My latest video: A look @ the 1994 Street Fighter movie, how its adaptation met the expectations of teenagers like myself, at the time, & how it "plays" now. Includes development & making of. Big thanks: @OllieH82@danieldmoses@TheManFrowns@Marc_V_Price
https://t.co/sa9VlhekBd
@oceanwavesbob@Stunt_ManMik3 The motion control was by the company Arkadon, who came in during post-production, under Brian Johnson, to help the Skotaks. Miniature build by Peter Aston Models, detailed by Pat McClung. I understand that The Skotaks/Johnson worked collaboratively/whoever could get what done.
The Monster Club (1981)
Suzanna Willis goes from sultry striptease to hand-painted skeleton dance in one seamless, jaw-dropping transition. Practical effects, matte work, and animation done right. Peak cinema.
As shown, the shot design is perfect, including the production design. The room looks cosy & intimate on screen, but it's a large, built set; a series of horizontal, proscenium arches for the anamorphic frame, with smaller horizontal backgrounds for various compositions within.
๐ฅRAIDERS SHOT DESIGN๐ฅ
Spielberg turns a cramped living room into 96 seconds of continuous cinematic choreography. A single moving shot gives Indy and Brody close-ups, wide shots, movement, exposition and visual variety without a single cut. Super elegant visual storytelling.
@Bigbird96 There's a Spider-man inspired Darkwing Duck episode called Aduckyphobia, and the background art for that feels similar to this angular style:
https://t.co/tTHsSq1Jgs
Here are some examples of classic Spider-man inspired scenery, seen throughout the whole of Darkwing Duck episode Aduckyphobia. The angular artwork and limited blue colour pallette is playfully reminiscent of the 1960s animated Spider-man and comics. #darkwingduck
@JosephKahn It's interesting that Lifeforce from a few years later has a lot of style very similar to Poltergeist, and by the way has some of the best anamorphic blocking and camera movement of any movie (also JDC scope). Strobes & lens flares never looked scarier than on these films.
Deniece Williams began a two week run at #1 on the U.S. Billboard singles chart with "Let's Hear it for the Boy" on this day in 1984.
The second #1 single from the bestselling "Footloose" soundtrack, "Let's Hear it for the Boy" would also be nominated for an Academy Award and two Grammy Awards.
The popular song was written by Dean Pitchford and Tom Snow (who also wrote "Footloose"), with background vocals performed by future Boy Meets Girl members George Merrill and Shannon Rubicon.