Relay-Version: version B 2.10 5/3/83; site utzoo.UUCP Posting-Version: version B 2.10.2 (Tek) 9/28/84 based on 9/17/84; site orca.UUCP Path: utzoo!watmath!clyde!burl!ulysses!allegra!mit-eddie!genrad!decvax!tektronix!orca!davidl From: davidl@orca.UUCP (David Levine) Newsgroups: net.movies Subject: Re: RETURN TO OZ Message-ID: <1583@orca.UUCP> Date: Mon, 24-Jun-85 14:20:16 EDT Article-I.D.: orca.1583 Posted: Mon Jun 24 14:20:16 1985 Date-Received: Thu, 27-Jun-85 05:22:59 EDT References: <741@vax2.fluke.UUCP> Reply-To: davidl@orca.UUCP (David Levine) Distribution: net Organization: Tektronix, Wilsonville OR Lines: 25 Summary: I, too, loved /Return to Oz/. This is a film with the texture of a dream, believable and lovable. > ... -- the free-fall scenes looked SUPERMANish). This is because they were done by Zoltan Persic (sp?), whose "Zoptic" process was first used in /Superman/. Zoltan was in the credits, and the Zoptic logo appeared at the end of the credits. There were more different special-effects techniques in this film than any other I've seen. Muppet-style creature effects (producer Gary Kurtz also produced /The Dark Crystal/), Claymation, Disney matte paintings, traveling matte work from Superman, and complex mechanicals using Lucasfilm technology all blended into a consistent fantasy universe combining dream and nightmare. The characters (even a talking chicken!) became real characters, despite the fact that most of them were not actually living beings. Disney has a real winner with this one. Now let's see /The Black Cauldron/... David D. Levine (...decvax!tektronix!orca!davidl) [UUCP] (orca!davidl.tektronix@csnet-relay.csnet) [ARPA] (P.S. Anybody know exactly what the "Special thanks to George Lucas" at the end was for?)