different
1:00:42 > 1:00:44from what we know real dinosaurs to be.
1:00:44 > 1:00:48They had this heavyset tail that was hanging down, they had three fingers
1:00:48 > 1:00:52and they're basically inspired by things like Gwangi from Ray Harryhausen.
1:01:02 > 1:01:07Harryhausen has never worked with a, quote, "Great director."
1:01:07 > 1:01:09No-one ever says, you know,
1:01:09 > 1:01:13it's a Jim O'Connolly movie or it's a Nathan Juran movie.
1:01:13 > 1:01:15It's always a Ray Harryhausen movie.
1:01:15 > 1:01:19It was his concepts, the creatures in them were from his mind,
1:01:19 > 1:01:21so they were his films.
1:01:21 > 1:01:23A lot of directors couldn't see that.
1:01:23 > 1:01:25There were examples where the director
1:01:25 > 1:01:28did not approve of Ray being on location shoots,
1:01:28 > 1:01:30but didn't quite understand why he was there.
1:01:30 > 1:01:35Even though the scripts would detail in Ray's drawings
1:01:35 > 1:01:37exactly what was going to happen in that sequence.
1:01:37 > 1:01:40I make hundreds of continuity drawings
1:01:40 > 1:01:44which show the progression of the scene
1:01:44 > 1:01:46and then I direct those scenes myself.
1:01:46 > 1:01:49½Ray Harryhausen was the star of those movies.
1:01:49 > 1:01:52I couldn't really tell you who the actors were in the films
1:01:52 > 1:01:53but I certainly remember the creatures.
1:01:53 > 1:01:55I mean, the thing with the films,
1:01:55 > 1:01:58I think there's some terrible acting in it,
1:01:58 > 1:02:00the scripts aren't the greatest,
1:02:00 > 1:02:05but, boy, his elements, when he made clay live
1:02:05 > 1:02:07are still some of the best moments in film.
1:02:07 > 1:02:10I was probably about six or seven at the time
1:02:10 > 1:02:13and I remember two old ladies came up
1:02:13 > 1:02:15and said, "Oh, hello, sweetheart.
1:02:15 > 1:02:17"Can we have a look in your baby buggy'?"
1:02:17 > 1:02:20"Yeah, you can look at my dollies," you know?
1:02:20 > 1:02:22Pulled back and there was Gwangi!
1:02:22 > 1:02:25Of course, instead of dolls, I had dinosaurs.
1:02:25 > 1:02:28To me, it was normal. Dad had them all over the house.
1:02:28 > 1:02:31And he didn't have an oven
1:02:31 > 1:02:35and so he used our oven to cook his creatures in.
1:02:35 > 1:02:39And lunch times and dinner times used to be very interesting
1:02:39 > 1:02:41because everything tasted of latex rubber.
1:02:41 > 1:02:47And after a while of having roast chicken tasting like rubber, it was not so funny.
1:02:47 > 1:02:51By the time we finished the picture, which took a year and a half,
1:02:51 > 1:02:53they had sold the studio
1:02:53 > 1:02:56and the new owners didn't have any respect
1:02:56 > 1:02:58for what the previous owners sanctioned,
1:02:58 > 1:03:01so they just dumped Gwangi on the market.
1:03:01 > 1:03:04Unfortunately, it was released too late.
1:03:04 > 1:03:07If it had come out in the '50s or early '60s,
1:03:07 > 1:03:09I think it would have been better received.
1:03:09 > 1:03:13The word Gwangi suggests something like Godzilla,
1:03:13 > 1:03:16so everybody thinks that maybe it was made in Japan.
1:03:16 > 1:03:19You'd need a very big publicity campaign
1:03:19 > 1:03:22to make people aware that it was an unusual film.
1:03:22 > 1:03:27It's sad because a lot of people feel it's one of our better pictures, too.
1:03:27 > 1:03:30ROUSING ORCHESTRAL MUSIC
1:03:36 > 1:03:38'See the sorcerer of the black arts,
1:03:38 > 1:03:40'the gold helmet faceless Vizier,
1:03:40 > 1:03:45'the death fight of the centaur and the griffin, the six-armed goddess of evil.'
1:03:45 > 1:03:48ROARING EXPLOSION
1:03:48 > 1:03:52Gwangi was not a big success at the box office
1:03:52 > 1:03:56so we decided to go back to the Sinbad pictures.
