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Ray Harryhausen

From Wikipedia, the free encyclopedia

Ray Harryhausen
Ray Harryhausen.jpg
Harryhausen at the Forbidden Planet store in London (May 2007)
BornRaymond Frederick Harryhausen[1]
(1920-06-29)June 29, 1920
Los Angeles, California, U.S.
DiedMay 7, 2013(2013-05-07) (aged 92)
London, England, UK
OccupationStop motion model animator
Years active1939–1980; 2002
Spouse(s)Diana Livingstone Bruce (1963–2013; his death)
Children1
AwardsGordon E. Sawyer Award (Oscar for technological contributions)
1991
Science Fiction Hall of Fame
2005
Rondo Hatton Classic Horror Awards
2006
Websitewww.rayharryhausen.com
Signature
Ray Harryhausen signature.png

Raymond Frederick Harryhausen (June 29, 1920 – May 7, 2013) was an American-born British artist, designer, visual effects creator, writer and producer who created a form of stop-motion model animation known as "Dynamation".[2]

His most memorable works include: working with his mentor Willis H. O'Brien on the animation for Mighty Joe Young (1949), which won the Academy Award for Best Visual Effects; his first color film, The 7th Voyage of Sinbad (1958); and Jason and the Argonauts (1963), which featured a famous sword fight with seven skeleton warriors. His last film was Clash of the Titans (1981), after which he retired.

Harryhausen moved to the United Kingdom, became a dual US-UK citizen and lived in London from 1960 until his death in 2013. During his life, his innovative style of special effects in films inspired numerous filmmakers. In November 2016 the BFI compiled a list of those present-day filmmaker who claim to have been inspired by Harryhausen including Steven Spielberg, Peter Jackson, Joe Dante, Tim Burton, Nick Park, James Cameron, and Guillermo del Toro.[3] Others influenced by him include George Lucas,[4] John Lasseter,[citation needed] John Landis, Henry Selick,[citation needed] J.J. Abrams,[citation needed] and Wes Anderson.[citation needed]

YouTube Encyclopedic

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Transcription

Contents

Early life

Harryhausen was born in Los Angeles, California, the son of Martha L. (née Reske) and Frederick W. Harryhausen. Of German descent, the family surname was originally spelled "Herrenhausen".[5]

Life and career

1930s and 1940s

After having seen King Kong (1933) on its initial release for the first of many times, Harryhausen spent his early years experimenting in the production of animated shorts, inspired by the burgeoning science fiction literary genre of the period. The scenes utilising stop-motion animation (or model animation), those featuring creatures on the island or Kong, were the work of pioneer model animator Willis O'Brien. His work in King Kong inspired Harryhausen, and a friend arranged a meeting with O'Brien for him. O'Brien critiqued Harryhausen's early models and urged him to take classes in graphic arts and sculpture to hone his skills. Meanwhile, Harryhausen became friends with an aspiring writer, Ray Bradbury, with similar enthusiasms.[6] Bradbury and Harryhausen joined the Los Angeles-area Science Fiction League formed by Forrest J. Ackerman in 1939, and the three became lifelong friends.

Harryhausen secured his first commercial model-animation job, on George Pal's Puppetoons shorts, based on viewing his first formal demo reel of fighting dinosaurs from a project called Evolution of the World, which was never finished.[citation needed]

During World War II, Harryhausen served in the United States Army Special Services Division under Colonel Frank Capra, as a loader, clapper boy, gofer and later camera assistant, whilst working at home animating short films about the use and development of military equipment. During this time he also worked with composer Dimitri Tiomkin and Ted Geisel ("Dr. Seuss").[7] Following the war, he salvaged several rolls of discarded 16 mm surplus film from which he made a series of fairy tale-based shorts, which he called his "teething-rings".[citation needed]

