![]() When effects company Matte World Digital closed its doors in 2012, for example, the academy obtained several pieces that were used to bring 1992’s “ Batman Returns” to life. Many items highlight the academy’s own collection of memorabilia obtained through private auction, gifts, donations and rescue. With space limitations to think of, careful consideration went into the curation of the inaugural displays, which will be updated post-opening as different items cycle in and out. In contrast, the Gelfling heroine Kira from 1982’s dark fantasy classic “ The Dark Crystal” offers a different example of animatronic wizardry - part of an extensive assemblage on props and creature puppets in the academy’s collection gifted by the Jim Henson Co. It would be cut together with Arnold and makeup, so the effects makers had to be very precise in matching his makeup,” said He. “This was used for scenes where the metal was exposed. To the swoonworthy fish-man’s left, Arnold Schwarzenegger’s disembodied head - one of several animatronics used in the making of 1991’s “ Terminator 2: Judgment Day” - shows the T-800’s endoskeleton peeking out from beneath fleshy cranial damage, as seen in the film’s finale. “Del Toro wanted it to be believable that could fall in love with him,” He observed. (Joshua White, JWPictures / ©Academy Museum Foundation)īathed in shimmering light using an underwater effect designed to highlight its UV-painted details, the Amphibian Man from Guillermo Del Toro’s best picture Oscar winner “ The Shape of Water” (2017), designed by Mike Hill and on loan from Legacy FX, commands attention from the center of the room. ![]() ![]() The focus is on some of the biggest and most beloved Hollywood genre films of the last 50 years each is presented in such a way that one may simply commune with an iconic object, or learn more about the craft, people and history behind the movie magic. Showcasing a small fraction of the academy’s collection of more than 8,000 items, the gallery includes several significant objects obtained at auction and on loan from private collectors, filmmakers and studios. “Visitors might come in to see one character or one object from a film but then be reminded by another of a memory that’s in the back of their head,” noted He. That spark of remembrance, the specificity of place, time or emotion an image can evoke even years after seeing a film, is what curators hope will make the gallery a visceral experience for cinephiles. Then in “Encounters,” the moody final chamber of the multi-room “Inventing Worlds and Characters” section, the lights dim here is where fans come face to face with creatures and characters that movies have lodged deep within their subconscious hearts and minds. It’s interesting how memory works, and that’s also the beauty of cinema because we remember dialogue and lines and things that are part of the pop culture landscape. Giger and created by Carlo Rambaldi for 1979’s “Alien,” an Academy Award winner for special effects - greets you as you step through the entryway, its jaws open wide. It’s one of dozens of iconic movie characters presented in the Academy Museum’s most fantastical, up-close and personal experience: The “Encounters” room, where the actual Xenomorph head worn by Badejo - designed by H.R. The film was Ridley Scott’s “Alien” - and the nightmarish Xenomorph that Badejo helped bring to life would go on to spawn a sprawling sci-fi horror franchise, terrorizing Sigourney Weaver’s Ripley into the annals of cinema history. In 1978, Nigerian artist Bolaji Badejo was discovered in a London bar and cast in the only film of his career, his thin 6-foot-10 frame making him well-suited to don the uniquely proportioned costume for a role a local production was desperately trying to fill: that of a menacing extraterrestrial with long limbs, razor-sharp teeth and acid for blood, stalking the crew of a spaceship.
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