Is one of the sequences most rare, hypnotic and emblematic of the film adventures of the eighties: the nightmarish climax of ‘Inside the labyrinth’, half ballad-Bowie-and-half reinterpretation of the etchings of MC Escher, it is the perfect symbol of the movie of Jim Henson. Intricate, complex and full of secrets. And we have decided to tell you a few.
After crunching the sequence of the dinner of ‘The Texas chainsaw massacre’, we move forward a decade to talk about an equally exciting moment, although much less gory: Jennifer Connelly arrives at the end of your thrilling journey in search of his brother in the labyrinth of David Bowie and faces a display completely too much power.
In the new video for ‘Autopsy of a scene’ we tell you how you shot this very complex scene: the inspiration of the ‘Relativity’ of Escher, the trickery in a time where the CGI was only a dream, the combination of optical effects with specialists able to walk upside down… all for a sequence that forms a fundamental part of the film that, although today it has become the object of worship, fulminó with their failure of box office career as a director of David Bowie.
An engineering work of visual (and other) that resulted in a sequence iconic embellished with a soundtrack unforgettable. As always, you have from the Youtube channel of Espinof from the ‘Autopsy of a scene in ‘Everything is a lie in film and TV’.
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The news How they made the sequence more complex and dizzying of ‘Within the maze’ was originally published in Espinof by John Tones.
Phoneia.com (February 11, 2018). How they made the sequence more complex and dizzying ‘Inside the labyrinth’. Recovered from https://phoneia.com/en/how-they-made-the-sequence-more-complex-and-dizzying-inside-the-labyrinth/