Contents Batman: A Dark and Stormy Knight: After a decade of dogged development - with countless scripts proposed and abandoned - Batman finally erupted on the screen last summer amidst a frenzy of hype and merchandising that quickly propelled it high into the ranks of all-time boxoffice champions. The man who cracked the project and finally brought it to fruition was director Tim Burton who surrounded himself with a powerhouse of moviemaking talent. Costume designer Bob Ringwood was enlisted to reconfigure Michael Keaton into the Dark Knight while makeup artist Nick Dudman was similarly engaged to transform Jack Nicholson into the Joker. At the same time, production designer Anton Furst labored to conceive and construct a brooding backlot representation of Gotham City - handsomely augmented with miniatures created by visual effects supervisor Derek Meddings and mechanical gadgetry provided by physical effects supervisor John Evans. Article by Jody Duncan Shannon

Honey, I Shrunk the Kids: Backyard Odyssey: In the surprise megahit of the summer - Honey, I Shrunk the Kids - four children are accidentally reduced to a quarter-of-an-inch in height and deposited in a backyard jungle where grass and water drops and commonplace insects become horrendous life-threatening obstacles. Spearheaded by director Joe Johnston and executive producer Thomas G. Smith - both veterans of Industrial Light & Magic - the film featured a plethora of giant-size sets and props developed and supplied by production designer Gregg Fonseca and mechanical effects supervisor Peter Chesney. It also entailed a wide range of postproduction miniature and optical illusions accomplished on a shoe-string budget by stop-motion animators Phil Tippett and David Allen and by a diversity of small effects companies including Perpetual Motion Pictures, Visual Concept Engineering and Illusion Arts. The result was a minute comic fantasy on a grand scale. Article by Susan Dayton

Contents The Hunt for Red October: The Thrill of the Hunt: For their thriller, The Hunt for Red October, producer Mace Neufeld and director John McTiernan had to create not only realistic interiors for state-of-the-art Soviet and American nuclear submarines, but also convincing exterior footage of these high-tech warships in simulated underwater environments. Working with large-scale models, effects team members at Industrial Light & Magic - under visual effects supervisor Scott Squires - responded to the challenge by outfitting a cavernous new stage and employing single-pass motion control to record deep-sea submarine material in dense smoke. Article by Mark Cotta Vaz

Tremors: Beneath Perfection: In Tremors - a Ron Underwood film from a script by S.S. Wilson and Brent Maddock - four subterranean predators invade a small desert town. Hired to design and build the creatures were Tom Woodruff, Jr. and Alec Gillis of Amalgamated Dynamics. Working with physical effects supervisor Art Brewer on set, the creature crew engineered footage of fearsome monsters erupting from the ground and striking out with powerful jaws and tentacles. Later they scaled down their creations and worked closely with Robert and Dennis Skotak in the production of intercutting miniature effects. Article by Jody Duncan Shannon

Star Trek V: The Final Frontier: Sharing the Pain: With the fifth entry in the Star Trek feature series, first-time director William Shatner set about to transport the Enterprise and her crew beyond the final frontier to a place thought to be inhabited by God. Selected as visual effects supervisor for the project was Bran Ferren whose facility - Associates and Ferren - labored to produce the effects relating to the fabled God planet and the cosmic barrier surrounding it. Serving as subcontracter for the motion control model photography was Peter Wallach Enterprises and supplying most of the composite work was The Optical House. Article by Paul Mandell

Contents Total Recall: Ego Trip: When Total Recall went before the cameras - with director Paul Verhoeven at the helm - it was only after a maddening decade of rewrites and stalled development that would have spelled terminal doom for most film properties. But the concept of a man who learns that the body he inhabits belongs to someone else and that everything he remembers of his life is nothing more than a bogus memory implant was sufficiently intriguing to sustain it through a succession of starts and stops. A key player in the production was makeup effects designer Rob Bottin who provided the futuristic tale with a wide range of prosthetic and animatronic creations. In charge of the miniatures and opticals was effects supervisor Eric Brevig of Dream Quest Images. After nearly six months of principal photography and a year of postproduction effects work, Total Recall thundered onto the screen as a relentless thriller with a haunting psychological twist. Article by Paul Roberts

Back to Back to the Future: In a leap of faith and enthusiasm - bolstered by Amblin Entertainment and Universal Pictures - director Robert Zemeckis undertook back-to-back sequels to his phenomenally successful Back to the Future. Reuniting most of his original cast and crew, Zemeckis continued his time travel trilogy by whisking Marty McFly and Doc Brown thirty years into the future for a mind-boggling excursion into the paradoxes of temporal displacement and then brought the series to a rousing finale by propelling them a hundred years into the past. Supplying physical effects that ranged from compact hoverboards to giant trains was mechanical effects supervisor Michael Lantieri. Providing the less tangible film magic - multiple split-screen characters, holographic sharks and flying vehicles - were visual effects supervisor Ken Ralston and the illusionists of Industrial Light & Magic. Together they enlivened a whirlwind celebration of fantasy and imagination. Article by Jody Duncan

Contents Ghost: 'Ghost' Stories: For director Jerry Zucker, Ghost was a vast departure from the broader-than-broad comedies that had made him a bankable commodity in Hollywood. Selecting a deeply romantic supernatural thriller for his first solo outing, Zucker surrounded himself with a cadre of top-notch visual effects artisans and created a stupendous boxoffice hit. Contributing ghostly pass-throughs and otherworldly spirits - even a representation of heaven - were effects teams from Industrial Light & Magic, Available Light and Boss Film Corp. Article by Jody Duncan

Dick Tracy: Crimestoppers Textbook: For nearly six decades, Dick Tracy has been a household name. But it was not until producer-director Warren Beatty tackled a big-budget ode to his childhood hero that the saga of Dick Tracy - complete with its bizarre villains and ultra-stylized settings - was fully realized on film. Aided by makeup artists John Caglione, Jr. and Doug Drexler and by miniatures and matte paintings from the Buena Vista Visual Effects Group, Beatty imbued his production with a comic strip look all its own. Article by Glenn Campbell