1:03:56 > 1:04:02So I devised two stories, Golden Voyage and Eye Of The Tiger.
1:04:09 > 1:04:13When you work with Ray, you're absolutely sure what you're doing.
1:04:13 > 1:04:16It comes from his drawings,
1:04:16 > 1:04:18drawings that I, as a sculptor,
1:04:18 > 1:04:21could reproduce his things in full size.
1:04:21 > 1:04:25His work is so accurate in conception
1:04:25 > 1:04:28that there's no ambiguity, so I knew what I was doing.
1:04:28 > 1:04:32Ray was the king, the god
1:04:32 > 1:04:34and you did what he said.
1:04:41 > 1:04:43One of the toughest things about integrating a character
1:04:43 > 1:04:46is really making it appear to be in the scene.
1:04:46 > 1:04:49And the best way to do that is to...
1:04:50 > 1:04:53...create something that physically happens, really on set.
1:04:53 > 1:04:56And it had to be rigged by the special effects department.
1:04:58 > 1:05:01DREAMY ORCHESTRAL MUSIC
1:05:18 > 1:05:21Working with Ray Harryhausen
1:05:21 > 1:05:25was the most amazing experience for me.
1:05:25 > 1:05:28I was a relatively, well, very unknown actress
1:05:28 > 1:05:34and had never worked with his stop motion Dynamation.
1:05:37 > 1:05:39There was nothing to work with.
1:05:39 > 1:05:43Ray used to show us these wonderful drawings that he'd done
1:05:43 > 1:05:47and say, "Now, this is what you're going to be reacting to,
1:05:47 > 1:05:53"but it's not a drawing, it's a real-life, huge, enormous creature,
1:05:53 > 1:05:56"17, 20-foot high.
1:05:56 > 1:05:58"So this is what you're going to be reacting to."
1:05:58 > 1:06:01So you kind of become like a child, in a way
1:06:01 > 1:06:03and remember how you used to play.
1:06:03 > 1:06:06And then Ray, his eye line was a stick,
1:06:06 > 1:06:12so he'd have the stick and on the stick he'd drawn this eye
1:06:12 > 1:06:14which for me was the centaur's eye.
1:06:16 > 1:06:18And Ray would wield the eye.
1:06:18 > 1:06:22"Look at the eye! Look at the eye!" And this was Ray's eye line for the actors.
1:06:22 > 1:06:24It's hard to get actors to look in the right place.
1:06:24 > 1:06:28They look like they're looking further than they're supposed to.
1:06:28 > 1:06:31It takes a particular kind of actor who can look at a distance
1:06:31 > 1:06:33and make you think he's looking in
1:06:33 > 1:06:35the middle distance as opposed to far away.
1:06:35 > 1:06:38'Behind this door lies a world of wonders,
1:06:38 > 1:06:41'a studio where special effects wizard Ray Harryhausen
1:06:41 > 1:06:43'and producer Charles Schneer
1:06:43 > 1:06:48'make the unreal real in the magic of Dynarama for countless moviegoers.
1:06:49 > 1:06:52'In their new film, The Golden Voyage Of Sinbad
1:06:52 > 1:06:55'Schneer and Harryhausen move from the drawing board
1:06:55 > 1:06:57'to a sunny beach in Majorca.'
1:06:57 > 1:07:02We were originally going to shoot The Golden Voyage in India
1:07:02 > 1:07:05and Kali was a result of planning the picture for India.
1:07:05 > 1:07:11But when we changed our mind and shot it in Spain, for many reasons,
1:07:11 > 1:07:14we left the Kali sequence in.
1:07:14 > 1:07:17We felt it would be a very good dramatic situation.
1:07:17 > 1:07:20SITAR MUSIC
1:07:26 > 1:07:30My work seemed to bridge O'Brien's period
1:07:30 > 1:07:34into the modern Star Wars effects.
1:07:49 > 1:07:52I think my favourite creature from a Ray Harryhausen film
1:07:52 > 1:07:54would probably be from the first one I ever saw,
1:07:54 > 1:07:56which was The Golden Voyage Of Sinbad
1:07:56 > 1:08:00And it was the Kali, the giant statue that comes to life.
1:08:00 > 1:08:04And it was just so shocking to see it so beautifully rendered and animated
1:08:04 > 1:08:08and I think it stands the test of time. It hasn't really aged one bit.