One of Harryhausen's most long-cherished dreams was to make H.G. Wells' The War of the Worlds. After World War II, he shot a scene of an alien emerging from a Martian cylinder, showing the fearsome being from Mars fatally succumbing to an earthly illness, contracted from the air the natives breathe harmlessly. It was part of an unrealized project to adapt the story using Wells' original "octopus" concept for the Martians.[citation needed]

In 1947 Harryhausen was hired as an assistant animator on what turned out to be his first major film, Mighty Joe Young (1949). O'Brien ended up concentrating on solving the various technical problems of the film, leaving most of the animation to Harryhausen and Pete Peterson.[citation needed] Their work won O'Brien the Academy Award for Best Special Effects that year.

1950s

The first film with Ray Harryhausen in full charge of technical effects was The Beast from 20,000 Fathoms (1953) which began development under the working title Monster From the Sea. The filmmakers learned that a long-time friend of Harryhausen, writer Ray Bradbury, had sold a short story called "The Beast from 20,000 Fathoms" (later retitled "The Fog Horn") to The Saturday Evening Post, about a dinosaur drawn to a lone lighthouse by its foghorn. Because the story for Harryhausen's film featured a similar scene, the film studio bought the rights to Bradbury's story to avoid any potential legal problems. Also, the title was changed back to The Beast from 20,000 Fathoms. Under that title, it became Harryhausen's first solo feature film effort, and a major international box-office hit for Warner Brothers.

It was on The Beast From 20,000 Fathoms that Harryhausen first used a technique he created called "Dynamation" that split the background and foreground of pre-shot live action footage into two separate images into which he would animate a model or models so seemingly integrating the live-action with the models. The background would be used as a miniature rear-screen with his models animated in front of it, re-photographed with an animation-capable camera to combine those two elements together, the foreground element matted out to leave a black space. Then the film was rewound, and everything except the foreground element matted out so that the foreground element would now photograph in the previously blacked out area. This created the effect that the animated model was "sandwiched" in between the two live action elements, right into the final live action scene.[citation needed]

In most of Harryhausen's films, model animated characters interact with, and are a part of, the live action world, with the idea that they will cease to call attention to themselves as only "animation." Most of the effects shots in his earliest films were created via Harryhausen's careful frame-by-frame control of the lighting of both the set and the projector. This dramatically reduced much of degradation common in the use of back-projection or the creation of dupe negatives via the use of an optical printer. Harryhausen's use of diffused glass to soften the sharpness of light on the animated elements allowed the matching of the soft background plates far more successfully than Willis O'Brien had achieved in his early films, allowing Harryhausen to match live and miniature elements seamlessly in most of his shots. By developing and executing most of this miniature work himself, Harryhausen saved money, while maintaining full technical control.[citation needed]

The cyclops and dragon battle sequence from The 7th Voyage of Sinbad (1958)
The cyclops and dragon battle sequence from The 7th Voyage of Sinbad (1958)

A few years later, when Harryhausen began working with color film to make The 7th Voyage of Sinbad, he experimented extensively with color film stocks to overcome the color-balance-shift problems. Ray's producer/partner Charles H. Schneer coined the word Dynamation as a "merchandising term" (modifying it to "SuperDynaMation" and then "Dynarama" for some subsequent films).[8]

Harryhausen was always heavily involved in the pre-production conceptualizing of each film's story, script development, art-direction, design, storyboards, and general tone of his films, as much as any auteur director would have on any other film, which any "director" of Harryhausen's films had to understand and agree to work under. Only the complexities of the Directors Guild of America's rules in Hollywood prevented Harryhausen from being credited as the director of his films, resulting in the more modest credits he had in most of his films.[citation needed]

Throughout most of his career, Harryhausen's work was a sort of family affair. His father did the machining of the metal armatures (based on his son's designs) that were the skeletons for the models and allowed them to keep their position, while his mother assisted with some miniature costumes. After Harryhausen's father died in 1973, Harryhausen contracted his armature work out to another machinist. An occasional assistant, George Lofgren, a taxidermist, assisted Harryhausen with the creation of furred creatures. Another associate, Willis Cook, built some of Harryhausen's miniature sets. Other than that, Harryhausen worked generally alone to produce almost all of the animation for his films.[citation needed]

The same year that Beast was released, 1953, fledgling film producer Irwin Allen released a live action documentary about life in the oceans titled The Sea Around Us, which won an Oscar for best documentary feature film of that year. Allen's and Harryhausen's paths would cross three years later, on Allen's sequel to this film.

