|
... It wasn’t only
mattes Cliff created; he was also heavily involved in a number of
optical shots including Goldfinger's infamous laser. Not that this
was down as an optical shot initially.
“They brought in this prop laser originally saying that they didn’t
want trick shots or opticals. I must say it looked quite nice. The
model-maker that had made it had done a good job. There was a hot
wire from the nozzle to the bench, which glowed, and it did look
good ….in an ordinary room. As soon as we took it on to the set and
Ted Moore, the director of photography, put some lights on it, you
couldn’t see a thing. So in the end they shot it bare and I put the
red laser on optically afterwards. Bert Luxford, a special effects
technician under the table, provided the flame with an acetylene
torch. Sean was very nervous that day.”
I’m not surprised, one slip and it could have been 'Jane Bond,
licence to shrill'. Cliff continued, “We did a lot of optical work
on that film including the laser cutting around the door to Fort
Knox. I enjoyed that picture. We had a lot of fun.” ... |