Always: Playing with Fire: Captivated by childhood recollections of A Guy Named Joe, producer-director Steven Spielberg launched into Always - his own remake in which the characters were contemporized from World War II bomber pilots to modern-day aerial firefighters. Physical effects supervisor Mike Wood staged massive conflagrations on location and on studio soundstages, while Industrial Light & Magic used large-scale miniatures shot in-camera to produce the really expansive scenes requiring aircraft to barnstorm over blazing forest fires. Article by Kevin H. Martin

Contents Flight of the Intruder: Wings of the Intruder: The producers of Flight of the Intruder - a Vietnam war film about Navy pilots who embark on an unauthorized bombing mission over Hanoi - received plenty of support from the U.S. Navy. But for scenes too difficult or too dangerous to achieve with real aircraft, visual effects supervisor Mark Vargo was enlisted to orchestrate a vast comingling of radio control and wire-flown aircraft, expansive miniature settings, pyrotechnic explosions, motion control photography, cel animation and computer generated imagery. Nearly a dozen effects companies were employed in the effort. Article by Bill Norton

RoboCop 2: Clash of the Robotitans: For the second chapter in his RoboCop saga, producer Jon Davison managed to assemble almost all of his orginal effects artists. Rob Bottin produced a new robosuit and an animatronic cyborg torso, Phil Tippett directed a massive stop-motion effort, Craig Davies designed and constructed a formidable mechanized monster, Peter Kuran supplied robovision effects and Rocco Gioffre provided futuristic matte paintings. Added to the effects roster for RoboCop2 was the computer graphics firm of deGraf/Wahrman and an on-set computer graphics team headed by Paul Sammon. Article by Jody Duncan

Die Hard 2: Maximum Impact: Set within and above an international airport during a major blizzard, Die Hard 2 was a more than substantial challenge for both special effects coordinator Al Di Sarro and visual effects supervisor Micheal McAlister of Industrial Light & Magic. While Di Sarro wrestled with the problem of supplying tons of biodegradable simulated snow - the real thing was proving elusive, even in normally snowbound locations - a miniatures unit from ILM was flying and crashing gigantic airplane models in the windswept Mojave Desert. Article by Mark Cotta Vaz

Contents Rick Baker Revisited: In the seven years since our last examination of Rick Baker and his meteoric career, the still youthful makeup artist has continued to break new ground in his chosen profession. Among the triumphs of the period was the creation of a friendly Sasquatch for Harry and the Hendersons, his transformation of Eddie Murphy into an old white man in Coming to America, the development of the ultimate gorilla suit for Gorillas in the Mist and the concoction of a new batch of mogwais and gremlins for Gremlins 2. Article by Ron Magid

Through the Proscenium Arch: In the ever-evolving theme park business the latest attractions transport thrill-seekers into outer space, inner body and back in time without ever moving them off a fixed hydraulic platform. By marrying flight simulator technology with motion picture effects footage, ride adventures derived from genre epics such as Star Wars, Innerspace and Back to the Future employ high-tech visuals and sophisticated motion cues to create kinetic sensations of pulse-pounding impact. Article by Janine Pourroy

Death and Aging - A Corleone Chronicle: Spanning much of the twentieth century, the Godfather trilogy called for many of its principal players to age during the course of the narrative. Hired by director Francis Ford Coppola to effect this aging convincingly was makup master Dick Smith who was involved in all three films. Realistic bloodletting was also essential. To produce the requisite mayhem, Coppola engaged two generations of physical effects men - A.D. Flowers, Sass Bedig, Joseph Lombardi, Lawrence Cavanaugh and R. Bruce Steinheimer. Article by David Morgan

Contents Terminator 2: Judgment Day: A Once and Future War: Seven years ago, writer-director James Cameron was an unknown entity with only an ultra-low-budget horror picture to his credit, Arnold Schwarzenegger was a world-class bodybuilder with a few less-than-world-class movies under his belt and Linda Hamilton was a young actress with a number of nondescript teen roles on her brief resume. The Terminator changed all that. A landmark science fiction film whose nonstop techno-action was punctuated with rare humor and an affecting love story, The Terminator was the impetus for major career breaks across the board. In the next half-dozen years, Cameron would become one of the hottest directors in Hollywood, Schwarzenegger would become the world's biggest boxoffice star and Hamilton would become the celebrated beauty of a cult television series. Though a sequel seemed inevitable, prospects for launching one were snarled in a spider's web of proprietary interests and legal entanglements until early 1990 when Carolco Pictures stepped in and cleared the way. Eighteen months later, after a grueling six-month shoot and an intense postproduction schedule, one of the biggest films in history was ready for release. Bringing magic to Terminator 2: Judgment Day was an army of effects people - most of them veterans of earlier Cameron productions. Stan Winston and company were responsible for Terminator makeups and animatronic puppetry. Dennis Muren supervised the creation of an advanced shape-shifting terminator at Industrial Light & Magic. Gene Warren of Fantasy II provided a major truck crash and a future war in miniature while Robert and Dennis Skotak of 4-Ward Productions wreaked nuclear havoc on Los Angeles. Video Image supplied 'Termovision' point-of-view material and Pacific Data Images performed some digital rescue work. The result was an epic foray into science fiction filmmaking. Article by Jody Duncan

Contents Backdraft: Standing the Heat: When director Ron Howard set out to make the ultimate firefighting picture, even he supposed that much of the fiery action in Backdraft would have to be accomplished via miniatures and process photography. Special effects supervisor Allen Hall would prove him wrong. Although a handful of visual effects shots would indeed be produced by Industrial Light & Magic, nearly all of the nonstop pyrotechnics would be accomplished live on stage sets and urban locations - with major screen actors working in close proximity to conflagrations of awesome magnitude. Article by Jody Duncan

The Rocketeer: Rocket Blast: To capture on film the adventure and ambience of The Rocketeer - Dave Stevens' comic book evocation of Los Angeles during the golden age of aviation - director Joe Johnston assembled a team of ace collaborators including production designer Jim Bissel and special effects supervisor Jon G. Belyeu. A former visual effects art director, Johnston also returned to his alma mater - Industrial Light & Magic - for optical work and miniatures ranging from an eighteen-inch flying superhero to a thirty-four-foot zeppelin. Article by Mark Cotta Vaz.