Harryhausen soon met and began a fruitful partnership with producer Charles H. Schneer, who was working with the Sam Katzman B-picture unit of Columbia Pictures. Their first tandem project was It Came from Beneath the Sea (a.k.a. Monster from Beneath the Sea, 1955), about a giant octopus attacking San Francisco. It was a box-office success, quickly followed by Earth vs. the Flying Saucers (1956), set in Washington D.C. – one of the best of the alien invasion films of the 1950s, and also a box office hit.[citation needed]

In 1954, Irwin Allen had started work on a second feature-length documentary film, this one about animal life on land called The Animal World (completed in 1956). Needing an opening sequence about dinosaurs, Allen hired premier model animator Willis O'Brien to animate the dinosaurs, but then gave him an impossibly short production schedule. O'Brien again hired Harryhausen to help with animation to complete the eight-minute sequence. It was Harryhausen's and O'Brien's first and only professional full-color work. Most viewers agree that the dinosaur sequence of Animal World was the best part of the entire movie[citation needed] (Animal World is available on the DVD release of O'Brien's 1957 film The Black Scorpion).

Harryhausen then returned to Columbia and Charles Schneer to make 20 Million Miles to Earth (1957), about an American spaceship returning from Venus. The spaceship crashes into the ocean near Italy, releasing an on-board alien egg specimen which washes up on shore. The egg soon hatches a creature that, in Earth's atmosphere, rapidly grows to gigantic size and terrifies the citizens of Rome. Harryhausen refined and improved his already-considerable ability at establishing emotional characterizations in the face of his Venusian Ymir model, creating yet another international box office hit.[citation needed]

Schneer was eager to graduate to full-color films. Reluctant at first, Harryhausen managed to develop the systems necessary to maintain proper color balances for his DynaMation process, resulting in his biggest hit of the 1950s, The 7th Voyage of Sinbad (1958). The top-grossing film of that summer, and one of the top-grossing films of that year, Schneer and Harryhausen signed another deal with Columbia for four more color films.[citation needed]

1960s

The Hydra battle sequence in Jason and the Argonauts (1963)
The Hydra battle sequence in Jason and the Argonauts (1963)

After The Three Worlds of Gulliver (1960) and Mysterious Island (1961), both great artistic and technical successes, and successful at the box office, according to Harryhausen, who stated in the DVD and Blu Ray featurette about the making of Mysterious Island: "Mysterious Island was one of the most successful films that we made and I am glad people are still enjoying it today". And Gulliver " Made its' profits"[verify] as Ray is quoted in Jeff Rovin's bio-book From The Land Beyond Beyond: The Making of the Movie Monsters You've Known and Loved - The Films of Willis O'Brien and Ray Harryhausen. His next film is considered by film historians[who?] and fans as Harryhausen's masterwork, Jason and the Argonauts (1963). Among the film's several celebrated animation sequences is an extended fight between three actors and seven living skeletons, a considerable advance on the single-skeleton fight scene in Sinbad. This stop-motion sequence took over four months to complete.

