The Wizard of MGM: Memoirs of A. Arnold Gillespie

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Byrne, FJ (2008) [2005]. "Ireland and Her Neighbours, c.1014–c.1072". In Ó Cróinín, D (ed.). Prehistoric and Early Ireland. New History of Ireland (series vol. 1). Oxford: Oxford University Press. pp.862–898. ISBN 978-0-19-821737-4. The miniatures were also and separately filmed “head on,” to be shown – in the distance – as they approached the Haunted Forest and immediately terrified Dorothy and her friends. The live-actor monkeys did the actual flying into and landing on the set; after they captured the Kansas girl and her pet, laid waste to the Scarecrow, fought with the Tin Man, and scared the poor Cowardly Lion into submission, they soared upwards again. But their retreat across the remote sky was again performed by the manipulated rubber crew, operated not unlike some varying contingents of marionettes. Letter E, Column 157". The electronic Dictionary of the Irish Language (eDIL). Archived from the original on 6 December 2014 . Retrieved 30 November 2014. My favourite matte in the whole film and one of the most stirring mattes - not to mention scenes - ever!

Being rather small in dimensions, the MGM mattes were executed on tilt down draftsman's tables rather than on studio easels as elsewhere, with the Metro artists seated close to the piece rather than standing and applying paint with a long handled brush. Almost all were rendered on heavy duty card or in some cases hardboard (or masonite as they call it in America). The Parisian common folk are pretty much fed up with the state of things and the powder keg is about to explode... Let them eat cake"... The jig is most definitely up. Upper wall, cornices and ceiling painted in. Matt Yuricich said it wasn't unusual for the artist to jokingly draw in weird, rude things like dogs screwing etc into detail such as this. Lee LeBlanc did it apparently and so did Howard Fisher at times!Owen, RC (1993). The Modern Gaelic-English Dictionary. Glasgow: Gairm Publishers. p.138. ISBN 1-871901-29-4. Not sure on this one. The ceiling and tops of the flags sure look painted but that foreground suspended fixture has me baffled? The revolution gains momentum though it becomes quite clear fairly soon that the whole gig gets somewhat out of control. He is also in need of a better editor and a graphic designer. The book cover design, its execution, and its eye-assaulting colors are amateurish and abysmal. This is usually the case when an author "knows a friend" who is handy with Corel Draw. That's a cheap way to whip up a book cover, right? Never get friends to design book covers. Hire a pro, as Gillespie always advocates in hid book. He should have followed his own advice when he needed to publish his book. I am embarrassed for the old chap.

I should also add that this month’s video about the flying monkeys contains a happy mash-up of pictures of both the live-actors and the miniatures, regardless of audio narrative. We realize that any Oz fan can tell the difference, but we wanted to show a lot of images -- contrasting both “real and rubber” -- as we celebrated Buddy’s contribution. 😊 The production is first rate though not as 'glittering' perhaps as MARIE ANTOINETTE, with TALE having a somewhat darker edge to it out of necessity. Far less need here for the gauzy soft focus modelled lighting upon the female lead as was deemed important for the former film. The two journeys were made in May and October 2017, and the Fine Arts company summarized their assignment in the following words: "Conservation treatment of the two flying monkey props from THE WIZARD OF OZ film, [including] stabilization, repair, aesthetic compensation, and mounting for display in custom-fabricated cases." As can be seen by the images in this month’s video blog, the miniature monkeys are now permanently stored in a case in Wamego that insures both climate control and limited exposure to the elements. As Clint sagely comments, “This is the ideal means of extending their lives, especially as they were not made to last. It’s always important to realize – or to be reminded – that these things were built for a single purpose, more than eighty years ago.” Gillespie ( / ɡ ɪ ˈ l ɛ s p i/ ghil- ESP-ee) is both a masculine given name and a surname in the English language. Variants include Gillaspie and Gillispie.