1:08:08 > 1:08:10And I still find it terrifying.
1:08:15 > 1:08:21Many critics called our films a special effects film, which they were not.
1:08:21 > 1:08:24We used every effect at the time
1:08:24 > 1:08:27in order to put the fantasy subject on the screen.
1:08:28 > 1:08:31'Journey across the oceans of antiquity
1:08:31 > 1:08:33'to the northern edge of the ancient world.'
1:08:34 > 1:08:37'Filmed in the miracle of Dynarama.
1:08:37 > 1:08:40'Come face-to-face with the prehistoric troll.
1:08:43 > 1:08:46'See the sorceress bring life to the all-powerful minotaur.
1:08:50 > 1:08:53There's something that happens with stop motion that I've always felt,
1:08:53 > 1:08:59when you use an actual model rather than computer generated images.
1:08:59 > 1:09:03The model is strange,
1:09:03 > 1:09:05it gives the nightmare quality of a fantasy.
1:09:05 > 1:09:08It wasn't really very realistic
1:09:08 > 1:09:11but it was great because he was creating fantasies.
1:09:11 > 1:09:13I don't, as a filmmaker,
1:09:13 > 1:09:15and at Pixar, we don't ever want to
1:09:15 > 1:09:17make things that are absolutely
1:09:17 > 1:09:18perfectly real.
1:09:18 > 1:09:22We like to, like Ray, take a step back from reality.
1:09:26 > 1:09:28If you make fantasy too real,
1:09:28 > 1:09:33I think it loses the quality of a nightmare, of a dream.
1:09:33 > 1:09:36With stop motion, you can never quite get it to look real
1:09:36 > 1:09:37and that's actually an asset,
1:09:37 > 1:09:40because you get a sense of the work that's gone into it
1:09:40 > 1:09:44and it makes the performance much more dynamic, possible.
1:09:44 > 1:09:47There's really no constraints except the artist doing it.
1:09:47 > 1:09:49It's not the same as with a CG thing,
1:09:49 > 1:09:52because CG, our brain seems to know
1:09:52 > 1:09:54that's not quite the same
1:09:54 > 1:09:56as an actual piece of physical
1:09:56 > 1:09:58material that's been given life.
1:09:58 > 1:10:00This is like the Golem.
1:10:00 > 1:10:04I mean, our whole world. It's like God creating Adam.
1:10:04 > 1:10:09You take clay and your give it life and then it breathes and Ray did that!
1:10:09 > 1:10:13And it's the result of that particular kind of animation, I think.
1:10:13 > 1:10:16There's something cold about computer graphics.
1:10:16 > 1:10:18I don't think it was always this way.
1:10:18 > 1:10:22Maybe I'm looking back fondly at some of the early stuff that was done
1:10:22 > 1:10:25that seemed to me more realistic.
1:10:25 > 1:10:27I think we could touch the dinosaur in Jurassic.
1:10:27 > 1:10:31As an industry, we're turning out so many shots so quickly
1:10:31 > 1:10:35that we haven't had time to catch up and learn how to do it.
1:10:35 > 1:10:39And when we were doing the first stuff at ILM, back in the early '90s,
1:10:39 > 1:10:42you know, we spent months or even a couple of years
1:10:42 > 1:10:46figuring out how to make this thing look like an object and not like a graphic.
1:10:46 > 1:10:48That was the big challenge at that point.
1:10:48 > 1:10:51I would find it rather unappealing
1:10:51 > 1:10:56to sit at a desk and just push buttons to get a visual image on the screen.
1:10:56 > 1:10:58I think they're really two different things.
1:10:58 > 1:11:04Stop motion is what it is, an art form and a sense of tactile feel
1:11:04 > 1:11:07and the artist is visible in every frame.
1:11:07 > 1:11:10CG is something else that's more of a fluidity
1:11:10 > 1:11:12and it's just different.
1:11:12 > 1:11:15Stop motion is still alive, it's not dead.
1:11:15 > 1:11:18People say, "Oh, it's a lost art", but it's not a lost art.
1:11:18 > 1:11:20I mean, Henry Selick and Nick Park,
1:11:20 > 1:11:22there's a lot of people doing stop motion still.
1:11:22 > 1:11:27All the guys at Aardman doing clay animation.
