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Sunken treasures await your re-discovery: Blog 2016
"I always keep my word, I'll send him right where he told me to go ...HELL!"
November 2017
This Blog will be offering a colorful kaleidoscope of movie magic for cinema aficionados.
Crispy peanuts, thin-skinned baloons and thrilling sensations on celluloid.
See offbeat goodies and magic crumbs ...weekly!
The Reality behind the Fantasy!
No inflated endlessly long stories, but short and crisp. 
'This is Helmet time!'
Photos beat content!

The Master Criminal Fantomas is back, planning new operations out of an elaborate and stylish underground volcano hideout.
This striking headquarter of Fantomas, a smart Studio Set (Paris Studios Cinéma à Billancourt), was built by Set Decoration genius 
Max Douy ('Moonraker') in collaboration with his brother Jacques Douy and Henri Sonois.
A nice movie for friends of outstanding film architecture and stage designs.
Clear structures, lines and patterns. A good combination of colors and wonderful illumination.
The Lobby of a futuristic first class Hotel? I'd like to make a reservation!
Color sketch of the French Set Decorator, Production Designer and Art Director Max Douy (1913–2007).
An impressive Studio Set positioned on a platform to hide the secret 'elevators'.
On the ceiling, places were left open for the better illumination of the performers.
Look at the very high quality design furniture. 
Coolness and elegance: Fantomas! A Master Criminal of course has other financial options.
The leather couch has a little resemblance to a model of Preben Fabricius & Jørgen Kasth.
Does anyone know more about the furniture? The armchairs (left) are quite iconic!
Kodak Transparency.
Screenshot - The underground laboratory of Fantomas.
The Lab, another coooooool Set of design wizard Max Douy.
Sketch of the shapely Lab Set by Max Douy.
Clear, simple and yet brilliant. A Set of an awesome power!
Kodak Transparency.
'Fantômas se déchaîne' (1965). 
The best thing about the movie are the sets ...and the incredibly impressed Commissioner Juve (Louis de Funès), 
sexy but snow-white Mylène Demongeot and Jean Marais.
Soon more of Art Director Max Douy as part of our behind-the-scenes story on 'Castle Keep'.
Max Douy designed the 'Disney World' castle and so much more for the great Sydney Pollack flick.

French helpers carry a good replica of a rock to the beach for a battle scene in 'The Longest Day'.
These mock-up rocks were built by Sam Gordon and his prop department.
They were taken to the beach on trucks and then put in position.
The well-known property master Sam Gordon (1913–2008) handled the stage props and 'on location' props for a long
list of interesting movies.
Including many great winners and some wonderful cucumbers.
B-Movie flicks ('World Without End', 'Queen of Outer Space'), western films ('The Magnificent Seven', 'Villa Rides'), 
epics ('The Agony and the Ecstasy') and many more.
Sam Gordon made props for 'The Devil's Brigade' and the Science fiction hit 'Close Encounters of the Third Kind'.
For 'Avalanche Express' he built a train mock-up on a trailer.
Countless U.S. Ranger dummies were built by the props crew for the cliff and beach action sequences.
This dummy here is on a special mission and was wired by the Sp/Fx guys with explosive charges.
Sam Gordon was also responsible for the 'Rupert' doll, designed by Charles-Henri Assola.
But 'Rupert' was only one of thousands of props that prop-master Sam Gordon had to either find or create for
'The Longest Day'. 
A lot of the different type guns and thousands of rounds of blank ammunition were hand-manufactured.
The most important construction job for the picture was done at the little fishing village of Port-en-Bessin 
where General Zanuck filmed the French attack against the fortified Casino that once stood at Ouistreham. 
The three-story building was reconstructed in detail for this great battle scene in the film, 
much of it photographed from helicopters.
See more of Sam Gordon here: Pointe du Hoc.

Your comments are always welcome!
Trust me, I know what I'm doing. Sometimes.