Cast a Deadly Spell: That Old Black Magic: Inspired by the period writings of Raymond Chandler and H.P. Lovecraft, Cast a Deadly Spell - a made-for-cable feature produced by Gale Anne Hurd for HBO Pictures - infuses the hard-boiled detective genre with unabashed elements of supernatural horror and offbeat humor. Makeup and creature effects - including a passel of gremlins, a living gargoyle and assorted demons large and small - were created by Tony Gardner and his Alterian Studios. Opticals and miniatures - primarily matte paintings and a cataclysmic finale - were provided by 4-Ward Productions. Article by Kevin H. Martin

Contents Hook: Return to Neverland: For director Steven Spielberg, Hook fulfilled a seven-year recurring dream to bring the classic story of Peter Pan to the screen for modern audiences. Accompanying the eternal boy - now a grown-up attorney who has lost touch with his youth - back to Neverland were Spielberg regulars including physical effects provider Michael Lantieri and the visual effects artists of Industrial Light & Magic. Surrounded by an army of designers and technicians, Spielberg mounted a $70 million epic destined to be remembered as the most lavish studio production in recent history. Article by Mark Cotta Vaz

Naked Lunch: Borrowed Flesh: As a youth in his native Toronto, David Cronenberg devoured with relish the iconoclastic prose of beat generation author William S. Burroughs. Thirty years later, he was to write and direct a screen adaptation of Burroughs' most celebrated novel, Naked Lunch. Having populated his bizarre script with a variety of never-before-seen creatures - from emaciated mugwumps to talking insect-typewriters - Cronenberg engaged the effects artisans of Chris Walas Incorporated to breathe life into some of his film's most important characters. Article by Jody Duncan

Star Trek VI: The Undiscoverd Country: Letting Slip the Dogs of War: A cataclysmic disaster prompts an unprecedented offering of peace from the Klingon empire. Thematically and time-wise, Star Trek VI: The Undiscovered Country echoed the coincident collapse of the Soviet Union and the demise of series creator Gene Roddenberry. In this atmosphere of significant finality, director Nicholas Meyer - veteran of two previous Star Trek features - marshaled the forces of Industrial Light & Magic and makeup supervisor Michael J. Mills to help realize on film the last mission of Captain James T. Kirk and the crew of the starship Enterprise. Article by Kevin H. Martin

Contents Alien 3: Zealots and Xenomorphs: In the footsteps of Ridley Scott and James Cameron, novice director David Fincher set about to put his own personal stamp on the third installment in the Alien saga. Contributing to t he Alien 3 effects effort were creature creators Tom Woodruff, Jr. and Alec Gillis, physical effects experts George Gibbs and Al Di Sarro, and visual effects veteran Richard Edlund and his Boss Film Studios. Article by Bill Norton

The Lawnmower Man: Cyberworld: Intent upon exploring the cinematic possibilities of 'virtual reality', director Brett Leonard and producer Gimel Everett scripted and obtained independent financing for The Lawnmower Man. To infuse their film with a big-budget computer graphics look - without the big budget - they engaged digital effects teams at Angel Studios and Xaos Incorporated to realize the virtual environments. Article by Peter Sorensen

A Message from the Publisher

Effects Scene: 64th Academy Awards

Video Beat: Morphing to the Music

Profile: Joseph Viskocil

Commercial Spot: Widebody Whales, Reflections of the Dead

Laser Revolution: Laserdisc Manifesto

Index: Cinefex 1-50

Contents Batman Returns: A Knight at the Zoo: For three years after the record-breaking success of Batman, legions of batfans eagerly awaited the return of their Dark Kinght. With BatmanReturns, director Tim Burton - in his inimitably macabre style - was to once again bring the Batman legend to the screen. Like the first film,which had been a monumental production mounted in England,Batman Returns would demand the all-out efforts of a veritable army of filmmaking and effects personnel. For the sequel, the filmmakers would remain on American soil, shooting the live-action on some of the biggest soundstages in Hollywood - with no fewer than eight effects facilities joining the fray. Visual effects supervisor MichaelFink oversaw the complex effects assignment, which included everything from Gotham City miniatures to animatronic penguin puppets to computer generated bats. Key contributors to the project were to come from the celebrated ranks of Boss Film Studios, Matte World, StetsonVisual Services, The Chandler Group, Video Image Associates, StanWinston Studio, 4-Ward Productions and CG Special Effects. Article by Mark Cotta Vaz

Effects Scene: Technology and Magic

Profile: Katherine Kean

Quick Cuts: Dating the Babe

Commercial Spot: Dodge Blocks

Video Beat: Short Intruders

Laser Revolution: The Eighth Wonder

Contents Honey, I Shrunk the Kids: Blowing Up Baby: When Disney was making Honey, I Shrunk the Kids, its own in-house effects facility lacked both the equipment and the personnel to take on the assignment. Three years later, Honey, I Blew Up the Kid would mark the reemergence of Buena Vista Visual Effects. Providing support were eleven other effects companies, including CIS-Hollywood and Sony High Definition in their feature film debuts. Article by Jody Duncan

Death Becomes Her: Life Neverlasting: Among the effects challenges of Robert Zemeckis' black comedy, Death Becomes Her, were the unlikely depictions of Goldie Hawn as a two-hundred-fifty-pound blimp and Meryl Streep with a twisted-around head. The effects teams at Industrial Light & Magic and Amalgamated Dynamics Incorporated joined with makeup artists Dick Smith and Kevin Haney to realize the comically horrific tale. Article by Kevin H. Martin

Commercial Spot: Simian Simulation, Elevator to the Stars

Quick Cuts: Video Hell, Panic on Liberty Island

Profile: Alan Munro

Video Beat: Morphing to the Madness

Laser Revolution: The Lost World Revisited

Effects Scene: Therapy in Pen-and-Ink

Contents Bram Stoker's Dracula: Heart of Darkness: In undertaking his film adaptation of Dracula, director Francis Ford Coppola was determined to remain faithful to the original Bram Stoker novel while still leaving himself adequate freedom to examine it through his own sensibilities. Rejecting high-tech effects, he opted to employ old-time cinema illusions supervised by his son, Roman Coppola, with a host of providers includingMichael Lantieri,Cannom Creations, Matte World,4-Ward Productions, Fantasy II, Colossal Pictures, Visual Concept Engineering and Available Light. Article by Janine Pourroy