1:11:27 > 1:11:28I mean, come on!
1:11:28 > 1:11:31Do you really want to see Wallace & Gromit
1:11:31 > 1:11:34in any other medium? No!
1:11:34 > 1:11:36The storytelling that they do,
1:11:36 > 1:11:39the subjects that they choose,
1:11:39 > 1:11:42lend itself to the stop motion medium.
1:11:42 > 1:11:46You know, when you're sat there with a character, it's in front of you,
1:11:46 > 1:11:48you use your fingers,
1:11:48 > 1:11:51you're holding it, you're handling it,
1:11:51 > 1:11:53there's a kind of... There is a kind of connection.
1:11:53 > 1:11:56Unlike all the other types of animation,
1:11:56 > 1:11:58what you see is a real performance.
1:11:58 > 1:12:01It starts at frame one
1:12:01 > 1:12:04and the animator has to make that journey.
1:12:04 > 1:12:08In other forms of animation, you'll do these key poses
1:12:08 > 1:12:11and then a computer or an assistant will in-between.
1:12:11 > 1:12:14And you can manipulate those and change.
1:12:14 > 1:12:19To lock yourself away in a studio
1:12:19 > 1:12:21and be able to move something
1:12:21 > 1:12:23with hundreds of joints...
1:12:23 > 1:12:29If you lose the thread, the thing just becomes nonsense.
1:12:29 > 1:12:32Shots can sometimes take up to 15 or 20 hours.
1:12:32 > 1:12:35If there's a mistake, if there's one mistake,
1:12:35 > 1:12:38if the camera goes crazy or your puppet breaks, you're doomed
1:12:38 > 1:12:41and you have to start the process all over again.
1:12:41 > 1:12:43Occasionally, if the phone rings,
1:12:43 > 1:12:47I answer it and that's maybe where you'll see a little bit of a jerk
1:12:47 > 1:12:51because I'd forgotten whether one head was going forward
1:12:51 > 1:12:53or one head was going backward.
1:12:53 > 1:12:56Now, with digital and videotape,
1:12:56 > 1:13:00the stop motion animators have a way of keeping track.
1:13:00 > 1:13:02Ray did it all in his head!
1:13:02 > 1:13:05MONKEY CHATTERS
1:13:34 > 1:13:38You animate the model and one pose leads to another pose.
1:13:38 > 1:13:42It is like sculpting, you have to know what you're doing and then just do it
1:13:42 > 1:13:47because if you try to think about it your brain would implode.
1:13:47 > 1:13:50It's not an intellectual thing, it's an intuitive thing.
1:13:50 > 1:13:54And I think that, for me, is really important to have that contact
1:13:54 > 1:13:58and you're manipulating it frame by frame
1:13:58 > 1:14:02so you're kind of struggling with it.
1:14:02 > 1:14:05Like in any kind of a live performance
1:14:05 > 1:14:07you always leave an allowance
1:14:07 > 1:14:09for some other adjustment that you may want to do.
1:14:09 > 1:14:11You may be thinking that you're going to do this
1:14:11 > 1:14:14but you'll get into it and all of a sudden you'll realise,
1:14:14 > 1:14:16"You know what? I could do this instead."
1:14:16 > 1:14:19And so you can improvise.
1:14:19 > 1:14:24Ray You may know the broad concept of what's happening in the scene
1:14:24 > 1:14:28but all the little details are put in as you go along
1:14:28 > 1:14:30by your imagination.
1:14:38 > 1:14:41CREATURE ROARS
1:14:44 > 1:14:49There was a man who said, "Why do you go to the trouble of using stop motion?
1:14:49 > 1:14:51"Why don't you put a man in a suit?"
1:14:51 > 1:14:54Well, that's the easy way out.
1:14:54 > 1:14:57In the 15 features I've made and the many shorts,
1:14:57 > 1:14:59I did all the animation myself.
1:14:59 > 1:15:03And I was able to do that up until the '80s.
1:15:06 > 1:15:09I was a loner. I preferred to work by myself
1:15:09 > 1:15:13because animation requires an enormous amount of concentration.
1:15:13 > 1:15:15In the days of Ray Harryhausen, it was Ray
1:15:15 > 1:15:18and a guy that used to click the shutter on the camera.
1:15:18 > 1:15:20And he'd do the thing and the guy would click.
