Rock & Rule (Part 1)
Laura Shepherd: He did it on pencil, Tom [Sito] did some, Larry did, you did the one in the tunnel. But you did it all in pencil and then we hired three artists to come in, and we figured out after lots of experimentation we realized that rendering it in red and white pastel and then making Kodaliths, which were 0.02% out of focus...
Robin Budd: Oh, those old words [laughs]
Anne Marie Bardwell: Fucking insane. [laughter]
Laura Shepherd: ...and the airbrush filter. The average pass was 32 runs of staggered cross-dissolves for the beast, because everything had to be withheld and run separately. His claws, which were airbrushed, his eyes, which were clear lights, diffusion 5...
Robin Budd: Boy, the dope sheets must have looked like a piece of art. [laughter]
Laura Shepherd: I tried to find some. I was down in my basement today trying to find a dope sheet, because I actually... you know, they would take days.
Clive Smith: Are there any on eBay, Dave? [laughter]
Dave Cox: There's an Angel on eBay right now, it says [it's] a preliminary drawing, if you're interested.
Gord Hill: Those beast shots were—the element was rear-projected, there was the main camera and we moved the rear projection from the Elicon to the Charlie Dell camera, back and forth. And this element, which was the brain-pulsating element, had to be projected through this high-density mirror and through the bottom of the platen. There probably weren't any scenes in this whole film that weren't at least—every single thing had at least a shadow pass, had a percentage pass. The simplest, most basic scenes in the thing, which maybe had at least two or three characters, had at least two camera passes where you had to wind back to do the shadow. And most of them had at least five or six.
Lenora Hume: There was one, I think that was up to about a hundred and fifty. All the rings coming out of them, just over and over and over.
Robin Budd: Oh, from the beast at the end.
Anne Marie Bardwell: Yeah, the whole... the thing...
Robin Budd: The babies. [laughter]
Gord Hill: You couldn't really make a mistake. If you shot a whole day and one frame of one pass was wrong, it would have meant—
Anne Marie Bardwell: Kibosh.
Clive Smith: You reshoot the whole thing.
Gord Hill: Lenora wouldn't talk to me for a week.
Lenora Hume: I know. Keith [Ingham] and I could nearly became [ex-friends] over one.
John Halfpenny: There's nothing like thirty people watching the rushes... [laughter]
Gord Hill: "She didn't say anything to me today, it must be a frame."
Clive Smith: We started off very young, but we aged quickly in front of the Movieola.