A Close Encounter with Steven Spielberg: Once upon a time, a watershed motion picture challenged the long-entrenched Hollywood notion that unidentified flying objects and the forces behind them must be inherently evil. Choosing instead to speculate upon exraterrestrial visitation as a benign phenomenon, writer director Steven Spielberg fashioned a classic tale of everyday people swept up in extraordinary events. On the occasion of its fifteenth anniversary, Spielberg reflects upon Close Encounters of the Third Kind - its concept, its casting, its effects. Interview by Don Shay

Quick Cuts: Muppetized Dickens

Commercial Spot: True Colors, Sci-Fi Pest Control

Effects Scene: Full Moon Rising

Profile: Doug Beswick

Laser Revolution: Harryhausen Cornucopia

Contents Cliffhanger: Effects in the Vertical Realm: Centering on a team of expert mountain climbers and set atop the rugged peaks of the Colorado Rockies,Cliffhanger was a dizzying adventure in filmmaking for director Renny Harlinand his production crew. Key providers of the film's 'over-the-edge' illusions were special effects veteran John Richardson and visual effects supervisors Neil Krepela and John Bruno of Boss Film. Article by Debra Kaufman

Toys: Toy Wars: Known for poignant, richly-drawn slice-of-life films such as Diner and Avalon, director Barry Levinson took a more fanciful turn with Toys, an anti-war parable starring Robin Williams. Helping Levinson to explore Toys'bizarre world were production designer Ferdinando Scarfiotti, effects coordinator Clayton Pinney and a full roster of mechanical and visual effects artisans. Article by Mark Cotta Vaz

Quick Cuts: Unfriendly Skies

Commercial Spot: Thoroughbred Animation, What's Up, Nike?

Video Beat: Deep Space Miniatures, Chronicling Young Indy

Effects Scene: The Perigee of Apogee

Profile: Peter Kuran

Laserdisc Revolution: Tall Tales and Epic Lore

Contents Jurassic Park: The Beauty in the Beasts: An unusually prolonged preproduction period paid off both artistically and commercially when Steven Spielberg's much-anticipated Jurassic Park opened this summer to a dinosaur-crazed public. The creation of its amazingly lifelike dinosaurs was an odyssey into moviemaking magic led by Dennis Muren, Stan Winston, Phil Tippett and Michael Lantieri. Effects techniques as old as the movies themselves were infused with new life and direction, while newer approaches were pushed to unexpected heights. The result - a quantum leap in aggregate technologies - would establish an altogether new set of standards for a venerable old genre. Article by Jody Duncan

Video Beat: Deep Space Wormholes

Quick Cuts: Under Heavy Cetacean, Once More into the Abyss, Hail to the Impostor, A Crash in the Andes.

Company File: Pixar

Portfolio: Jurassic Park Denizens

Commercial Spot: Evolutionary Auto

Effects Scene: In the Digital Domain, Cinematic Archaeology

Laserdisc Revolution: Jurassic Reality

Contents The Nightmare Before Christmas: Animation in the Third Dimension: Ever since his days as an animator at Walt Disney Studios, Tim Burton had nurtured the idea forThe Nightmare Before Christmas, a dark and uniquely personal fairy tale that has at last come to the screen as a fully stop-motion-animated feature film. Article by Mark Cotta Vaz

Last Action Hero: Pandora's Paintbox: Although Last Action Hero failed to live up to its pre-release hype, its massive effects workload and tight schedule did inspire some behind-the-scenes heroics by artisans at R/Greenberg Associates, Sony Pictures Imageworks and other effects companies. Article by Bill Norton

RoboCop 3: RoboCop Redux: After two years of financial entanglement, Orion Pictures has released RoboCop 3, the latest installment in its popular franchise. Laboring to bring a more fully-evolved RoboCop to the screen was an effects team that included Rob Bottin and Phil Tippett. Article by Phil Carpenter

Quick Cuts: Digital Soul Searching, Feline Fabrication, That Other T-rex.

Commercial Spot: Track Sold Separately.

Profile: Pete Romano.

Video Beat: Making Movie Magic

Laserdisc Revolution: From the Disney Archives

Contents Attack of the 50 Foot Woman: The Making of a 50 Foot Woman: From its humorously derivative opening logo to its campy postscript, the Home Box Office remake of Attack of the 50 Foot Woman was clearly an ode to old-style moviemaking. On a scant made-for-television budget, visual effects supervisor Gene Warren and his Fantasy II team members made mountains out of molehills with forced perspective miniatures, split-screen trickery and other vintage effects. Article by Tim Prokop

Demolition Man: Fire and Ice: On-set effects such as large-scale pyrotechnics, frozen human replicas and robotic action props were just part of the Demolition Man story. Racing against time, with a schedule that was essentially only eight weeks long, visual effects supervisor Micheal McAlister delivered the complex cinematic illusions required for the film by tapping a wealth of talent from eight different houses. Article by Jody Duncan

Video Beat: Toasting Babylon 5, Order Out of Xaos, McCartney Takes Wing.

Special Venues: Deep Earth, Dark Ride

Quick Cuts: Digital Effects

Commercial Spot: Chevy Hulk

Laserdisc Revolution: Coppola's Kane

Contents The Flintstones: The Making of a Rockbuster: The Flintstones - a live-action ode to the cartoon series - was a lighthearted romp through Bedrock. Underlying its sight gags, however, was a serious filmmaking effort that required animatronic puppets from Jim Henson's Creature Shop, large-scale physical effects by Michael Lantieri, as well as computer graphics and complex image processing by Industrial Light & Magic. Article by Jody Duncan

The Hudsucker Proxy: The Rise and Fall of Norville Barnes: Filmmakers Joel and Ethan Coen are not typically associated with visual effects extravaganzas. But with The Hudsucker Proxy, they jumped headlong into extensive miniature sets, digital composingand outrageous mechanical rigs. Joining the fray were Micheal McAlister, Stetson Visual Services, Peter Chesney, Mark Sullivan and Computer Film Company. Article by W.C. Odien

Quick Cuts: Crime and Banishment, Visionary Visuals, Making the Crow Fly, Midair Morphing, A Lady in Disguise.

Video Beat: Viper Sheds Its Skin

Commercial Spot: Kong Reenergized.

Profile: Kevin Yagher.