1:15:20 > 1:15:21And it was two guys doing it.
1:15:21 > 1:15:23Now it's an army.
1:15:23 > 1:15:27Today, of course, it takes 80 people, 90 people.
1:15:27 > 1:15:29You see them credited on the screen.
1:15:29 > 1:15:33One person does the eye, one person does the nose,
1:15:33 > 1:15:35one person does the tail of the donkey.
1:15:35 > 1:15:38One person's doing the facial, another person's doing the body.
1:15:38 > 1:15:40Sometimes another person can be
1:15:40 > 1:15:42doing even tail motion or ear motion.
1:15:42 > 1:15:45People doing the layout, people doing the muscle rigs,
1:15:45 > 1:15:49people doing the facial rigs, people doing the lighting.
1:15:49 > 1:15:52You know, there's a whole team that's a shader team.
1:15:52 > 1:15:55There are people doing things I don't even know what they do!
1:15:55 > 1:15:58It's a different atmosphere.
1:15:58 > 1:16:01Some shots that are done today with computer graphics
1:16:01 > 1:16:05were the entire budget for their movies.
1:16:05 > 1:16:09And so the economy of a singular guy working on this thing,
1:16:09 > 1:16:14it was very important that he was able to have creative control over the stuff.
1:16:14 > 1:16:17Now it's such a big organisation
1:16:17 > 1:16:20with many, many producers and many effects technicians working on it.
1:16:20 > 1:16:22It's difficult to give a singular vision.
1:16:22 > 1:16:26There really aren't very many singular vision films actually made any more,
1:16:26 > 1:16:29unless you're a Spielberg or a Cameron or a Peter Jackson,
1:16:29 > 1:16:33a director strong enough to be able to put that vision all the way through.
1:16:33 > 1:16:36And even then, it kind of needs to be watered down
1:16:36 > 1:16:38cos there are so many people working on it.
1:16:38 > 1:16:42One person must arbitrate between many, many good ideas.
1:16:42 > 1:16:45You know, should it be lit like this or should it be lit like that?
1:16:45 > 1:16:47And they're all valid choices.
1:16:47 > 1:16:50Should the creature be green or should it be brown?
1:16:50 > 1:16:52Any choice you make is going to be valid
1:16:52 > 1:16:54when you're working with such talented people.
1:16:54 > 1:16:58But one person does have to arbitrate and sometimes it's a very arbitrary choice.
1:16:58 > 1:17:02That is defined by specific individuals, by an author,
1:17:02 > 1:17:04and in most cases, that's the director.
1:17:04 > 1:17:07But with Ray Harryhausen, it was the visual effects artist.
1:17:07 > 1:17:10I'm grateful that I was able to do what I did
1:17:10 > 1:17:15without having any interference from the studio or from anyone.
1:17:26 > 1:17:31I remember somebody made a film some years ago about Medusa
1:17:31 > 1:17:35and they had just an actress with a wig on with snakes.
1:17:35 > 1:17:39Every time she walked, they would bobble up and down, you know?
1:17:39 > 1:17:42It wouldn't frighten a two-year-old child.
1:17:42 > 1:17:44So I always wanted to animate Medusa
1:17:44 > 1:17:49and I had a great chance when Clash Of The Titans came about.
1:17:49 > 1:17:52I tried to design her so that she wouldn't have clothes.
1:17:52 > 1:17:55That's why I gave her a reptilian body,
1:17:55 > 1:17:58because I didn't want to animate flowing cloth.
1:17:58 > 1:18:02We gave her the arrow from Diana's bow and arrow
1:18:02 > 1:18:04and the rattlesnake's tail,
1:18:04 > 1:18:08so she could be a menace from the sound-effect point of view.
1:18:13 > 1:18:16It became a big problem because she had 12 snakes in her hair
1:18:16 > 1:18:19and each snake had to be moved, the head and the tail,
1:18:19 > 1:18:21every frame of film,
1:18:21 > 1:18:26along with her body and her face and her eyes and the snake body.
1:18:26 > 1:18:29The Medusa sequence,
1:18:29 > 1:18:32if you see that film,
1:18:32 > 1:18:34the tension that builds up
1:18:34 > 1:18:36between...