Harryhausen models for the Allosaurus in One Million Years B.C. and Talos the bronze giant from Jason and the Argonauts at the National Media Museum
Harryhausen models for the Allosaurus in One Million Years B.C. and Talos the bronze giant from Jason and the Argonauts at the National Media Museum

Harryhausen next made First Men in the Moon (1964), his only film made in the 2.35:1 widescreen (a.k.a. "CinemaScope") format, based on the novel by H. G. Wells. Jason, and First Men in the Moon were box office disappointments at the time of their original theatrical release. That, plus changes of management at Columbia Pictures, resulted in his contract with Columbia Picture not being renewed.[citation needed] Also, as the 1960s counter-culture came to influence more and more and younger filmmakers, and failing studios struggled to find material that was popular with the new "Boomer-generation" audience, Harryhausen's love of the past, setting his stories in ancient fantasy worlds or previous centuries, kept him from keeping pace with changing tastes in the 1960s. Only a handful of Harryhausen's features have been set in then-present time, and none in the future. As this revolution in the traditional Hollywood movie studio system, and the influx of a new generation of film makers sorted itself out, Harryhausen became a free agent.[citation needed]

Harryhausen was then hired by Hammer Film Productions to animate the dinosaurs for One Million Years B.C. (1966). It was a success at the box office, helped in part by the presence of Raquel Welch in her second film. Harryhausen next went on to make another dinosaur film, The Valley of Gwangi with Schneer. The project had been developed for Columbia, who declined. Schneer then made a deal with Warner Brothers instead. It was a personal project to Harryhausen, which he had wanted to do for many years, as it was storyboarded by his original mentor, Willis O'Brien for a 1939 film, Gwangi, that was never completed.[citation needed] Set in Mexico, The Valley of Gwangi is a parallel Kong story—cowboys capture a living Allosaurus and bring him to the nearest Mexican city for exhibition. Sabotage releases the creature, and it wreaks havoc on the town. The film features a roping scene reminiscent of 1949's Mighty Joe Young (which was itself recycled from the old Gwangi storyboards), and a spectacular fire and animation sequence inside a cathedral toward the end of the film.

1970s–1990s

After a few lean years, Harryhausen and Schneer, talked Columbia Pictures into reviving the Sinbad character, resulting in The Golden Voyage of Sinbad, often remembered for the sword fight involving a statue of the six-armed goddess Kali. It was first released in Los Angeles in the Christmas season of 1973, but garnered its main audience in the spring and summer of 1974. It was followed by Sinbad and the Eye of the Tiger (1977), which disappointed some fans because of its tongue-in-cheek approach. Both films were, however, box office successes.[citation needed]

Schneer and Harryhausen finally were allowed by MGM to produce a big budget film with name actors and an expanded effects budget. The film started out smaller but then MGM increased the budget to hire stars such as Laurence Olivier. It became the last feature film to showcase his effects work, Clash of the Titans (1981), for which he was nominated for a Saturn Award for Best Special Effects. For this film, he hired protégé model animators Steve Archer and two-time Oscar-nominated Jim Danforth to assist with major animation sequences. Harryhausen fans will readily discern that the armed-and-finned kraken (a name borrowed from medieval Scandinavian folklore) he invented for Clash of the Titans has similar facial qualities to the Venusian Ymir he created twenty-five years earlier for 20 Million Miles to Earth.

Perhaps because of his hermetic production style and the fact that he produced half of his films outside of Hollywood (living in London since 1960), reducing his day-to-day kinship with other more traditional, but still influential Hollywood effects artists, none of Harryhausen's films were nominated for a special effects Oscar. Harryhausen himself says the reason was that he worked in Europe, but this oversight by the AMPAS visual-effects committee also occurred throughout the 1950s when Harryhausen lived in Los Angeles.[citation needed]

In spite of the very successful box office returns of Clash of the Titans, more sophisticated computer-assisted technology developed by ILM and others began to eclipse Harryhausen's production techniques, and so MGM and other studios passed on funding his planned sequel, Force of the Trojans, causing Harryhausen and Schneer to retire from active filmmaking.[citation needed]