Contents True Lies: Mayhem Over Miami: In his latest cinematic extravaganza,True Lies, writer-director James Cameron spiced his trademark action with comedy in depicting a few days in the harried life of Harry Tasker - a secret agent whose super-secretiveness extends even to his wife and family. Assigned to deliver the lion's share of visual effects for the film was Digital Domain - a startup company formed by Cameron and associates - which produced more than a hundred traditional and digital effects shots. Providing major and minor support were a number of other companies including Pacific Data Images and Boss Film Studios. Article by Don Shay

Special Venues: Moon Shots

Quick Cuts: Terminal Effects, Maximum Speed.

Video Beat: Alien Nation Revisited

Company Files: Animal Makers, Makeup & Effects Laboratories.

Commercial Spot: 'They Keep Going and Going . . .'

Closeup: Adding Teeth to Wolf

Profile: Randal M. Dutra

Contents The Mask: From Zero To Hero: An ancient artifact - aided by Cannom Creations makeup and effects from Industrial Light & Magic and Dream Quest Images - turned actor Jim Carrey into a manic cartoon in The Mask. Article by Jody Duncan

Mary Shelley's Frankenstein: Haunting Creation: With creature makeups by Daniel Parker and effects by Richard Conway and Computer Film Company, director Kenneth Branagh captured the essence of Mary Shelley's Frankenstein. Article by Mark Cotta Vaz

Forrest Gump: Making Gump Happen: To recreate some pivotal moments in recent American history, Forrest Gump director Robert Zemeckis enlisted Industrial Light & Magic to provide the subtlest of digital illusions. Article by Janine Pourroy

Video Beat: Piloting to Earth 2, Attack of the 80-Foot Stones, Casting Another Spell.

Quick Cuts: Time Passages, Shadow World, The Return of the Vampire

Commercial Spot: Cola Bears, Light and Liberty, Byte-Size Cookies.

Contents Interview With the Vampire: Immortal Images: In development for nearly two decades, Interview With the Vampire at last reached the big screen under the guidance of director Neil Jordan, with makeup and animatronics by Stan Winston Studio and visual effects by Digital Domain. Article by Estelle Shay

Star Trek Generations: Kirk Out: Star Trek Generations decisively passed command of the feature-film Enterprise from Captain James T. Kirk to Captain Jean-Luc Picard. Reprising as principal effects provider was Industrial Light & Magic, with an assist from Santa Barbara Studios. Article by Kevin H. Martin

Stargate: Through the Stargate: For his upstart epic, Stargate, director Roland Emmerich assembled adiversely talented effects team from the ranks of Kleiser-Walczak Construction Company, Kit West Productions, Patrick Tatopoulos, Available Light and Cinema Research Corporation. Article by Mark Cotta Vaz

Quick Cuts: A New Twist on Tornadoes, Clause and Effects, Santa's Helpers, Animal House, Wood Works

Special Venues: Inside the Luxor Pyramid

Effects Scene: From Tatooine to Endor

Contents Congo: Gorilla Warfare: When Frank Marshall and Kathleen Kennedy set out to film Congo, they turned to Stan Winston Studio for one of the story's main characters, as well as its principal villains. Then, for groundbreaking earthquake and volcano effects, they enlisted Industrial Light & Magic and physical effects supervisor Michael Lantieri. Article by Jody Duncan

Judge Dredd: Dredd World: Effects crews on both sides of the Atlantic helped to bring Judge Dredd to the screen. Working the live-action in England were physical effects supervisor Joss Williams and makeup designer Nick Dudman. And providing the miniature and digital work stateside were Mass.Illusion and Kleiser-Walczak Construction Company. Article by Mark Cotta Vaz

Dick Smith - 50 Years in Makeup: Dick Smith won his first job in makeup during the golden age of live television. Essentially untrained, but with boundless enthusiasm and drive, he quickly mastered his craft and branched into motion pictures. In half a century of achievement, he has contributed countless technological and aesthetic advances to the field. Tribute by Don Shay

Quick Cuts: Sub Plots, Cinematic Cyberspace, Thirty Seconds Over Zaire

Profile: Jeff Matakovich

Video Beat: Cannom Creations

Contents Apollo 13: Launching Apollo 13: Total verisimilitude was the prime directive for visual effects supervisor Rob Legato and his team at Digital Domain, and for special effects coordinator Matt Sweeney, when they signed on with director Ron Howard to bring Apollo 13 to the screen. Article by Jody Duncan

Batman Forever: Forever and a Knight: With director Joel Schumacher at the helm, big changes were in store for Gotham and its denizens in Batman Forever. Visual effects supervisor John Dykstra enlisted more than a dozen compaines to complete the gargantuan effects assignment. Article by Mark Cotta Vaz

Quick Cuts: The Ghost and Mr. Muren, Cowboys and Indians, An Endangering Species, Capturing an Alien Species, Bonnie and Clyde.

Special Venues: MGM's Grand EFX

Commercial Spot: Bear Necessitites, This Frog's For You, Batteries Included

Effects Scene: The Last Hurrah

Video Beat: Soldiers of Fortune

Contents Jumanji: The Game Board Jungle: For Jumanji - in which jungle animals emerge from a magical board game to wreak havoc on a small town - director Joe Johnston enlisted Industrial Light & Magic and Amalgamated Dynamics to provide computer generated and animatronic effects. Article by Janine Pourroy

Toy Story: Toys Will Be Toys: A landmark collaboration between Walt Disney Studios and Pixar has produced Toy Story - the first fully computer animated feature-length film - a comic confluence of artistry and high technology directed by John Lasseter. Article by Rita Street

Waterworld: On the Water Front: Production design and physical effects merged to create the vast floating sets and ships needed for Waterworld. Voluminous visual effects - overseen by Micheal J. McAlister - kept more than a dozen effects companies swimming. Article by Jeff Odien

Broken Arrow: Stealth Effects

Gordon Smith: Seeking Silicone Solutions

Money Train: Training Film

Babe: From the Mouth of Babe

Casino: The Lights of Las Vegas

Three Wishes: Making Wishes Come True

Cutthroat Island: Getting Away With Murder

Operation Dumbo Drop: Pachyderms and Parachutes

Contents After the Rebellion: Industrial Light & Magic, then and now - two decades in the evolution of a technological titan. Article by Mark Cotta Vaz .

20 Years of Industrial Light & Magic: Established by George Lucas to insure himself first-rate effects for his own productions, Industrial Light & Magic has grown into a service organization that has supplied visual alchemy for every major studio and many of the world's top filmmakers. Survey by Jody Duncan.