'Robinson Crusoe on Mars' (1964) is a pretty interesting Sci-Fi film directed by Byron Haskin (1899–1984) 
and starring Paul Mantee, Victor Lundin, and Adam West. 
Behind the farcical title hides a pretty straight science fiction adventure with a simple story and groovy visual and physical effects work.
Director Byron Haskin was the Supervisor of special effects at Warner Brothers during the 1940s before he 
directed Sci-Fi flicks like 'The War of the Worlds' and 'Robinson Crusoe on Mars'.
The Special Effects on 'Robinson' were handled by Lawrence W. Butler (1908–1988), a true special effects veteran himself.
The colorful visuals (matte paintings) and the impressive montage was done by Albert Whitlock and Farciot Edouart.
Available on blu-ray.
Paul Mantee (Commander Christopher "Kit" Draper) is beeing prepared for another hot 'Death Valley' scene.
The black and relatively heavy costume was hardly suitable for the endless hikes through the rough landscape 
that Director Byron Haskin found at Zabriskie Point (Death Valley).
A great choice and a matching Martian landscape!
Cinematographer Winton C. Hoch (1905–1979), once hailed as one of Hollywood's premier color cinematographers, 
has certainly filmed at more comfortable locations during his long career.
Here we see him climbing to the chosen camera position in the hazardous terrain of Zabriskie Point.
Winton C. Hoch has often worked for director John Ford ('The Searchers') and Irwin Allen ('Voyage to the Bottom of the Sea').
He was the DOP for the legendary controversial John Wayne epic 'The Green Berets' that no one likes. What a movie!
We at www.moon-city-garbage.agency love it! A behind-the-scenes report is in progress ...!
The brush of Albert Whitlock transforms the Death Valley locations and Studio Sets into a motley Martian landscape.
The rocky studio sets were designed by the Art Direction crew, Arthur Lonergan, Albert Nozaki and Hal Pereira.
Albert 'Al' Nozaki (1912–2003), holding a prototype maquette of his iconic Martian War Machine ('The War of the Worlds'), 
constructed the Alien Spaceship miniatures for 'Robinson Crusoe on Mars' which bear a remarkable resemblance to 
the menacing Martian war machines.
A pretty awesome design ...good for more than one movie!

Many diehard Steve McQueen fans and other Hipsters are hell-bent on discovering great Art in this movie.
But 'An Enemy of the People' is only a sluggish tale about a man who stands up for truth in the face of adversity.
Hooray, finally something completely new!
Great! I'll laugh about it tomorrow.
Director George Schaefer (1920–1997) has a brutally boring concept, offered at a tiring slow pace.
The passion project for Steve McQueen (1930–1980) crashed mercilessly.
Nobody wanted to see the long beards.
The courageous film is at no point exciting or rousing. 
A deadly mix for the box office, colorless and hardly entertaining.
I like to be entertained.
A small town drama that does not want to entertain, that's pretty brazen.
Mission not accomplished!
Director George Schaefer and Steve McQueen on the set of 'An Enemy of the People'.
Robin Pearson Rose and Steve McQueen listen as Director George Schaefer explains how he wants a scene 
done in Henrik Ibsen's 'An Enemy of the People'.
Everything was better in the old days. 
The movie poster of 'An Enemy of the People' is dramatically paltry (0/10).

'Flight of the Navigator' is a highly entertaining Disney family movie directed by Randal Kleiser.
The Science-Fiction Adventure shows some great old school visual and optical effects and 
80's innovations like the 'reflection mapping' to provide digital gloss for the Spaceship.
Back in the 80's it was quite a challenge to create the chrome ouster surface of the Trimaxion Drone Ship.
A ground-breaking reflection mapping software was developed for this purpose and later used in the
'Terminator' series.
The Alien passengers on the Trimaxion, like the Puckmaren, are perfect funny Extras.
Max and the Alien creatures were puppeteered by Tony Urbano ('The Abyss', 'Men in Black').
The 'Navigator' VFX show (reflection-mapping, shape shifting, 'photo-real' CGI, stop-motion animation,...) 
certainly no longer corresponds to today's possibilities, but will never lost it's charme.
The design of the spaceship came from the production designer William J. Creber, a very talented Designer 
and Art Director.
Bill Creber worked for several Irwin Allen Shows, the 'Planet of the Apes' series and many feature films ('The Detective').
Steve Austin was in charge of the exterior construction of the Ship.
He built two full-scale spaceship hulls used in most of the shots throughout the film. 
One with an open entrance, the other sealed.
The hulls were constructed out of thin, curved sheets of wood over a metal framework and finished with primer and 
reflective paint. 
For the cheerful scenes of the landing in Florida (see Screenshot above) they used the Ship with the open entrance.
The jolly film is available on blu ray.
'He said he wants to phone home!' - The funny 'E.T.phone home!' scene on a German Lobby Card.
Filming the landing in Florida - Al's Gator City.
You can see how they hold the Spaceship in position invisible to the camera.
The spaceship seems to float, a perfect illusion.
The model scenes in close connection with the CGI (flying ship) scenes are pretty nice.
The movie was the world's first big feature film to use environment mapping, 
creating the illusion of a chrome object occupying a live-action frame.
The Trimaxion Spaceship (hull) was displayed on the Studio Backlot at Disney's Hollywood Studios for quite some time.
Inside of the Trimaxion Ship - David with the Alien Creatures.
The interior of the spaceship was built by 'The Design Setters' ('The Abyss', 'Con Air')- Studio Set.
German Lobby Card.

