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Forbidden Planet (1956)
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Eadie
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PostPosted: Wed Oct 10, 2018 2:13 am    Post subject: Reply with quote

Since you like the furniture check out Charles and Ray Eames. They worked at M-G-M from 1949 to 1961 and were responsible for the designs according to a 1912 program (which I should have recorded) on them. After M-G-M they did extensive worked on the U. S. Science Pavilion at the Century 21 Exposition, the 1962 Seattle World's Fair.
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Last edited by Eadie on Thu Jun 04, 2020 5:52 am; edited 1 time in total
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Gord Green
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PostPosted: Wed Oct 10, 2018 2:18 am    Post subject: Reply with quote

Eadie, do you mean a 2012 program?

Looks a lot like bus station furniture!




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Krel
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PostPosted: Wed Oct 10, 2018 10:20 am    Post subject: Reply with quote

I believe that it was in Cinefantastique, that it was said that the furniture was from other MGM productions. They reupholstered the chairs and couches to make them look different.

The article also said that the open plan of the house was taken from an idea that the inside, and outside should merge. The way the ground floor is designed, it is more of a breezeway. Either the climate at the Morbius home is very mild and cool, or the house has a whopper of an air conditioning system.

You don't really know how large the ground floor is, due to the camera angle. You never see the kitchen area, so you don't know how large that area is, but you do know that it has a maintenance area for Robby. Looking at the size of the dome, the second floor must be pretty roomy. After all, why would Edward crowd himself. You really don't know how large his study is because of the camera angle.

Robby's lab/workshop must take up a good area, because making that much shielding is going to take up space. I believe that it is located away form the house, probably in the vehicle garage.

David.
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orzel-w
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PostPosted: Wed Oct 10, 2018 1:56 pm    Post subject: Reply with quote

Gord Green wrote:
If I ever get to acctually do such a thing you are both invited to come and visit!

I, for one, will be there if you get it done before I die. Cool

Eadie wrote:
Since you like the furniture check out Charles and Ray Eames.

The bucket seats on the quad cannons were seats from Eames chairs.



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Bud Brewster
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PostPosted: Wed Oct 10, 2018 2:57 pm    Post subject: Reply with quote

orzel-w wrote:
Gord Green wrote:
If I ever get to actually do such a thing you are both invited to come and visit!

I, for one, will be there if you get it done before I die. Cool

Me too! Very Happy

(But you should probably schedule Wayne and me to come at different times. If we were there together we'd be up all night arguing about where the front door was! Laughing)

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Gord Green
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PostPosted: Wed Oct 10, 2018 3:51 pm    Post subject: Reply with quote

Quote:
If we were there together we'd be up all night arguing about where the front door was!

By God guys! While your wandering around looking for the door, don't fall in the pool!!!

Robby can't swim!!!



And watch out for the skinny dipping space babes!

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Bud Brewster
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PostPosted: Wed Oct 10, 2018 4:24 pm    Post subject: Reply with quote

________________________________

Wandering around LOOKING for it?

Hell, where's the fun in that? Shocked

We'd be sitting in the living room, heatedly debating whether the front door was in front of HIM or behind ME! Rolling Eyes

Meanwhile, Robby would be standing nearby, shorting out and begging us to shut the hell up and go to bed!




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orzel-w
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PostPosted: Wed Oct 10, 2018 6:23 pm    Post subject: Reply with quote

Are you gonna build your house with a breezeway, Gord? Very Happy
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Gord Green
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PostPosted: Wed Oct 10, 2018 8:24 pm    Post subject: Reply with quote

I think I'd use that area for the air conditioning unit and power controls.
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Gord Green
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PostPosted: Wed Oct 10, 2018 11:48 pm    Post subject: Reply with quote

THE FACE OF THE GORGON


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Gord Green
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PostPosted: Thu Oct 11, 2018 12:38 am    Post subject: Reply with quote

Bud Said:
Quote:
Meanwhile, Robby would be standing nearby, shorting out and begging us to shut the hell up and go to bed!

I'd already BE in bed! Why do you think I stock the pool with skinny-dipping space babes?
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orzel-w
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PostPosted: Thu Oct 11, 2018 12:41 am    Post subject: Reply with quote

I thought of another window into the mind of the matte artist. Using the floorplan-to-painting alignment image, we can see what the size of the dome is at the second floor level; where the base of the open sections in the upper dome lines up; and how big that orange colored cylindrical core rising up from that base is.



As it turns out, the matte artist made the second floor (taking it as where the outside canopy or awning intersects the dome) the same size as the tips of the scalloped arc pattern on the floorplan. Of course, that puts the curved portion of the stairs outdoors; sort of a Palm Springs or Southern California beach house style arrangement. (Maybe the weather in this region of Altair IV is pretty moderate and consistent. After all, the curved stairs did cast rather sunny shadows on the rock wall, and the ground floor is pretty open and airy as well.)

The base of the open sections above the outer awning lines up with the dashed arc (more accurately a polygon) just inside the red circle. I don't see any label or note on the floorplan as to what that dashed arc represents.

Lastly, the orange colored cylindrical core rising up from the base of the upper multiple arches lines up just a wall's thickness outside the ground floor's "Central Core Area". This is going to put a crimp in the upper floor's floor space. The only saving grace is that it likely doesn't have another big circular central planter up there, too. I make it out to be around 330 sq. ft. upstairs.

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Gord Green
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PostPosted: Thu Oct 11, 2018 1:19 am    Post subject: Reply with quote

That sounds right Wayne!

I think part of the problem is we look at it from an engineering, draftsman's point of view while Bud views it from a more emotional point of view.

You and I see that the matte painting and most of the filmed perspectives as being in accord.