Many thanks for exploring our new 2021 approach to blogging! Comments are always welcome – and there are numerous TREASURES FROM THE OZ MUSEUM to come! Not sure here...possibly a genuine production shot ... or may have had that wonderfully deliberately distorted columnal perspective added in later? Whatever, it looks cool. MGM's Newcombe matte department circa 1940 with the large roster of artists, cameramen and technical specialists. *Photo courtesy of Craig Barron's indispensable book The Invisible Art - The Legends of Movie Matte Painting. The MGM collection of matte artists were especially adept at might be termed technical illustration. Albert Arnold " Buddy" Gillespie (October 14, 1899 – May 3, 1978) was an American cinema special effects artist. [1] Biography [ edit ]

Gillespie married Nell Hill in 1944. She died in 2000. They had one child, Thomas Scott Gillespie (1944–61). A. Arnold was previously married to aviator Ruth Elder, with whom he had a son, William Trent Gillespie (1940–2008). The dreaded and much feared Bastille - the very symbol of oppression. Virtually all matte art here with just the main square and the crowd being actual. Apparently these sequences were directed by Val Lewton and Jacques Tourneur Both films were products of the extremely well resoursed and substantial studio facilities that were MGM, undoubtedly the envy of all of the other studios in Hollywood at the time and for years to come. MGM were theprestige production house for grand, opulent motion pictures where it seemed, money was no object. MARIE ANTOINETTE in particular was a Rolls Royce production all the way, and it looked it - beautifully photographed by William Daniels - with uncredited work by George Folsey and Leonard Smith; stunning vast sets by the legendary Cedric Gibbons and an all star cast to boot. Norma Shearer, the sister of MGM's chief sound department man Douglas Shearer, looked the part as the doomed Marie, and although a little shrill at times she was generally excellent, especially in the second half of the two and three quarter hour epic. Tyrone Power is the dashing though not entirely necessary love interest, with not a lot to do. Reginald Gardiner is sensational and practically oozes venom from every pore of his skin with each scene he's in, though it really is the great Robert Morley, as the fragile and somewhat effete King Louis who absolutely steals the show hands down with a beautifully nuanced, multi layered performance which would earn him (and Norma Shearer) Oscar nominations.

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Hello friends and fellow aficionados of the lost artform of the traditional matte painter. This issue we will be taking a look at two of my favourite Golden Era Hollywood motion pictures that both fit the bill inasmuch as being top shelf prestige productions as well as each being beautiful examples of the matte painter's skill from an era long since passed. Both of today's films were important Metro Goldwyn Mayer pictures from the 1930's, MARIE ANTOINETTE made in 1938 and A TALE OF TWO CITIES made in 1935. A. Arnold Gillespie". International Dictionary of Film and Filmmakers . Retrieved 2010-10-28. Special Effects Technician and Art Director. Nationality: American. Born: A. Arnold Gillespie in El Paso, Texas, 14 October 1899. Education: Attended Columbia University, New York; Art Students League, New York. Career: 1922–24 – assistant art director at Paramount; 1924–36 – art director, MGM; 1936–65 – head of MGM's special effects department, working on some 600 films. Awards: Academy Award for Thirty Seconds over Tokyo , 1944; Green Dolphin Street , 1947; Plymouth Adventure , 1952; Ben-Hur 1959; Technical Award, 1963. Died: 3 May 1978.

And two of these Roman galleys which first appeared in "Ben-Hur: A Tale of the Christ" (1925) and then were reused in "Ben Hur" (1959) have appeared again: He was born on October 14, 1899, in El Paso, Texas. Gillespie joined MGM as a set designer in 1925, a year after it was founded. He was educated at Columbia University and the Arts Students League. His first project was the silent film Ben-Hur: A Tale of the Christ, released that same year. He worked at the studio in various capacities until 1962. In 1936, he became the head of MGM's Special Effects Department. [2]This picture was actually the fourth version to be made, with at least another two to come later on. The J.Arthur Rank version in the late 1950's with Dirk Bogarde was quite good, though quite poor as far as the matte work went. Chief Bill Gillespie, in the novel In the Heat of the Night and its film and television adaptations