Ray Harry, Blu Ray, Maury discussed on MonsterTalk

MonsterTalk
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Automatic TRANSCRIPT

Quite creatives. Monz. My apologies. That's an issue. You've you've created monsters for paintings comic books film. And no, you probably get this a lot. But how did you come up with the different creatures using your works? I wanna in particular think we've got a lot of people in the audience who who are also creative. Sometimes, you know, they're just looking for guidance or a little nudge. You know, you can do it. I think having somebody on like yourself is really great for that. But when you answer this question, I guess we're not mean where do you get your ideas? But really literally like what are the best techniques for like, generating ideas? Like that. In the monster space a lot of the monsters. I come up with in in in paintings, or in my movies are sort of rifts on things that I saw as a kid because I was I was just absorbing all of the the monster movies. I could. And the, you know, I think the gateway monster from me and probably for a lot of other kids to is is the dinosaur. I mean kids discover dinosaurs. I it just very strange thing. Because what they were. They were really were walking around. I mean, that's that's phenomenal. And from there, you know, dinosaurs lead to so many other monsters. But I particularly like. Especially in paintings. Going with things that are against nature like sort of a symmetrical monsters where you've got because you know, nature has such symmetry. So when you do a monster with you know, with two is on one side of one way up in the in the corner. I mean that kind of stuff that the more grotesque the better, I think I I like to create creatures that really kind of people just sort of shake their head in Maury about me, of course, all kids, really loved dinosaurs. But when did your passion for monster movies, actually again? The the one, you know, seeing them on TV was such a revelation King Kong used to run a lot when I was a kid on TV. And and and that was certainly one of the first that I saw on the films of Ray Harry housing where and I to this day, I love stop motion animation. And I I just think it's fantastic. It's you know, it's got such a salinity to it. There can be some good CGI. But I love the stop motion. And and so I think those were probably the ones that that sort of I pulled me in stop motion creatures and it creates such a strange reality. You know, it's fasting. It dies. I Harry house in in Bradbury who were both lifelong friends in clam writers at both also got their start dinosaurs. That was their their gateway in Munster as well. Yeah, I bet That's for. for a lot of our listeners. I. Anchin taught motion the one of the cool things about the stop motion stuff is how well it holds up on Blu Ray in these high def formats, you know, I think a lot of the CGI stuff. This is true so much anymore. But you know, back in the day. It seemed like you could tell difference in the pixel density between when there was a CGI affect and the sort of film stock of the actual main screen, and I don't see that issue in stop motion so much it looks so L practical effects, I too, and I think the solidity of practical effects, whether it's a man in a suit or a stop motion puppet or an animatronic creation. I think it creates more of a sense of wonder, and that's what drew me in as a kid. It's pulling me into a certain world. And now there's so much when you when you see a typical shot in a movie these days, especially fantasy film science fiction or something..

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