In the early 1970s, Harryhausen had also concentrated his efforts on authoring a book, Film Fantasy Scrapbook (produced in three editions as his last three films were released) and supervising the restoration and release of (eventually all) his films to video, laserdisc, DVD, and currently Blu-ray disc. A second book followed, Ray Harryhausen: An Animated Life, written with author and friend Tony Dalton, which details his techniques and history.[9][10] This was then followed in 2005 by The Art of Ray Harryhausen, featuring sketches and drawings for his many projects, some of them unrealized. In 2008 Harryhausen and Dalton published a history of stop-motion model animation, A Century of Model Animation, and, to celebrate Harryhausen's 90th birthday, The Ray & Diana Harryhausen Foundation published Ray Harryhausen – A Life in Pictures. In 2011 the last volume, called Ray Harryhausen's Fantasy Scrapbook, was also published.

Harryhausen continued his lifelong friendship with Ray Bradbury until Bradbury's death in 2012.[citation needed] Another long-time close friend was Famous Monsters of Filmland magazine editor, book writer, and sci-fi collector Forrest J Ackerman, who loaned Harryhausen his photos of King Kong in 1933, right after Harryhausen had seen the film for the first time.[citation needed] Harryhausen also maintained his friendships with his long-time producer, Charles H. Schneer, who lived next door to him in a suburb of London until Schneer moved full-time to the USA (a few years later, in early 2009, Schneer died at 88 in Boca Raton, Florida);[11] and with model animation protégé, Jim Danforth, still living in the Los Angeles area.[citation needed]

Harryhausen and Terry Moore appeared in small comedic cameo roles in the 1998 remake of Mighty Joe Young, and he has also provided the voice of a polar bear cub in the Will Ferrell film Elf. He also appears as a bar patron in Beverly Hills Cop III, and as a doctor in the John Landis film Spies Like Us. In 2010, Harryhausen had a brief cameo in Burke & Hare, a British film also directed by Landis.

In 1986 Harryhausen formed The Ray & Diana Harryhausen Foundation, a registered charity in the UK and US, which preserves all of his collection and promotes the art of stop-motion animation and Harryhausen's contribution to the genre.

2000s–2010s

In 2002, young animators Seamus Walsh and Mark Caballero helped Harryhausen complete The Story of the Tortoise and the Hare.[citation needed] This was the sixth and final installment of the Harryhausen fairy tales.[citation needed] The film was started in 1952 and completed in 2002, 50 years later.[citation needed] Caballero and Walsh refurbished the original puppets and, under Harryhausen's direction and guidance, completed the film. The film went on to win the 2003 Annie award for best short film and gained worldwide attention. Walsh and Caballero have since moved on to form their own stop motion company, Screen Novelties, which is based in Los Angeles, California.

TidalWave Productions' Ray Harryhausen Signature Series produced authorised comic book adaptions of some of Harryhausen's unrealised projects from 2007 on.[12]

In 2009, he released colorized DVD versions of three of his classic black and white Columbia films: 20 Million Miles to Earth, Earth vs. the Flying Saucers, and It Came from Beneath the Sea, and of She (1935), in tribute to its producer Merian C. Cooper (who had supervised King Kong).

Ray Harryhausen was given a special tribute, for his ninetieth birthday, at the BFI Southbank theater in London, where he had lived since the 1960s, which was attended by all the top visual effects directors and technicians and was hosted by director John Landis. At this event he was presented by Peter Jackson with a special BAFTA award from the British Academy of Film and Television Arts.[citation needed]

In June 2010, it was announced that the Ray and Diana Harryhausen Foundation had agreed to deposit the animator's complete collection of some 50,000 pieces with the National Media Museum in Bradford, England.[citation needed]

Death and legacy

Harryhausen married Diana Livingstone Bruce in October, 1962. The couple had a daughter, Vanessa. The family announced Harryhausen's death via Twitter and Facebook on May 7, 2013.[13] Diana survived her husband by five months.[14]