1:18:36 > 1:18:38the actor and his shield
1:18:38 > 1:18:40and everything that goes on there,
1:18:40 > 1:18:44and you realise the bulk of it is just stop motion,
1:18:44 > 1:18:48close-ups of stop-motion. It's a wonderful piece of work.
1:18:48 > 1:18:52I wanted green eyes for Medusa, but I couldn't get them
1:18:52 > 1:18:54so I had to use blue eyes, unfortunately.
1:18:54 > 1:18:59They were dolls' eyes, little baby dolls' eyes that were put in her skull
1:18:59 > 1:19:05and you would roll them around with the stop motion process.
1:19:05 > 1:19:07I would move them with an eraser of a pencil.
1:19:07 > 1:19:10People think if you design monsters,
1:19:10 > 1:19:12you design them for the sake of making them cool,
1:19:12 > 1:19:14but you never do that.
1:19:14 > 1:19:18You design them to be the character that you want them to be.
1:19:18 > 1:19:21A good monster has to have character,
1:19:21 > 1:19:23has to have a personality,
1:19:23 > 1:19:28you know, it has to be crazy, savage, funny.
1:19:28 > 1:19:30Whatever you want to use,
1:19:30 > 1:19:33you have to define it by the silhouette, the details, you know?
1:19:33 > 1:19:37And if the monster works like that then it's a well-designed monster.
1:19:37 > 1:19:41The monster that attacked Andromeda in Greek mythology,
1:19:41 > 1:19:44there are various concepts of a dragon-like creature.
1:19:44 > 1:19:49I wanted to make it semi-human so it would make the story a little more logical.
1:19:49 > 1:19:54I gave it sort of the arms of an octopus with hands on the end of it.
1:19:54 > 1:19:58And he developed from that point of view.
1:19:58 > 1:20:03The Kraken was a word that is not in Greek mythology.
1:20:03 > 1:20:06That comes from Norse mythology more.
1:20:06 > 1:20:10We needed a word and I guess the writer felt that was the right word to use.
1:20:10 > 1:20:13I do think it's very important to sketch creatures
1:20:13 > 1:20:15before you sculpt them,
1:20:15 > 1:20:19for the very simple reason, again, it comes to the purity.
1:20:19 > 1:20:23Your mind can move your hand on a paper in two dimensions
1:20:23 > 1:20:26much more quickly than it can move your fingers in three dimensions.
1:20:26 > 1:20:28And if you sculpt something, it takes longer.
1:20:28 > 1:20:32If you sketch something you can do it more quickly and get your concept out.
1:20:32 > 1:20:35All my illustrations are in black and white.
1:20:35 > 1:20:37I never cared much for colour.
1:20:37 > 1:20:40It took too long for one thing, for me.
1:20:40 > 1:20:44And I was never groomed in colour, to speak of.
1:20:44 > 1:20:47I learned mostly by doing it myself.
1:20:47 > 1:20:49Ray obviously did very simple
1:20:49 > 1:20:51drawings that were perfunctory,
1:20:51 > 1:20:53because they were for himself, he
1:20:53 > 1:20:55knew he was going to build from the design.
1:20:55 > 1:20:59And he had that luxury of being the one that was actually going to realise everything
1:20:59 > 1:21:03from design through to actual... What was going to get printed to each frame.
1:21:03 > 1:21:08My influences over the years was largely Gustave Dore,
1:21:08 > 1:21:12a French artist in the Victorian period.
1:21:12 > 1:21:16He illustrated the Bible, many thousands of pictures.
1:21:26 > 1:21:30Up until that time, Ray, of course, had done all the animation on his own.
1:21:30 > 1:21:33When Clash Of The Titans came about,
1:21:33 > 1:21:36I found that due to technical difficulties
1:21:36 > 1:21:41I had to hire other people to do some animation.
1:21:41 > 1:21:43And he found two animators to help him,
1:21:43 > 1:21:46the great Jim Danforth, an American animator,
1:21:46 > 1:21:49and an English animator called Steve Archer.
1:21:49 > 1:21:52Steve did a lot of the Bubo sequences.
1:21:52 > 1:21:55Jim, I believe, did a lot of the Pegasus sequences.
1:21:55 > 1:21:58And their input into that film was just enormous.
1:21:58 > 1:22:01When I came to London to do An American Werewolf In London,
1:22:01 > 1:22:03I went to visit him at Pinewood.
