:52:04
These things had to be imagined.
:52:06
The special effects were a quantum
leap forward for the film industry.
:52:11
These looked the real thing.
:52:13
Stanley had very firm
and very specific ideas. . .
:52:16
. . .about how these models
were to be lit.
:52:19
The painstaking attention to detail. . .
:52:22
. . .the coloration,
the dirtying up of the models. . . .
:52:25
This really hadn't been seen before.
:52:28
One of the best examples
for my contribution. . .
:52:32
. . .is what's known as the slitscan
sequence, the stargate sequence.
:52:35
There was a lot of evolution
to that concept. . .
:52:37
. . .of how you would be transported
from one dimension to another.
:52:42
It was never solved in the screenplay.
:52:44
I remembered, knowing
of an experimental filmmaker. . .
:52:47
. . .who was exploring this whole idea
of long-time exposures. . .
:52:52
. . .and while the shutter is open,
he'd move various kinds of artwork. . .
:52:56
. . .in front of the camera
to scan. . .
:52:58
. . .color blocks
and objects onto the film. . .
:53:03
. . .in a rather unusual way.
:53:05
I thought if you took what he did,
which was flat and two-dimensional. . .
:53:10
. . .and made it three-dimensional
in the Z axis. . .
:53:14
. . .you could create
this streak exposure.
:53:16
Like a time exposure.
Car headlights on the freeway.
:53:20
If you leave the shutter open. . .
:53:22
. . .the car headlight becomes
a streak of light.
:53:25
It occurred to me that
there might be some way. . .
:53:28
. . .to apply that
to the stargate sequence.
:53:31
I walked that minute
down to Stanley's office.
:53:34
I said, "I think this is the answer
to the stargate. "
:53:37
And he looked at it and said,
"I think you could be right. "
:53:41
He said, "Do whatever you need to do,
you have carte blanche to do it. "
:53:46
That's an example of my whole
experience on 200 1...
:53:49
. . .was support from Stanley
to explore, experiment. . .
:53:54
. . .take risks and produce
something that was different.
:53:58
If you can imagine a giant Ferris
wheel, and if you were to cover it. . .