Hollywood Studio Magazine (1978)

The Special Effects Genius of Gene Warren Gene Warren, one of the busiest special effects production men in Hollywood took time out of his tight schedule the other day to talk with me about various facets of his interesting career. “How long have you been President of Excelsior Productions?” I asked Mr. Warren, as he sat behind his desk in his Hollywood office. “We've been in business for a decade,” he explained, “and before that I headed two other production companies.” Leaning back in his chair, he relaxed between interruptions of the phone call, and an artist who consulted with him briefly. “T’ve worked at various times as producer, director, studio production head and even as writer on some projects,” he smiled, “and I enjoy every phase of film production.” “How did you begin in the business?” I asked curiously. “I started as a background artist for ~ John Sutherland Studios” he explained, “and then I went to work for George Pal as an animator. Next I went to work with John Rabin with Studio Film Service on the Ziv Lot.” “And what films were you involved with?” “There was the film “Kronos” which was revived recently, and “Monster From Green Hell”--where there was a fight between a monster-size beetle and a snake.” “How can you do something like this?” I asked curiously. Gene Warren leaned forward, and explained, “You create an animated puppet. And, then you put it in a miniature set and do your animation in a process plate.” He explained further, “It is the coordination of sound effects, action and special effects that creates the impact on film.” “I did a couple films for Roger Corman, and then diversified by going into the toy business for awhile. Then, we did a motion picture called “Twonky” for Arch Obler, about a TV set that came alive. But we really got going in 1959 when we started our Projects Unlimited. I ran into George Palon the street one day and he wanted interview with Robert Kendall to know what we were doing. George Pal mentioned he was doing the movie “Tom Thumb” for MGM, and told me to call him about this production. I went over to Metro to speak with him about “Tom Thumb” and found this film was We went to work on this picture, and later he loaded with animation. wanted me to work with him again on, “The Time Machine”. . .” _ ’ so must tormulate its budget in relation to the total film budget. There are many ways to create special effects. Generally we have operated on modest budgets. The exception of course was the very costly motion picture, “The Wonderful World of the Brothers Grimm”. Much of this big budget was eaten up quickly because this film was done in 3-strip film. Three projectors ‘ 2 a 6 sli 4 Rod Taylor,dynamic star registers shock and surprise in a scene from ‘*The Time Machine.”’ “T really enjoyed (that film), “The Time Machine”,” I told him, “how did you create that fantastic future city?” “We used mats and minatures for the futuristic city (in “Time Machine’”’), Warren explained, “The time travel was accomplished through animated paintings.” “When you looked at this film project at the start of production how did you determine how difficult or how expensive it would be to create those fabulous special effects?” “The “special effects” department operate in Cinerama with 186 degree angle. The projectors had haw-tooth edges where the picture blended when it was projected on the theater screen.” “How does Cinemascope work?” “Cinemascope is 70 mm... they gave up 3-strip film such as Cinerama used and developed a wide-angle lens which is currently used.” Reflecting a moment about some of his exciting special effects achievements, Gene Warren recalled, “We did some film for the NASA Space Agency. JPL did a couple of the Mariner Shots - SCIENCE FICTION—11