30 Minutes With the Godfather of Digital Cinema No one has done more to change the face of visual effects than George Lucas. In an exclusive interview, he discusses ILM and its contributions to the field - and drops a few hints of what to expect in the Star Wars special editions and the long-awaited prequels. Interview by Don Shay.

War Stories: Twenty years ago, a group of young artists and technicians took over a vacant warehouse - and soon took over an industry. More than a dozen of the original Star Wars team members reminisce about making one of the most influential films of all time. Article by Kevin H. Martin.

Dennis Muren - Playing It Unsafe: Though he now has eight Academy Awards - more than anyone else alive - Dennis Muren is down-to-earth in his insistence that the work is all that matters to him. A look back at his humble beginnings and celebrated achievements. Article by Don Shay.

Contents Dragonheart: Heart and Soul: Producer Rafaella de Laurentiis had to wait five years for effects technology to catch up with the demands of her dream project. But with perseverance, director Rob Cohen and cutting-edge digital effects by Industrial Light & Magic, Dragonheart and its uniquely expressive talking dragon at last came wholly to life. Article by Jody Duncan.

Twister: Riders on the Storm: Director Jan De Bont realized that a dead-on depiction of tornadoes and the destruction they wreak was essential to Twister, his suspense thriller about daredevil storm-chasers. Enlisted to produce the integrated effects were physical effects supervisor John Frazier and the digital team at Industrial Light & Magic. Article by Jonathan Luskin.

James and the Giant Peach: A Giant Peach in the Big Apple: To bring James and the Giant Peach, the classic Roald Dahl children's story, to the the screen through the medium of puppet animation, director Henry Selick orchestrated a massive two-year stop-motion effort augmented with digital contributions by Sony Pictures Imageworks and Buena Vista Visual Effects. Article by Mark Cotta Vaz.

Aftershocks: Return of the Worms.

Flipper: Dolphin Doubles.

Sgt. Bilko: Techno-Tank Trickery.

White Squall: Stormy Weather.

Gulliver's Travels: A Brobdingnagian Endeavor.

Michael Fink: From Fine Arts to Filmmaking.

Contents Independence Day: Fireworks: To supply the staggering volume of effects required for Independence Day, director Roland Emmerich and producer Dean Devlin chose not to engage a major effects facility, electing instead to build an in-house miniatures and pyrotechnic unit, coupled with an independent digital effects unit, dedicated solely to the production. Article by Tim Prokop.

Mission: Impossible : Cruising the Digital Backlot The action finale of Mission: Impossible - created by Industrial Light & Magic - entailed placing a computer generated train and helicopter into digitally altered or created backgrounds, enhanced with elaborate miniature work and pyrotechnics. Article by Mark Cotta Vaz.

Multiplicity: Split Personalities: For Multiplicity - a comedy about a man who hopes to find time for himself by undergoing a cloning procedure - director Harold Ramis engaged Boss Film Studios to produce four distinct versions of actor Michael Keaton, all of whom had to interact verbally and physically during the course of the film. Article by Janine Pourroy.

The Nutty Professor: Pleasingly Klump.

Escape from L.A.: Hasta La Buena Vista.

The Arrival: Temperatures Rising.

The Frighteners: The Thrill of the Haunt.

Hercules: Solving Mythical Dilemmas.

The Adventures of Pinocchio: Puppetmasters.

Nike Commercial: Eyes on the Ball.

Contents Mars Attacks!: Martial Art: In Mars Attacks!, director Tim Burton's lampoon of the alien invasion genre, hordes of flying saucers and big-headed Martians wreak havoc on earth's inhabitants. Forsaking motion control spaceships and stop-motion creatures in favor of an all-digital approach, Industrial Light & Magic and the newly established Warner Digital Studio shared responsibility for the visual effects. Article by Mark Cotta Vaz.

T23D: Battle Beyond Three Dimensions: Conceived by Landmark Entertainment as a thrill-packed continuation of the Terminator saga, Terminator 2: Battle Across Time - Universal Studio's newest theme park extravaganza - redefines 3-D and special venue entertainment. Terminator 2 director James Cameron and the film's original cast teamed with effects powerhouse Digital Domain to bring the groundbreaking project to fruition. Article by Estelle Shay.

Daylight: Burned Out and Blown Out.

Michael Westmore: Behind the Masks.

The Ghost and the Darkness: Bad Cats in a Bad Place.

The City of Lost Children: Magic With a French Touch.

The Associate: Gender Benders.

The Island of Dr. Moreau: Moreau's Menagerie.

Contents Dante's Peak: Dante's Inferno: For his epic disaster movie, Dante's Peak, director Roger Donaldson was determined to simulate on film a massive volcanic eruption that was both dramatic and realistic. Engaged to deliver the goods were visual effects supervisor Patrick McClung of Digital Domain and special effects supervisor Roy Arbogast. Article by Rita Street.

The Relic: The Calisto Effect: In The Relic - directed by Peter Hyams - a genetically mutated beast prowls the dark recesses of a cavernous natural history museum looking for human prey. Charged with designing and fabricating the monster were the creature creators at Stan Winston Studio, abetted in the digital realm by effects artisans at VIFX. Article by Rita Street.

Star Trek: First Contact: The eighth offering in an enduring franchise, Star Trek: First Contact marked the first film carried solely by The Next Generation crew, and the feature directing debut of cast member Jonathan Frakes. Supplying effects were series regulars Industrial Light & Magic and makeup creator Michael Westmore. Article by Kevin H. Martin.

Star Wars Trilogy: Everything Old Is New Again.

Turbulence: Terror in the Skies.

101 Dalmations: Puppy Proliferation.

The Sixth Man: Hoop Schemes.

Crash McCreery: Doing Dinosaurs and Such.

Contents Men in Black: Basic Black: For director Barry Sonnenfeld's science fiction comedy Men in Black - about shadowy government agents who oversee extraterrestrial activities on earth - makeup effects artist Rick Baker produced a variety of imaginatively conceived aliens, supplemented by computer generated creations and other effects concocted by Industrial Light & Magic. Article by Janine Pourroy.