The Daily Mirror quoted Harryhausen's website, saying his "influence on today's film makers was enormous, with luminaries; Steven Spielberg, James Cameron, Peter Jackson, George Lucas, John Landis and the UK's own Nick Park have cited Harryhausen as being the man whose work inspired their own creations."[15] Harryhausen himself drew a distinction between films that combine special effects animation with live action, and films that are completely animated, such as the films of Nick Park, Henry Selick, Ivo Caprino, Ladislav Starevich and many others (including his own fairy tale shorts) which he sees as pure "puppet films", and which are more accurately (and traditionally) called "puppet animation".[citation needed]

The BBC quoted Peter Lord of Aardman Animations, who wrote on Twitter that Harryhausen was "a one-man industry and a one-man genre".[16] The BBC also quoted Shaun of the Dead director Edgar Wright: "I loved every single frame of Ray Harryhausen's work ... He was the man who made me believe in monsters."[16] In a full statement released by the family, George Lucas said, "Without Ray Harryhausen, there would likely have been no Star Wars".[4] Terry Gilliam said, "What we do now digitally with computers, Ray did digitally long before but without computers. Only with his digits."[4] James Cameron also paid tribute by saying, "I think all of us who are practitioners in the arts of science fiction and fantasy movies now all feel that we're standing on the shoulders of a giant. If not for Ray's contribution to the collective dreamscape, we wouldn't be who we are." [4]

Foundation

Ray left his collection, which includes all of his film related artefacts to the Ray & Diana Harryhausen Foundation,[17] which he set up in 1986 to look after his extensive collection, to protect his name and to further the art of model stop-motion animation. The trustees are his daughter Vanessa Harryhausen, Simon Mackintosh, actress Caroline Munro who appeared in The Golden Voyage of Sinbad [1] and film maker John Walsh, [2], who first met with Ray Harryhausen in 1988 as a film student of the London Film School and made a documentary entitled Ray Harryhausen: Movement Into Life, narrated by Doctor Who actor Tom Baker.[better source needed] The Foundation's website charts progress on the restoration of the collection and future plans for Harryhausen's legacy.[17]

In 2013, the RH foundation and Arrow Films released a feature-length biography of Harryhausen and his films called Ray Harryhausen - Special Effects Titan on Blu-Ray. Featuring photos, artifacts, and film clips culled directly Harryhausen's estate and never before seen by the public, the film was initially released only in the UK, but was finally released on Blu-Ray in America in 2016.

Some of Ray Harryhausen's most iconic models and artworks were showcased as part of the Barbican Centre's 'Into the Unknown' exhibition from June 3 to September 1, 2017.[18] The exhibition programme showcased an all-encompassing exploration of science fiction, from its roots in classic literature, through to modern day cinema blockbusters, allowing visitors to view Ray's creative output within the wider context of the genre. To mark Ray's 97th birthday on July 29, 2017, the Barbican posted a guest blog by the Foundation's Collections Manager Connor Heaney, highlighting the animator's lasting influence on science fiction.[19]

On the 5th June 2017 it was announced that a major exhibition of Ray Harryhausen's models was to take place at the Science Museum Oklahoma. John was quoted as saying "The collection held at The Ray and Diana Harryhausen Foundation is not just artefacts of historical and cinematic importance, but is also a window into the science of photo chemical film making".[20] Entitled "Ray Harryhausen - Mythical Menagerie" the exhibition will open to the public from July 29. USA Today named it as "one of best museum exhibits in the U.S. this fall" [21] In 2018 the exhibition was nominated for a Rondo Hatton Award for "Best Live Event" [22]

An exhibition at Tate Britain from the 26th June to the 19th November 2017 features work from the Harryhausen collection and short film made by John Walsh on the restoration of a painting owned by Harryhausen which influenced his work.[23][24]

In a podcast interview with BritFlicks Walsh discusses his plans to develop lost Ray Harryhausen film projects.[25]

