With the historic reboot of Doctor Who in 2006 and all of Russell T. Davies and Steven Moffat’s world building since then with Christopher Eccleston, David Tennant, Matt Smith and their five companion voyagers– what if the creators have been holding back? What if we haven’t seen nothin’ yet, if all these great science fiction episodes were all leading up to the real payoff with the 12th Doctor? I got that feeling last night with only the second Doctor Who episode of the season. This new Doctor is here to stay, and the writers are driving full steam ahead, plunging Clara (Jenna Coleman) and the Doctor straight into the darkness without giving us a chance to breathe.
We’ve heard it before: Resistance is futile. But this time the phrase is not about Star Trek and the futility isn’t about we humans, as the new Doctor stumbles into his latest encounter with one of his most hated borg nemeses: The Daleks. With “Into the Dalek” Steven Moffat has created what I am sure we’ll look back on as an episode up there with the David Tennant episodes “Waters of Mars” and “Silence in the Library” or Matt Smith’s “Cold War.”In only his second outing as the Doctor, Peter Capaldi is already comfortable in the role he was destined to play since his days sending fan letters to the BBC as a young boy. With last week’s season opener “Deep Breath,” we were introduced to Capaldi’s Doctor in a typical Doctor Who post-regeneration episode–part with the Doctor learning to “love the skin he’s in” while also getting a taste of how his companion is going to adapt, wrapped in a Tanagra/El-Adrel IV story.
You might think you’ve seen it all with five Alien feature films featuring the vile and merciless Xenomorphs. You might really think you’ve seen everything about Warrant Officer Ellen Ripley from the spaceship Nostromo. Ripley, the tough-as-nails heroine of the franchise played by Sigourney Weaver, was the lone human survivor of Alien (1979), and she led the charge against a Xenomorph attack in the sequel Aliens (1986), to come back again after her escape pod crashes onto a penal colony planet in Alien³ (1992), and finally return 200 years later as a human/Alien, Terminator-inspired hybrid clone in Alien: Resurrection (1997). Ripley is on so many best-of lists, like Best Action Heroine and Top 100 Best Genre Character, that it’s impossible to count. Ripley didn’t make an appearance in either Aliens vs Predator (2007) or Ridley Scott’s return to the Alien universe in 2012’s Prometheus, but has appeared in various incarnations in comic book spinoffs. Well you haven’t seen the last of Ripley. To quote the series’ often used tagline, The bitch is back.
A new trilogy series begins later this month, with Tim Lebbon’s Alien: Out of the Shadows. Surprisingly it bridges the period between Alien and Aliens. That’s right, Alien: Out of the Shadows pulls apart what you think happened to Ripley between entering into her deep stasis sleep at the end of Alien and her rescue from that sleep at the beginning of Aliens. And Lebbon does it in a way fans of the series might not flinch at. More importantly he takes Ripley on a nonstop, perilous mission that is as engaging as the grittiest and most exciting scenes in the franchise, the military mission in Aliens.
Chris “Hoop” Hooper works as chief engineer on a mining vessel called the Marion, as part of a Kelland Mining Company search for a rare metal called Trimonite. Kelland is, of course, a subsidiary of Weyland-Yutani—the company that controls everything in the future. Without wasting any paper, Lebbon catches us up with the Marion as two mining vessels go out of control in response to an invasion by certain familiar space “monsters.” The ships ram the Marion–limiting anyone’s chances at survival, at ever leaving the orbit of the seemingly unextraordinary planet below, and causing the Marion to slowly descend to be burnt up in the planet’s atmosphere. Jordan is the Marion’s experienced captain (and Hoop’s former love interest), Lachance is a level-headed pilot but he’s a pessimistic sort, Josh Baxter is the ship’s communications officer (and makes a good cocktail), Karen Sneddon is a hardened, intelligent science officer, Garcia is the nervous medic, and Kasyanov the doctor, with Powell and Welford engineers that keep the Marion’s crew alive for more than eleven weeks until Ripley’s shuttle auto-docks with them, 15 days before they predict they will get too close to the planet and burn up.
If you ever had an inkling to go to film school, if you are going to film school or if you teach film courses, Richard Rickitt’s Special Effects: The History and Technique should be required reading. Not only is it a comprehensive work about the history and craft of special effects, it is a detailed account of the history and progress of film, and could serve as a college textbook to a master class in film technique. And it is also a history of science and technology in its own right.
Rickitt’s Special Effects is a well-reviewed work, which is why it was purchased for me as a gift. It is used as a college text in film schools and for good reason. It has seen several printings since its first printing in Great Britain in 2006, including a reprint as recently as 2011, and it is as current as a nearly 400-page volume can be, including new effects technologies employed as recently as the Lord of the Rings films and X-Men 3.
Because of its price, Special Effects may not be for the casual movie enthusiast–but only because of price–as it can cost $40 for older editions and up to $230 for the most current edition. Yet if you are really interested in behind-the-scenes cinema, it is probably worth saving for, and if you’re a college student, just slip it into your current semester’s $800 book purchase (at least that’s what I spent on each of my last few semesters for books and I can’t imagine prices have dropped–plus this book is actually a fun read you’ll hold on to). It’s breadth is enormous, with both general and detailed coverage of landmark people and technologies from George Melies to Willis O’Brien and Ray Harryhausen to Industrial Light & Magic to Pixar and Weta. Although it purports to cover merely Special Effects, in truth it covers the beginning of film and every technology that was created since, building upon each discovery and new invention to bring us to the complex CGI technologies of today.