The Lost World: On the Shoulders of Giants: When it came time to select an effects team for The Lost World, director Steven Spielberg turned promptly to character creator Stan Winston, visual effects supervisor Dennis Muren of Industrial Light & Magic, and special effects supervisor Michael Lantieri - the trio that had written effects history on Jurassic Park - to once again push the boundaries of artistry and technology. Article by Jody Duncan.

The Fifth Element: Elemental Images: To impart an epic quality to The Fifth Element - his whimsical science fiction adventure about a New York cab driver who is called upon to help save the universe from annihilation - director Luc Besson turned to Digital Domain and visual effects supervisor Mark Stetson to create an array of futuristic cityscapes and distant worlds through a blend of traditional and digital imagery. Article by Ted Elrick.

Con Air: Skyjinks.

Anaconda: Snake Charmers.

Classic Restoration: The Lost World - Found!

Contents Batman & Robin: Freeze Frames: For Batman & Robin - the fourth feature in the Batman Series and the second for director Joel Schumacher - visual effects supervisor John Dykstra drew upon the specialties of several effects houses to produce a series-high four hundred effects shots. Article by Mark Cotta Vaz.

Volcano: Toasting the Coast: Tasked with unleashing the ultimate scourge on Los Angeles for the Mick Jackson film, Volcano, visual effects supervisor Mat Beck oversaw the creation of volcano and lava effects achieved via practical, miniature and digital means. Article by Rita Street .

Spawn: With a Little Help From Our Friends: To bring the comic book sensation Spawn to the screen, a trio of young upstarts from Industrial Light & Magic donned production hats and engaged in guerrilla filmmaking in the digital realm to create a lavish effects film on a slender budget. Article by Jody Duncan.

Contact: Close Contact With effects ranging from earthbound to cosmic, Contact marked the seventh collaboration between director Robert Zemeckis and visual effects supervisor Ken Ralston, now head of Sony Pictures Imageworks. Article by Kevin H. Martin.

Speed 2 : Crusing Speed.

John Chambers: Maestro of Makeup.

Contents Titanic: Back to Titanic: Titanic is an apt title for the latest film from director James Cameron, denoting not only the subject matter of the picture, but the scope of the endeavor, as well. On his odyssey to bring the story of the 1912 maritime disaster to the screen, Cameron went to the bottom of the North Atlantic to photograph the actual Titanic wreck, then reconstructed the celebrated ship, almost full-size - and sank it ! - at a studio built expressly to house the massive production. Article by Don Shay .

Titanic: Ship of Dreams: Convinced that total verisimilitude was essential for Titanic, Cameron challenged Digital Domain and visual effects supervisor Robert Legato to blur the line between full-size photography and miniature work by constructing an enormous model of the ship, then placing it in a digital ocean environment and populating it with computer generated people to capture, in intimate detail, the expansive elegance of the liner at sea and the horror of its untimely demise. Article by Don Shay.

Titanic: Titanic Aftermath: During principal photography and into postproduction, as the visual effects workload for Titanic increased from 150 shots to more than 500, a production-level effects department was established to assign and monitor the overflow workload, which was farmed out to seventeen separate facilities collectively contributing everything from complex compositing and miniature photography to matte paintings and computer animation. Article by Jody Duncan.

Contents Starship Troopers: Bug Bytes: To bring their ambitious adaptation of Robert A. Heinlein's classic Starship Troopers to the screen, director Paul Verhoeven and producer Jon Davison turned to animation maestro Phil Tippett for swarms of insect warriors, to Sony Pictures Imageworks for epic-scale space battles, and to special effects coordinator John Richardson for on-set pyrotechnics. Others recruited to support the war effort included Amalgamated Dynamics, Industrial Light & Magic, Boss Film Studios, Banned From the Ranch, Compound Eye, Visual Concept Engineering and Kevin Yagher Productions. Article by Paul M. Sammon.

Alien Resurrection: Cloning Aliens: For Alien Resurrection, the latest offering in the Alien franchise, Ellen Ripley and the alien fetus within her are brought back from the dead in a film directed by Jean-Pierre Jeunet. Returning as alien purveyors were Tom Woodruff, Jr., and Alec Gillis of Amalgamated Dynamics Incorporated, whose animatronic and suit-based creatures were augmented by digital warriors created by Blue Sky Studios. Overseeing the visual effects - filmed in Los Angeles, but composited by Duboi in Paris - were effects supervisors Pitof and Erik Henry. Article by Bill Norton.

Flubber: Playing With Flubber.

Mouse Hunt: Of Mice and Men.

An American Werewolf in Paris: Werewolf Wizardry.

Event Horizon: Starship Hades Boss Film Studios: End of an Era.

Contents Godzilla: The Sound and the Fury: As a follow-up to their Independence Day phenomenon, director Roland Emmerich and producer Dean Devlin opted to reinvent a classic Japanese film franchise with Godzilla. Under visual effects supervisor Volker Engel, the newly-formed Centropolis Effects created a twenty-story-tall digital Godzilla, supported by practical creature effects from Patrick Tatopoulos designs, plus extensive physical effects, both large and small, by Clay Pinney and Joseph Viskocil. Article by Kevin H. Martin.

The X-Files Movie: Hide It in Shadow, Hide It in Light: After a five-season run, the television sensation The X-Files leaped to the big screen in a feature film produced by X-Files creator Chris Carter and directed by series regular Rob Bowman. In addition to makeup and creature effects by Amalgamated Dynamics Incorporated, the motion picture featured an abundance of postproduction work - supplied principally by Light Matters and Blue Sky |VIFX - overseen by visual effects supervisor Mat Beck. Article by Jody Duncan.

Deep Impact: The Angry Rock.

Lost in Space: Lost in London.

Deep Rising: Horror on the High Seas.

Sphere: Spherical Magic.

Dark City: Masters of the Dark.

Contents Armageddon: Journey to Armageddon: For Armageddon, about roughneck oil drillers sent on a heroic mission into space to save earth from a killer asteroid, director Michael Bay and producer Jerry Bruckheimer needed near-nonstop visual effects to support the action. To meet the demand, the production formed an in-house effects unit, Vfx, overseen by visual effects supervisor Pat McClung, and engaged Dream Quest Images, under fellow supervisor Richard Hoover. Also making sizable contributions were Blue Sky |VIFX, Digital Domain, Cinesite and Computer Film Company. Article by Mark Cotta Vaz.

