Matte Painting - Significant Matte Painting Shots

Significant Matte Painting Shots

  • The army barracks in All Quiet On The Western Front (1930)
  • Count Dracula's castle exteriors in Dracula (1931) and other scenes.
  • Birds flying over Bodega Bay, looking down at the town below, in Alfred Hitchcock's The Birds (1963)
  • In Alfred Hitchcock's North by Northwest (1959) shots of the The United Nations building, Mount Rushmore and the Mount Rushmore house.
  • The view of Skull Island in King Kong (1933)
  • Mary Poppins gliding over London with her umbrella (1964), the St Paul's Cathedral and London's rooftops and aerial views.
  • The iconic image of the Statue of Liberty at the end of Planet of the Apes (1968)
  • The rooftops of Portobello Road in Bedknobs and Broomsticks (1971) that won the Academy Award.
  • The city railway line in The Sting (1973)
  • Views of a destroyed Los Angeles in Earthquake (1974) for which Albert Whitlock won an Academy Award
  • The stone column demolished by the locomotive in the Chicago station in the film Silver Streak.
  • The Death Star's laser tunnel in Star Wars (1977)
  • The Starfleet headquarters in Star Trek The Motion Picture (1979)
  • The final scene of the secret government warehouse in Steven Spielberg's Raiders of the Lost Ark (1981)
  • The Batty and Deckard chase scene in Blade Runner (1982)
  • The view of the crashed space ship in The Thing (1982).
  • The view of the OCP tower in RoboCop (1987) and other scenes.

For the technique used in photography and special effects filmmaking to combine two or more image elements into a single, final image see Matte (filmmaking).

Read more about this topic:  Matte Painting

Famous quotes containing the words significant, painting and/or shots:

    “Is it impossible not to wonder why a movement which professes concern for the fate of all women has dealt so unkindly, contemptuously, so destructively, with so significant a portion of its sisterhood. Can it be that those who would reorder society perceive as the greater threat not the chauvinism of men or the pernicious attitudes of our culture, but rather the impulse to mother within women themselves?”
    —Elaine Heffner (20th century)

    “Unlike any other visual image, a photograph is not a rendering, an imitation or an interpretation of its subject, but actually a trace of it. No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does.”
    —John Berger (b. 1926)

    “I know what you’re thinking. Did he fire six shots or only five? Well, to tell you the truth, in all this excitement I’ve kinda lost track myself. But being this is a .44 Magnum, the most powerful handgun in the world, and would blow your head clean off—you’ve got to ask yourself one question: Do I feel lucky? Well, do ya, punk?”
    —Harry Fink, U.S. screenwriter, Rita Fink, U.S. screenwriter, Dean Riesner, U.S. screenwriter, and Don Siegel. Harry Callahan (Clint Eastwood)