One Mans Incredible Odyssey
Here’s the latest from the Archives of Matte Shot …
With todays article I’ve decided to cover the truly outstanding visual effects and design work from one of the single most influential and remarkable pieces of cinema of the twentieth century – Stanley Kubricks’ 2001-A SPACE ODYSSEY (1968) – a film that just gets better and better with the passing years. I’ll admit to not always being a fully fledged, card carrying fan of the film. I initially saw it around 1974 as part of a very lengthy double bill at the Capitol Cinema in a suburb on Auckland, paired up with the brilliant Michael Crichton penned sci-fi thriller THE ANDROMEDA STRAIN (1970). I’ll admit the Kubrick film left me somewhat cold and utterly bewildered – being a mere teenager at the time I could more easily identify with the latter film and absolutely loved that Robert Wise helmed picture. I recall my filmgoer mates on that fateful day – sci fi buffs one and all – being bemused at my obvious lack of ‘involvement’ in the Kubrick film, with one of them, a friend named Norman Burns saying to me: “What did you expect… a monster to rise up from behind those moon rocks at any given moment?” Well, quite frankly, ‘yes’ I sort of did, having been raised on a diet of many bug eyed monster flicks and all the rest of it, as decreed by the Lord of all such entertainments, the great Forrest J.Ackerman, whose journal I read religiously…
…Read the Full Article @ Matte Shot…
Matte Shot – a tribute to Golden Era & Traditional Special Effects is a tribute to the artistry and ingenuity of traditional matte painters, this collection celebrates the hand‑crafted movie magic that once shaped cinema — from grand, epic vistas to invisible effects even seasoned viewers might miss. It’s designed for both casual fans and dedicated enthusiasts, offering a renewed appreciation for skills largely forgotten today. I’ve also reached deeper into the Matte Shot archives to bring even more of this remarkable work forward, and I hope you enjoy the journey as much as I do.
