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The_Film_That_Changed_My_Life

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<strong>The</strong> 7th Voyage of Sinbad<br />

225<br />

In this film, was there any one sequence that cemented you into the<br />

fantasy?<br />

Landis: <strong>The</strong> film itself just made a huge impression on me in its creating<br />

a completely different world. Instead of being this little kid in a theater in<br />

west L.A., being transported to this magical place, really going on these<br />

adventures. I think it’s similar to what Lord of the Rings does to younger<br />

people now. It’s what Wizard of Oz can still do. <strong>The</strong>re are only certain<br />

movies—Wizard of Oz, 2001—there are very few movies that can do that<br />

to adults.<br />

Everything about a movie, and I mean this sincerely, is who you are and<br />

where you are when you saw it. Because it’s hard just to say, “This movie is a<br />

piece of shit,” because depending on who you were and where you saw it, it<br />

can be a great and important thing. <strong>The</strong>re are great films that are completely<br />

misunderstood because the people weren’t ready for them. Or they were<br />

seeing them under bad circumstances. <strong>The</strong>re are too many wonderful films<br />

that people disregard.<br />

I actually met Ed Wood. Forry Ackerman actually brought Ed Wood<br />

to the cast and crew screening of Schlock. <strong>That</strong> was in 1971, and he was so<br />

amazed that I knew who he was. When Tim Burton made Ed Wood, Wood’s<br />

movie Plan 9 from Outer Space, which had always been a fringe movie that<br />

was known to certain people who enjoyed its camp value, became more<br />

profitable than Ed Wood. It sold all these copies.<br />

Harryhausen called his handcrafted animation “Dynamation.” As a<br />

director, what is the difference in seeing physical effects versus computer<br />

animation?<br />

Landis: <strong>The</strong> big breakthrough, the big revolution that was really demonstrated<br />

the first time in Jurassic Park, was not the computer-generated animation<br />

so much as the new digital technology that allowed the animation to<br />

be placed in a way that looked in the picture instead of on the picture.<br />

Some of Ray’s stuff is hampered by the old sodium screens and the superimposition<br />

of things. Ray’s brilliance was to make things interact between<br />

the animation and reality and make it seem so seamless. Now, with the new<br />

digital technology, you can put these things in a picture and have them run<br />

around you in a much more convincing way.

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