An exhibition opened showing items from the Harryhausen collection at Valence House Museum on the 14th March 2018. The exhibition was inspired by local man Alan Friswell who worked with Ray Harryhausen on the creature's restorations. It was funded Barking and Dagenham London Borough Council. In an interview Foundation Trustee John Walsh said: "The exhibition brings Hollywood to Dagenham. Alan Friswell went to see films of Harryhausen and now he is bringing his skillsets to the borough. We have over 50,000 individual items which is the largest outside of Walt Disney and this is just the tip of the iceberg. We are ready to come back with more models in the future." [26] In the Barking & Dagenham Yellow Advertiser Walsh said ""The models look fantastic in the intimate setting of Valence House and they are the original creatures that have been used in some of the biggest Hollywood films. This is a great opportunity for people to see them." [27]

In July 2018, it was announced that the largest ever exhibition of Ray Harryhausen's models and artwork would take place at the Scottish National Gallery of Modern Art in Edinburgh, to mark his centenary in the summer of 2020.[28]

In February 2016, a podcast was devised by Foundation Trustee John Walsh and is co-hosted by him and Collections Manager Connor Heaney.[29]

Awards and honors

During the 1980s and early 1990s, those of Harryhausen's growing legion of fans who had graduated into the professional film industry started lobbying the Academy of Motion Picture Arts and Sciences to acknowledge Harryhausen's contribution to the film industry and he was finally awarded a Gordon E. Sawyer Award (effectively a lifetime achievement Oscar) for "technological contributions [which] have brought credit to the industry" in 1992, with actor Tom Hanks as the Master of Ceremonies and Ray Bradbury, a friend from when they were both just out of high school, presenting the award.[30] After the presentation to Harryhausen, actor Tom Hanks told the audience, "Some people say Casablanca or Citizen Kane...I say Jason and the Argonauts is the greatest film ever made!" A long series of appearances at film festivals, colleges, and film seminars around the world soon followed as Harryhausen met many of the millions of people who had grown up enjoying his work.

Preservation

The Academy Film Archive has preserved a number of Ray Harryhausen's films, including Guadalcanal, How to Bridge a Gorge, and The Story of Hansel and Gretel.[37]

In popular culture

Fan and film maker tributes to Harryhausen abound in many forms.

In March 1983, Harryhausen participated in a special one-day event at Mann's Chinese Theater celebrating the 50th anniversary of premier screening of the 1933 King Kong in the same theater. Visual effects technicians from several film-effects facilities recreated the life-sized bust of Kong as it appeared in the theater's outer lobby area 50 years earlier. The August 1983 issue of American Cinematographer features three articles about the event.[citation needed]

Filmography

Feature films

Short films

  • How to Bridge a Gorge (also known as How to Build a Bridge) (1942) (producer)
  • Tulips Shall Grow (1942) (chief animator)
  • Guadalcanal (1943) (director, 10 minutes)
  • Mother Goose Stories (1946) (producer) (silent with text)
  • The Story of Little Red Riding Hood (1949) (producer, animator)
  • The Story of Rapunzel (1951) (producer)
  • The Story of Hansel and Gretel (1951) (producer)
  • The Story of King Midas (1953) (producer)
  • The Story of The Tortoise & the Hare (2002) (director, co-producer, animator)

Interviews and acting

Unrealized projects

See also

References

Explanatory notes

  1. ^ After inducting 36 fantasy and science fiction writers and editors from 1996 to 2004, the hall of fame dropped "fantasy" and made non-literary contributors eligible. Alongside one writer, the first three were Harryhausen, illustrator Chesley Bonestell, and film-maker Steven Spielberg.[32][33]