This is far from a quick read, and will likely serve as a reference work or one you pull off the shelf from time to time when you need something exciting to read of the non-fiction variety. I mentioned college text–Rickitt is a good teacher, clearly explaining in terms anyone can understand not just the “what” but the “why” and “how” of benchmarks in film with visuals and diagrams, including explanations of the role and use of technologies like the zoetrope, the parts and functions of the modern movie camera, the history and types of film recording materials, matte film, blue-screens, film printing, optical and digital compositing, the A to Z of film projection, post-production techniques like image interpolation, the use of mirrors, forced perspective and miniaturization, pyrotechnics, cloud tanks, models, motion-control photography, digital and procedural modelling, texture mapping, special effects animation, rotoscoping, 3D technologies, motion blur, digital skin, performance capture, particle systems, high dynamic range images, match moving, rendering, the A to Z of matte painting, props, make-up, prosthetics, animatronics, sculpting, inner mechanisms, performance systems, digital make-up, atmospheric effects, breakaway effects, sound recording, sound effects mixing, foleying, dialogue replacement, and the future of film technologies.
A diagram from Rickitt’s Special Effects: The History and Technique
The author uses hundreds of photographs and provides real-use examples from movies to explain techniques. Detailed analysis is used for movie benchmarks Rickitt has identified, including The Abyss (1989), The Birds (1963), Aliens (1986), An American Werewolf in London (1981), Blade Runner (1982), Citizen Kane (1941), Close Encounters of the Third Kind (1977), Darby O’Gill and the Little People (1959), Destination Moon (1950), Earthquake (1974), The Exorcist (1973), Fantastic Voyage (1966), Forbidden Planet (1956), Forrest Gump (1994), Jason and the Argonauts (1963), Jurassic Park (1993), King Kong (1933), King Kong (2005), The Last Starfighter (1984), The Lord of the Rings trilogy (2001-2003), The Lost World (1925), The Matrix trilogy (1999-2003), Metropolis (1926), Mighty Joe Young (1949), 1941 (1979), Raiders of the Lost Ark (1981), all six Star Wars films (1977-2005), Terminator 2: Judgment Day (1991), The Thief of Baghdad (1940), Things to Come (1936), Titanic (1997), Toy Story (1995), Tron (1982), 20,000 Leagues Under the Sea (1954), 2001: A Space Odyssey (1968), The War of the Worlds (1953), Who Framed Roger Rabbit (1988), Willow (1988), and Young Sherlock Holmes (1985).
You’ll learn about ambient occlusion, beam splitters, cannon cars, color separation, depth of field, diffuse reflection, dissolves, dubbing, edge detection, emulsion, extrusion, fluid dynamics, go-motion, introvision, the Lydecker technique, morphing, NURBs, plates, ray tracing, squibs, time-lapse and time slice photography, wipes, zooms and zoptics.
An early edition of Rickitt’s book–note that earlier versions will not have the most up-to-date coverage of current technologies. The version shown at the top of this review is the most recent edition.
And along with the “what” and “why” Rickitt profiles a “who’s who” of landmark film creators, including Georges Melies, Mack Sennett, D.W. Griffith, James Whale, Alfred Hitchcock, George Pal, Roger Corman, Irwin Allen, George Lucas, Steven Spielberg, James Cameron, Robert Zemeckis, Peter Jackson, Dennis Muren, John P. Fulton, Linwood Dunn, Richard Edlund, Dennis and Robert Skotak, Arnold Gillespie, Theodore and Howard Lydecker, Gordon Jennings, John Dykstra, Steve Gawley, Lorne Peterson, Willis O’Brien, Ray Harryhausen, Phil Tippett, John Lasseter, Norman O. Dawn, Albert Whitlock, Peter Ellenshaw, Lon Chaney, Jack Pierce, Stan Winston, Rick Baker, Ken Ralston, Cliff Richardson, Michael Lantieri, Jack Foley, Ben Burtt, Gary Rydstrom, and the Carboulds.
But you don’t need to look at Special Effects: The History and Technique as a dense book of facts. Pick it up now and then and enjoy reading the book in 4-5 page stints and you’ll become an expert in film in no time, or just be amazed at how the magic of film works.
In only his second outing as the Doctor, Peter Capaldi is already comfortable in the role he was destined to play since his days sending fan letters to the BBC as a young boy. With last week’s season opener “Deep Breath,” we were introduced to Capaldi’s Doctor in a typical Doctor Who post-regeneration episode–part with the Doctor learning to “love the skin he’s in” while also getting a taste of how his companion is going to adapt, wrapped in a Tanagra/El-Adrel IV story.
should be required reading. Not only is it a comprehensive work about the history and craft of special effects, it is a detailed account of the history and progress of film, and could serve as a college textbook to a master class in film technique. And it is also a history of science and technology in its own right.
