Creature effects

before 2001, where science fiction was basically, you know, big bugs and robots, right? And alien invasions and the Creature from the Black Lagoon and Flash Gordon. And after Star Wars, it was kind of back to being Flash Gordon, aliens from outer space. But there was this period between 2001 in 1968 and Star Wars in 1977, 78, when science fiction was seen as a sort of

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the alien beach ball with the creature from the Black Lagoon in her hands does a little finger-tapping thing, which is very like one of the moments with the drones. Very well spotted, yes, the tapping drone. But my guess is that Dark Star was made in 1974, so this was one of, apart from 2001, there weren't that many outer space type science fiction movies. Well, that brings me on to what I was going to ask you about. So 2001 is...

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Francis Ford Coppola

Michael and his father, like, waving his hand for him, you know, being the puppeteer. And this, to me, really was the end of the Godfather story. You know, he was left having won but having lost everything, started out as a good man. And in the film I'm working on now, I'm going to start out with an evil man who becomes good crossed with a good man who becomes evil.

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Robert Sommer

But in the end he is still the monster.

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I like him very much in this scene. No one else has a stare like this one. You essentially gave the monster a soul with this, which significantly distinguishes it from Murnau. From Murnau, yes... That's what I wanted to say earlier that in Murnau's film he is a soulless insect. In mine, he can be happy. He suffers. He especially suffers because he can't die. He cannot partake in the basic human experience, love and death. He can't die, which makes him suffer horribly. All of that doesn't exist in Murnau's film.

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