In 1957, 60 years ago, was the premiere of the André Cayatte revenge drama 'Oeil pour Oeil' (1957-2017) 
and we still wait for a decent release of the straightforward movie.
The Gaumont (on demand) DVD is better than nothing but certainly not perfect.
The plain but forceful story drives us into a dust-dry desert environment.
The dehydrated lunar landscapes and the intensity of the characterisation are pretty captivating.
Big color pictures of Cinematographer Christian Matras (1903–1977) and excellent performances of 
Curd Jürgens and Folco Lulli, lost in the desert.
Director André Cayatte (1909–1989) found his 'relentless hell' in Southern Spain, 
the 'Desierto de Tabernas' near Almeria.
Years later a hot spot for the filming of 'Spaghetti Western'.
The German patterns for advertisements are designs of the famous movie poster artist Bruno Rehak (1910-1977).
I like the illustration of Curd Jürgens. One can see that he left his comfort zone.
Two men in the desert. Everything is still fine, but the desert is slowly drying them out.
Curd Jürgens and Director André Cayatte on location in the desert of Tabernas.
Director André Cayatte talks with Folco Lulli. 
It's dusty, the air is dry, a cool drink would be great. 
André Cayatte and his DOP Christian Matras filming a scene for 'Oeil pour Oeil', Rambla Indalecio, 1956.
On the right my comparison photo of 2009.
Just in time for the 50th anniversary of the film, 2007, I discovered the hitherto unknown location of the cable car.
This was a great day. I climbed around there with a big smile on my face.
The ropeway over the gorge was a real set and not a visual effect.
Both actors risked the bumpy ride ... and not just once.
For more informations about the 'Oeil pour Oeil' locations I strongly recommend: Almeria Legends.
Filming of 'Oeil pour Oeil'.
Director André Cayatte - Folco Lulli - Lea Padovani
'Auge um Auge' Logo by Bruno Rehak, 1957.
'Oeil pour Oeil' was in competition at the 18th annual Venice International Film Festival, 
held from 25 August to 8 September 1957. 
Here we see Curd Jürgens and Folco Lulli at the portrait of the four tetrarchs, Basilica di San Marco, Venice.
The two attended the festival together with Director André Cayatte.
Venice - Piazza San Marco - 1957
Curd Jürgens, Folco Lulli and Director André Cayatte.
Gondolieri André Cayatte navigates his main actors through the canals of Venice.
A little joke for the greedy press people ...in the hope of a good story.

'Night of the Fox' (1990) is a World War II TV Movie based on an espionage thriller by Jack Higgins (British novelist).
Director Charles Jarrott ('Condorman'), an expert for elaborate TV movies, filmed a solid drama with veterans like 
George Peppard and Michael York.
George and Michael are great actors and they both do their job well, supported by numerous good Extras.
But the movie is a bit sleepy here and there, the old socks are not so lively anymore.
So a rousing film should not be expected here, rather something cozy.
The ITV event movie was produced in cooperation with the famous Jadran Film Zagreb ('Winnetou', 'The Battle of Neretva', 
'Force 10 from Navarone', 'The Winds of War'). 
Jadran had access to much old war equipment, but little attention has been paid to accuracy.
This results in some funny moments.
Peppard doesn't care (me too!), he drinks and smokes throughout the whole movie. 
The Practical Effects work was in the hand of Paul Corbould. 
Corbould recently was the Sp/Fx Supervisor on 'Dunkirk', directed by Christopher Nolan.
'Night of the gray Fox ...with one leg in plaster' is available on DVD. Not bad.
'Night of the Fox' - British DVD

The Western movies of Director Andrew V. McLaglen are almost always good, but never really outstanding.
'Bandolero!' (1968) starts very well, with great moments, like the gloriously bank robbery of Jimmy Stewart.
But the movie loses its sweeping rhythm too fast and can not keep the good level.
Poorly staged scenes, long dialogues, in the end it gets a bit bumpy.
Dino is great as always, same with Jimmy Stewart and George Kennedy.
The young and crisp Raquel Welch always helps if you want to hide your minor problems somewhere in the background. 
She is gorgeous! 
Cool horse stunts and jumps of Joe and his brother Tap Canutt, coordinated by Hal Needham.
Cinematographer William H. Clothier ('in-house' cameraman for several John Wayne movies) shot a few fascinating 
landscapes and lots of standard compositions.
Many more veterans worked on the show. 
Nice Set Decoration by Walter M. Scott. Make-up design by Daniel C. Striepeke, Ben Nye and Del Acevedo.
All accompanied by a cool Jerry Goldsmith Score.
Another neat McLaglen Western.
Available on Blu-ray.
Raquel Welch during a break on Set for 'Bandolero!'. 
Kodak 35mm Slide.
Raquel is even more effective in her 60s crime flicks like 'Fathom' or 'The Biggest Bundle of Them All'.
Here you can see some nice pics of Raquel Welch on Set in Villamanta (Madrid, Spain) for the Tom Gries Western: 100 Rifles.
Dino looks a bit skeptical...! Do I have to put my neck in the noose?
Set Decoration by Walter M. Scott.
Kodak 35mm Slide.