Small Soldiers: A Small Soldiers Story: For the high-concept DreamWorks project Small Soldiers, centering on toy action figures implanted with high-tech military computer chips that allow them to take on a life of their own, director Joe Dante worked closely with Stan Winston Studio, which designed the Commando Elite and Gorgonite characters and then built them in puppet form for use on set, and Industrial Light and Magic, which duplicated the combative toys in digital form and computer-animated them for scenes requiring complex action. Article by Jody Duncan.

From the Earth to the Moon: Shooting the Moon.

Blade: Going For the Jugular.

Dr. Dolittle: Animals With Attitude.

The Truman Show: The Unreal World.

Contents Mighty Joe Young: A Gorilla Named Joe: With Mighty Joe Young, director Ron Underwood put a modern spin on the venerable film classic about a lovable giant gorilla plucked from his idyllic home in Africa and given a dose of big-city life. While the original Joe was a triumph of stop-motion animation that astounded moviegoers of its time, the updated ape would be no less remarkable, brought into being through sophisticated animatronics and suit artistry by Rick Baker, in concert with groundbreaking visual effects spearheaded by Hoyt Yeatman of Dream Quest Images. Article by Scott Essman.

What Dreams May Come: The Sweet Hereafter: A metaphysical speculation on the nature of the afterlife, What Dreams May Come, based on a novel by Richard Matheson, chronicles the spiritual journey through Heaven and Hell of a man determined to reunite his family and rescue his soul mate from an eternity of suffering. Guided by director Vincent Ward, whose singular vision of the hereafter infused the project, visual effects contributors Mass.Illusions, POP Film and Digital Domain offered up dazzling technical innovations in the service of an extraordinary aesthetic concept. Article by Kevin H. Martin.

Pleasantville: Color My World.

Antz: Road to Insectopia.

A Bug's Life: An Entomological Epic.

Virus: Building a Better Borg.

Contents Star Trek: Insurrection: Lost in the Briar Patch: Star Trek: Insurrection, the ninth feature film in the venerable science fiction franchise - with veteran cast member Jonathan Frakes again at the helm - had many familiar elements, including prosthetic makeup effects by Michael Westmore, but employed new technologies and new companies in the creation of its abundant visual effects. Santa Barbara Studios crafted spaceship shots entirely in the digital realm - a first for the series - while Blue Sky |VIFX contributed a range of predominantly planet-bound illusions. Article by Kevin H. Martin.

The Mummy: Thoroughly Modern Mummy: For his remake of the Boris Karloff horror classic, The Mummy, director Stephen Sommers was determined to present a title character far apart from the bandage-wrapped mummies that lumbered through a variety of decades-old predecessors. Engaged to design and create the mummy Imhotep as both an all-CG character and a digitally altered live actor, plus devise a host of other fabrications involving fearsome sandstorms and plagues, was visual effects supervisor John Berton and the artists at Industrial Light & Magic. Article by Estelle Shay.

My Favorite Martian: Martian Chronicles

T-Rex - Back to the Cretaceous: The Five-Terabyte Solution

Babe - Pig in the City: Mean Streets

Wing Commander: Space Ace Engagement

Contents Return of the Jedi: With the patience of a Jedi master, writer-director George Lucas waited sixteen years before determining the time was right to launch his much-anticipated Star Wars prequel, The Phantom Menace. Stepping back into the limelight to personally shepherd the project through its four-year production odyssey, the visionary filmmaker shares his insights on the most ambitious effects movie ever made. Interview by Don Shay.

Phantom Visions: An enormous conceptualization effort, headed by design director Doug Chiang, lent form and substance to Lucas' imaginings of The Phantom Menace's fantasy worlds. Initially comprised of just Chiang and another illustrator, the team eventually expanded to include seventeen artists, pumping out endless sketches, paintings, sculptures and models in the Skywalker Ranch art department. Article by Mark Cotta Vaz.

Heroe's Journey: Fittingly, it was Industrial Light & Magic, the much-honored company established by Lucas to produce the revolutionary effects in Star Wars, that would undertake the staggering task of bringing his latest opus to fruition. For The Phantom Menace, ILM would pull out all the stops, calling upon both veterans of the earlier trilogy and a newer generation of digital devotees to advance the art of visual effects to dizzying heights. Article by Jody Duncan, Kevin H. Martin and Mark Cotta Vaz.

Populating Planets Although computer animation would play the more prominent role in populating The Phantom Menace's alien worlds, hundreds of whimsical characters - both background and principal - were constructed for on-set use by creature creator Nick Dudman and his crew of animatronics and makeup specialists. Article by Estelle Shay.

Contents Wild Wild West: A Walk on the Wild Side : With source material plumbed from the popular sixties television series, director Barry Sonnenfeld's Wild Wild West offered up a comic saga of Old West
derring-do pitted against outrageous villainy and bizarre gadgetry. Makeup effects by Rick Baker, physical gags by Michael Lantieri and digital creations by Industrial Light & Magic and Cinesite enlivened the proceedings.
Article by Kevin H. Martin.

The Haunting: The House That Roared: In The Haunting, based on the novel by Shirley Jackson, the malevolent spirit of a killer manifests itself in a gothic mansion, turning imagined threats into
nightmarish reality for the unwitting subjects of a psychological study. Director Jan De Bont sought the talents of effects maestro Phil Tippett and production designer Eugenio Zanetti, among others, to inject new life into the eerie tale. Article by Christine Sandoval.

The Matrix: Jacking Into the Matrix: Offering up a mix of stylish martial arts and cerebral science fiction, The Matrix -- the brainchild of writer-directors Larry and Andy Wachowski -- offered a
singular vision of a world where reality is nothing more than an elaborate computer construct. Visual effects were achieved principally by Manex Visual Effects and DFilm Services, with assists from other firms in both the United States and Australia. Article by Kevin H. Martin.

Deep Blue Sea: Devils in the Deep Blue Sea: Mako sharks, armed with enhanced intellects and super-predatory instincts -- the result of genetic experimentation on board an aquatic research station -- turn on their captors in the Renny Harlin thriller, Deep Blue Sea. Animatronics innovator Walt Conti teamed with visualeffects supervisor Jeffrey A. Okun and a host of digital effects facilities to complete the project. Article by Estelle Shay.