Citations

  1. ^ "The Ray and Diana Harryhausen Foundation". Facebook. Retrieved 2013-05-10.
  2. ^ Lyons, Patrick J. (2013-05-07). "Ray Harryhausen, Whose Creatures Battled Jason and Sinbad, Dies at 92". New York Times. Retrieved 2016-08-27.
  3. ^ "Mighty Ray Harryhausen". bfi.org.uk.
  4. ^ a b c d Comingsoon.net. RIP Ray Harryhausen: 1920–2013 Retrieved 2013-05-08.
  5. ^ Mandell, Paul (December 1992). "Of Genies and Dragons: The Career of Ray Harryhausen". American Cinematographer. via Questia.com. 73 (12). Retrieved 2013-05-10.
  6. ^ The Harryhausen Chronicles, documentary written and directed by Richard Schickel, 1997.
  7. ^ Love, Damien (November 2007). "Monsters, Inc. An Interview with Ray Harryhausen". Bright Lights Film Journal. Retrieved 2009-08-22.
  8. ^ "Dynamation". Ray Harryhausen: the official website. Rayharryhausen.com. 2009. Archived from the original on 2012-02-23. Retrieved 2012-02-24.
  9. ^ "Model Heroes: ... Ray Harryhausen recalls the battles behind the scenes of Jason and the Argonauts". Ray Harryhausen. The Guardian. December 20, 2003. Retrieved 2009-01-27. This is an edited extract from Ray Harryhausen: An Animated Life by Ray Harryhausen and Tony Dalton (Aurum Press, 2003).
  10. ^ Amazon page Retrieved 2009-01-27.
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Interviews

  • Starlog December 1977 no. 10, "Ray Harryhausen" by Richard Meyers
  • Starlog November 1985 no. 100, "Ray Harryhausen: The Man Who Works Miracles" by Steve Swires
  • Starlog February 1988 no. 127, " Ray Harryhausen: Farewell to Fantasy Films" by Steve Swires
  • Starlog Spectacular 1990 no. 1, "A Kind of Magic" interview by Stan Nicholls
  • Movie Star (Germany) February 1997 no. 25/26, "Ray Harryhausen Trickfilmzauberer" by Uwe Sommerlad
  • L'Eepress (France) December 2000 no. 2580, "Les effets speciaux doivent donner a rever. Rencontre avec Ray Harryhausen, maitre du genre dont "Jason et les Argonauts" ressort" by Arnaud Malherle
  • Filmfax Magazine March 2001 no. 83, "The Many Worlds of Ray Harryhausen" by Michael Stein
  • Pranke (Germany) March 2005 Vol. no. 27, "Interview with Ray Harryhausen" by Martin Stadler
  • Onion March 21, 2006, "Ray Harryhausen" interview by Christopher Bahn
  • Monster Bash Magazine December 2007 no. 7, "20 Million Miles to Harryhausen" by Lawrence Fultz Jr.
  • Van Helsing's Journal April, 2011 no. 12, "A Conversation with Harryhausen" by Lawrence Fultz Jr.

Further reading

  • Film Fantasy Scrapbook, by Ray Harryhausen, 1972
  • From the Land Beyond Beyond: The Making of the Movie Monsters You've Known and Loved - The Films of Willis O' Brien and Ray Harryhausen, by Jeff Rovin, 1977
  • Ray Harryhausen: An Animated Life, by Ray Harryhausen and Tony Dalton, foreword by Ray Bradbury, 2003
  • The Art of Ray Harryhausen, by Ray Harryhausen and Tony Dalton, foreword by Peter Jackson, 2005
  • A Century of Model Animation: From Méliès to Aardman, by Ray Harryhausen and Tony Dalton, 2008
  • Ray Harryhausen: A Life in Pictures, by Tony Dalton, foreword by George Lucas, final word by Ray Bradbury, 2010
  • Ray Harryhausen's Fantasy Scrapbook, by Ray Harryhausen and Tony Dalton, foreword by John Landis, 2011
  • Ray Harryhausen - Master of the Majicks, an exhaustive limited edition three-volume set of books by Mike Hankin showcasing Harryhausen and his films (release of Volume 3 is currently pending).

External links

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