A magnificent and extensive matte shot possibly painted by Fitch Fulton as the spindly branches look like his work. The live action element is just a tiny strip of dirt road with actor. Beautiful hi-rez frame grab.
I had a few hiccups with the first part of my Cosgrove "GWTW" tribute post, though now I can continue I hope. There are so many wonderful effects shots in "GWTW" that it will take several postings to cover all that I want to - which is a fair bit.
above - Cosgrove with the then state of the art high luminance process projection system
above - art director Lyle Wheeler with Selznick and pre-production paintings specific to planned matte shots
The great William Cameron Menzies - production designer and visionary to "GWTW" and many other pictures.
|A soft split just above Scarlets' head seperates Menzies set from Cosgroves' wall & ceiling.|
|One of the many ceilings added by the matte artist. Common in GWTW was the use of an oval-arch shaped soft matte which is often not where you'd expect to see it. This one comprises painting much of the fluted columns as well as the ceiling.|
|A multi-part composite by Clarence Slifer. Partial backlot set with fake train engines. Roof, sign, background added by Cosgrove and smoke added optically on Slifers' aerial image optical printer set up.|
A rare job sheet from Cosgroves' matte dept detailing progress and descriptions on some 46 of the many more mattes and composites.
|above - Amateur historian and key conceptual artist Wilbur Kurtz with one of the large oil pre-production paintings executed for GWTW.|
|The wrap party - left: Jack Cosgrove, middle: assistant director Ridgeway Callow and right: William Cameron Menzies all justifiably proud of their contributions to 'the biggest film of all time'.|
|Ceiling and upper part of the walls in all painted in invisibly - very common trick to conceal lights and rigging in pictures for 40 odd years.|