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Their movie credits, mostly B and “A-” sci-fiers and adventure tales, include Earth vs. It Came from Beneath the Sea (1955), in which the Golden Gate Bridge is destroyed by a giant octopus, marked the beginning of Harryhausen’s long-lasting collaboration with producer Charles H. Wells’ The War of the Worlds, but Byron Haskin directed the 1953 movie, which won a special Academy Award for Best Special Effects.) (Harryhausen had reportedly set his sights on adapting H.G. In 1953, the year after King Kong‘s American rerelease, Harryhausen worked on his first solo effort: the low-budget horror thriller The Beast from 20,000 Fathoms, based on a story by his friend Ray Bradbury, and sharing several elements in common with both King Kong and The Lost World – a dinosaur runs amok in New York City. As the head of the film’s special-effects department, O’Brien won an Oscar for his efforts, though Harryhausen would later claim he created 90 percent of the animated work in the film. Schoedsack, and starring Terry Moore and an overgrown ape obviously inspired by Kong. O’Brien hired him to help create the stop-motion visual effects for the RKO feature Mighty Joe Young (1949), directed by King Kong‘s Ernest B. He got his first big break after Willis H.
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Mighty Joe Young and special-effects ‘stardom’įollowing the armistice, Harryhausen resumed his non-professional stop-motion animation work while earning a living by working on TV commercials.Ĭarla Laemmle: ‘Dracula’ 1931 Actress Dead at 104
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Army’s Special Service Division, where he collaborated on the Why We Fight documentaries made under the supervision of former Columbia director Frank Capra.
#Visual effects vs special effects professional
In 1940, Harryhausen landed his first professional gig, working for George Pal’s series of Paramount shorts known as “Puppetoons.” (Pal is the director of the 1960 classic The Time Machine, winner of that year’s Best Special Effects Academy Award.) Two years after joining Pal’s staff, Harryhausen became a member of the U.S. O’Brien, who later acted as a sort of mentor for the fast-evolving visual-effects artist. While in high school in the mid- 1930s, Ray Harryhausen met his icon Willis H. Of note: eight years before King Kong held Fay Wray hostage at the top of the Empire State Building, O’Brien had already used stop-motion models – or “model animation” – in the similarly themed The Lost World, based on Arthur Conan Doyle’s novel and featuring a brontosaurus let loose in London. The storyline led you from the mundane world into the most outrageous fantasy that’s ever been put on the screen.” “It was such a totally different, unusual film.
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“I came out of the theater awestruck,” Harryhausen would reminisce to the Chicago Tribune in 1999. Schoedsack’s 1933 blockbuster King Kong, featuring stop-motion effects by Willis H. Among his movie credits are Jason and the Argonauts, One Million Years BC, and the original Clash of the Titans.īorn in Los Angeles on June 29, 1920, Harryhausen became interested in cinema’s visual effects after watching Merian C. Earlier today, Ray Harryhausen died at age 92 in London, where he had been living since the early 1960s. Long before the computer-generated imagery of Jurassic Park, Avatar, The Avengers, and Iron Man 3, there were special-effects wizard Ray Harryhausen’s painstakingly created stop-motion models, which graced dozens of movies from the late 1940s to the early 1980s.