The Wizard of MGM: Memoirs of A. Arnold Gillespie
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The Wizard of MGM: Memoirs of A. Arnold Gillespie
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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: 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. 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. 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).
Owen, RC (1993). The Modern Gaelic-English Dictionary. Glasgow: Gairm Publishers. p.138. ISBN 1-871901-29-4. Special Effects 1945: They Were Expendable – Photographic (with Donald Jahraus and R. A. MacDonald) 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] Above: As the Tin Man said to the Scarecrow after the flying monkeys took him apart in the Haunted Forest: “Well, that’s you all over.” These are the pre-restoration pieces of the rubber monkey miniature from the collection of Friar Johnpaul Cafiero – one of thousands of items he has shared with The OZ Museum. The photograph was taken on April 4, 2017, as the conservation and reclamation of the piece was about to be launched.]
Actress in a Supporting Role
MARIE ANTOINETTE was of course based upon historic fact and, even with some opulent Hollywood flourishes was probably reasonably close to the actual events of the time, being the grass roots people power revolt in late 18th Century Paris which resulted in the downfall of the extremely unpopular Monarchy of King Louis XVI and his consort, the aforementioned Marie Antoinette - Queen of all she surveyed. The groundswell of popular unrest would see both figures not only unceremoniously de-throwned and imprisoned, but ultimately tried and executed by way of that most French of industrial modes of dispatch, the feared guillotine. Special Effects 1944: Thirty Seconds Over Tokyo – Photographic (with Donald Jahraus and Warren Newcombe) [8] Cedric Gibbons was Production Designer and although the picture had no credits for special effects it's most likely that James Basevi was in charge here. British born Basevi was hired by Cedric Gibbons in the late 1920's initially as an art director and then to head up the studio's special effects department, a position he would hold until the late 1930's overseeing the visual effects work on big films such as TARZAN THE APE MAN and SAN FRANCISCO. James would depart MGM in 1937 for Samuel Goldwyn Studios and then United Artists where he would supervise the effects on films such as HURRICANE. Basevi was assisted by a young Buddy Gillespie who would take over the department upon James' departure and continue on with astonishing levels of success for the next 28 years. 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. 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. 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.Chief Bill Gillespie, in the novel In the Heat of the Night and its film and television adaptations 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. a b MacLysaght, E (1996). More Irish Families: A New Revised and Enlarged Edition of More Irish Families, Incorporating Supplement to Irish Families, with an Essay on Irish Chieftainries. Dublin: Irish Academic Press. p. 109. ISBN 0-7165-2604-2. Accessed via Open Library. 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!
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