1:22:03 > 1:22:07He and Jim Danforth were animating Pegasus, the flying horse,
1:22:07 > 1:22:11and it was just extraordinary how much time it took to light.
1:22:11 > 1:22:14I mean, forget the animation, just to light,
1:22:14 > 1:22:16because they had to hide all the wires.
1:22:16 > 1:22:18I think I was there four or five hours,
1:22:18 > 1:22:23they probably got two or three seconds of usable footage. I mean, it was amazing!
1:22:23 > 1:22:25When an audience goes to see a movie
1:22:25 > 1:22:26and there's a special effect
1:22:26 > 1:22:29it's kind of like when you go to see a magician.
1:22:29 > 1:22:31A magician pulls a rabbit out of a hat.
1:22:31 > 1:22:34You know he's not really pulling that rabbit out of his hat,
1:22:34 > 1:22:36but you know he tricked you somehow,
1:22:36 > 1:22:38and so you feel involved because you want to figure it out.
1:22:38 > 1:22:41This is the way it was with Harryhausen's stuff
1:22:41 > 1:22:45from his rear projection to his live-action pieces to his stop motion.
1:22:45 > 1:22:48How did he do it? One of the drawbacks to computer animation,
1:22:48 > 1:22:53it takes the audience out of the equation. The audience isn't as involved.
1:22:53 > 1:22:56They generally know it's CGI. So I think it puts a little bit of a distance
1:22:56 > 1:22:59between the audience and the movies, unfortunately.
1:22:59 > 1:23:01I remember in the old James Bond movies
1:23:01 > 1:23:03there would always be a huge stunt at the beginning
1:23:03 > 1:23:06and everybody would gasp because it was so thrilling.
1:23:06 > 1:23:08And it was actually being done in front of their eyes.
1:23:08 > 1:23:12Today you could do the same stunt and people would say, "Oh, CGI."
1:23:12 > 1:23:14The second you make a movie and you see 1,000 soldiers
1:23:14 > 1:23:18or 100,000 soldiers running over a hill,
1:23:18 > 1:23:21you know that there are not 100,000 soldiers
1:23:21 > 1:23:26available to anybody on the face of the planet today for any sensible cost.
1:23:26 > 1:23:29And so you know that that is not real.
1:23:29 > 1:23:31As real as it looks, you know it's not real.
1:23:31 > 1:23:35It's up to you to decide
1:23:35 > 1:23:41how far you're going to allow us to push the envelope of digital creativity.
1:23:41 > 1:23:43You know, you accepted my digital dinosaurs
1:23:43 > 1:23:46because you wanted to enjoy and be scared by the stories,
1:23:46 > 1:23:49so you accepted the digital dinosaurs.
1:23:49 > 1:23:53But there is a point where audiences are going to reject...
1:23:54 > 1:23:58..digital special effects and start to maybe go to movies
1:23:58 > 1:24:02where we actually do something that existed in real space and real-time.
1:24:02 > 1:24:06Now there are so many effects being done in so many films
1:24:06 > 1:24:09and hundreds or thousands of shots in each film
1:24:09 > 1:24:12there's a real danger of the effects not being special any more,
1:24:12 > 1:24:13they're too common.
1:24:13 > 1:24:16Young people have been brainwashed by television
1:24:16 > 1:24:19to want everything quickly, you know?
1:24:19 > 1:24:23And you just can't have an explosion every five minutes in Greek mythology.
1:24:23 > 1:24:27So I felt it was time to retire. I felt I had had enough.
1:24:41 > 1:24:46It's my incredible pleasure to present Ray with a special BAFTA Award.
1:24:46 > 1:24:49APPLAUSE
1:24:54 > 1:24:57We declare the exhibition open!
1:24:59 > 1:25:02CHEERING AND APPLAUSE
1:25:02 > 1:25:06# Happy birthday to you
1:25:06 > 1:25:10# Happy birthday to you... #
1:25:22 > 1:25:25# Happy birthday... #
1:25:43 > 1:25:46The Ray and Diana Harryhausen Foundation,
1:25:46 > 1:25:49it was set up in the 1980s by Ray
1:25:49 > 1:25:55to educate people into stop motion animation
1:25:55 > 1:25:59and also to protect his heritage for the future.
1:25:59 > 1:26:03Preservation, conservation and other aspects of it
1:26:03 > 1:26:05are our major, major priority.