He sees where they vary in minute degrees from the actual set.

First : understand that there ARE differences. This is because the act of filming is an ART....with little regard to reality. The results are always a compromise.

Adams and Morbius are looking in the wrong direction toward the graveyard...BECAUSE that's where the camera is set up! To change the camera POV and make it 100% correct would require thousands of dollars of added set construction and more time in filming!. He's 100% right! Few would notice. Bud sees that pure and clear, they should be looking in the opposite direction.....but I think sometimes he does not see with a draftsman's...an engineer's point of view. That's OK, because the art of film is the art of illusion. It's supposed to make you think you see what you think you see.

The pool of water in the forecourt is barely visable in the movie. That's because the focus of the action was on the actors, not the film set! It's briefly seen, but we know it's there because it's in the set's blueprint. It ALSO peeks out on the matte painting.

None of it is "Real".

We just look for a note of continuity and a touch of reality.
I think the matte and the blueprint and the movie as filmed are pretty much in agreement.

I look at it as " How would this actually be constructed?"

I think your orange circle is close....just should be outside the staircase, not inside. That gives the floorspace a considerable increase in sguare footage. As Morbius spent more and more time in his office...even sleeping there, Altaria no doubt utilized more space to hold her considerable wardrobe.

Remember...This is far from a typicle edifice. This is a jawdropping example of advanced architecture. Adams and crew may not realize it , but it is as far beyond them as the Pantheon is to a mammoth hide tent.

And....No guys...I wouldn't be in bed! I'd relish the debate!

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There comes a time, thief, when gold loses its lustre, and the gems cease to sparkle, and the throne room becomes a prison; and all that is left is a father's love for his child.


Last edited by Gord Green on Thu Oct 11, 2018 3:00 am; edited 1 time in total
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Gord Green
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PostPosted: Thu Oct 11, 2018 2:51 am    Post subject: Reply with quote

As Frank Loyyd Wright believed ,a home should be organic....Be a part of the environment it's a part of. Both in the composition of the materials in it's composition and it's place in the composition of the site, Morbius's residence is the perfect Altarian example.

It combines Human and Altarian elements of habitation and artistic esthetics..

There are elements of both points of view expressed. In a desert environment, there is a definite homage to the sea from which both evolved.



There are so many touches of Earhtian evolution combined with Altarian to be considered as part of Morbius's state of mind and insights to his psyche.

All of which leads us to...the mind of Morbius!

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Bud Brewster
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PostPosted: Thu Oct 11, 2018 12:07 pm    Post subject: Reply with quote

________________________________

Good comments about the architecture and the house decor, Gord. There's a second fish sculpture by Sascha Brastoff on the back patio as well.






I wondered just how different the floor plans of the matte painting and the blueprints really were, so I created a "cleaned up" version of the blueprints to make it easier to see the actual walls and a few related features of the house without having to wade through all the notations and small details the blueprint includes.

The green lines on the right side of the living area are just my estimates for where those walls (which weren't included on the set) would be if the house were complete.






The image above has a link to a 1,973 pixel version so you can look closely at the info I left within the walls. I was careful to rotate the blueprint to the same position as Wayne's version, with the POV at the very bottom so that it matched the matte painting.

After creating this simplified version of the blueprints, I tried to figure a way to create some kind of "partial fit" between the the blueprint and the matte painting, but it just isn't possible. The relative positions of the dome and the first floor structure are too different.

There's also the fact that the matte painting has features not found in the blueprints (the extension, the overhang between the two levels, the wing near the pool), and the blueprint has features not found in the matte painting (the pool patio, the living area / Morbius study configuration, the forecourt).

That, of course, is why Wayne wasn't able to match up any features from the parts of the house that aren't within the dome.

I realize that some of these are absent in the matte painting simply because of the angle from which the house is viewed. But most of them are just extreme differences between the two that make it impossible to match up the two structures (other than the dome features), no matter which way you turn the blueprint.

Wayne's estimation of the dome's circumference seems very reasonable. In his earlier version he left a gap in the dome to explain why there was no shadow over the forecourt.

Note to Wayne: Since the set is lit by studio lights which don't really duplicate direct sunlight, and since the camera is careful never to reveal anything above the point the set is intended to show, I'd be willing to accept the idea that the dome was suppose to be above the forecourt.

But naturally we just never get a shot that would have revealed it, even if the set had included the bottom of the doom above the forecourt.

Yesterday I confessed to Gord in a PM that I made the simplified floor plan because I suddenly realized that the facing wall of the house at the ground floor in the matte painting only had a very slight curve to it — much less than the dome above it. So, for decades I had mistakenly assumed the "dome" went all the way the ground at that portion of the house.

That's why I kept insisting that you couldn't put a dome-shaped structure that covered a rectangular house.

Silly me, the ground floor is comprised of rectangular areas, and the dome (which is smaller) sits on top.

I modified the jpeg below to line up the bottoms of the windows and show that the wall is completely straight. I really didn't have to change them very much.






I now realize that the dark area below the windows is just the shadow of the curved overhang above it, so it really should be curved, both on the wall and on the ground. But straightening it below the windows helps to illustrate that the wall itself is not curved.

Guys, if you've known this all along, please don't even tell me! I already feel foolish for not having realized this before. Embarassed

However, in my own defense, Gord's closeup of the house is the sharpest version I've ever seen — and even IT was very dark until I enhanced it with Paint.net!






The fuzzier versions of the matte painting we've all seen for years tend to mask that aspect of the house's design, even when they're cropped to bring the house closer. Gord told me he bought a print from a seller on eBay.

I'll be bet he could actually sell prints of the improved version and make his money back several times over! Laughing




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