1:26:05 > 1:26:10So we're desperately trying to save the original models
1:26:10 > 1:26:15because the material that he makes them out of, latex rubber, they're so fragile.
1:26:15 > 1:26:19Vanessa and Jim Danforth and I
1:26:19 > 1:26:22went through Ray's garage in 2008
1:26:22 > 1:26:24and found a treasure trove.
1:26:24 > 1:26:27I opened up a bag and found, immediately,
1:26:27 > 1:26:29a little wooden curlicue,
1:26:29 > 1:26:32one of the dragon's horns from 7th Voyage Of Sinbad
1:26:32 > 1:26:33and then the other one.
1:26:33 > 1:26:36Then I looked down and saw a little character
1:26:36 > 1:26:39with curly-toed Shoes. It was Sinbad!
1:26:39 > 1:26:43And Jim said, "That's the Sinbad that was carried aloft by the Roc!"
1:26:43 > 1:26:46And then there was a little piece of rubber and I flipped it over,
1:26:46 > 1:26:48it was the harpie's head!
1:26:48 > 1:26:51And there were tons of things and they were all there in the garage
1:26:51 > 1:26:54for over 50 years.
1:26:54 > 1:26:57And that's the great thing about Ray Harryhausen's puppets,
1:26:57 > 1:26:59he still has the originals. It's amazing.
1:26:59 > 1:27:02Yeah, that's one of my early brontosauruses.
1:27:03 > 1:27:05He's quite big, so...
1:27:05 > 1:27:08You'd have to be a Greek wrestler to animate that!
1:27:10 > 1:27:14The foundation is preserving the puppets and moulds
1:27:14 > 1:27:17and Ray's diaries, Ray's sketches,
1:27:17 > 1:27:19behind the scenes photographs,
1:27:19 > 1:27:23his dailies, his daily reels from all his black and white films.
1:27:23 > 1:27:25The dailies, the outtakes from The Beast
1:27:25 > 1:27:27right through to 7th Voyage Of Sinbad
1:27:27 > 1:27:30are all being preserved now digitally for the future.
1:27:38 > 1:27:42Peter Jackson volunteered to restore them
1:27:42 > 1:27:44so I went down to New Zealand
1:27:44 > 1:27:47and Peter and I recorded it on high-definition video.
1:27:47 > 1:27:51Tony Peter Jackson has been amazingly generous,
1:27:51 > 1:27:53not only with time but with preservation.
1:27:53 > 1:27:56When Ray visited Peter Jackson, he went to Weta.
1:27:56 > 1:27:59He brought with him one of the little skeletons
1:27:59 > 1:28:02and Peter took it and had it scanned exactly.
1:28:02 > 1:28:05And then from the scan, they made a mould.
1:28:05 > 1:28:09But what's incredible is that the actual bronze you end up with
1:28:09 > 1:28:14isn't a copy of the skeleton, it is the skeleton, exactly!
1:28:14 > 1:28:17I just want to say thank you to Peter Jackson, Randy Cook,
1:28:17 > 1:28:20and all those many others who've given us support.
1:28:20 > 1:28:23His legacy, of course, is in good hands
1:28:23 > 1:28:28because it's carried in the DNA of so many film fans.
1:28:28 > 1:28:29I think all of us
1:28:29 > 1:28:31who are practitioners in the arts
1:28:31 > 1:28:33of science fiction and fantasy movies
1:28:33 > 1:28:37now all feel that we're standing on the shoulders of a giant.
1:28:37 > 1:28:41If not for Ray's contribution to the collective dreamscape,
1:28:41 > 1:28:43we would not be who we are.
1:28:43 > 1:28:46Ray, your inspiration goes with us for ever.
1:28:46 > 1:28:51It represents a form of filmmaking that really will never happen again,
1:28:51 > 1:28:54but I think it's all the more special because of that.
1:28:54 > 1:28:56He's... you know,
1:28:56 > 1:29:02his patience, his endurance, has inspired so many of us.
1:29:03 > 1:29:07I'm glad to say that, just like I was impressed by King Kong
1:29:07 > 1:29:10people are impressed by our films.
1:29:10 > 1:29:15And other people are impressed by Peter Jackson and Spielberg and Lucas.
1:29:15 > 1:29:18That's the way the snowball rolls on.