 |
Harrison
Ellenshaw is acknowledged as one of the key creative forces behind
the use of high-tech computer imaging in filmaking. He was introduced
to the industry by his father, Peter, an Academy Award-winning legend
who died last year at the age of 93. —Spectrum
photo by Stephen Baetge
Disney
Filmmaker Travels in Footsteps of Legend
By
Michael A. Piekarz
Staff Writer
Harrison
Ellenshaw had no intention of following in the footsteps of his
Academy Award-winning father, Peter Ellenshaw. After all, his father
was a legend.
With an artistic career spanning over seven decades, Peter Ellenshaw became a
Hollywood icon for his mastery of matte painting.
Peter’s skills as a special effects artist, motion picture production designer
and concept illustrator earned the respect and admiration of the filmmakers he
worked with including Walt Disney, Stanley Kubrick, Michael Powell and W. Percy
Day, O.B.E., — the British film industry’s foremost special effects
artist and matte painter.
Peter’s work on films included “20,000 Leagues Under the Sea,” “Spartacus,” “Darby
O’Gill and the Little People,” “Mary Poppins” and “The
Love Bug.” He won an Academy Award for Best Special Visual Effects in “Mary
Poppins.” He was also nominated for an Academy Award for his production
design work on “Bedknobs and Broomsticks” and “The Island at
the Top of the World” as well as for his effects work on “The Black
Hole.”
Peter became an official Disney Legend in 1993.
While living in California, Peter became enamored with the ocean and began painting
seascapes. A stint in Ireland led to an expansion of his landscapes to include
the Irish countryside. He also began painting Disney-themed scenes, often featuring
the trademark “Cinderella’s Castle.”
Peter quickly became the premier seascape and landscape artist of his generation.
His work was soon highly prized by collectors. He also began a lifelong association
with the prestigious Hammer Galleries in New York.
While art had occupied much of his son Harrison’s life, Harrison had other
ideas about his career calling. He had earned a degree in psychology from Whittier
College and served as an officer in the U.S. Navy.
While Harrison was trying to find work in his chosen career of corporate administration,
his father told him that he might want to apply for a temporary position in the
matte department at Walt Disney Studios.
“My father mentioned that they were looking for artists,” Harrison
recalled.
Harrison met with Alan Maley of Disney Studios. Maley had worked with his father,
and he’d earned an Academy Award, as well.

After
talking with Maley, Harrison still wasn’t certain about working in
the movies. “Alan and I agreed that I would try it for six months,” he
explained.
Six months later, Harrison was still working as an apprentice matte artist for
Disney. “I found film work very interesting,” he said, adding that
he quickly became hooked on movies.
While working with Maley, Harrison soon established himself as a respected matte
artist. While working on Nicolas Roeg’s “The Man Who Fell to Earth,” Harrison
was approached to work on “Star Wars.”
After the production of “Star Wars,” Harrison returned to Disney
to collaborate with Peter on “The Black Hole,” a film known more
for its production design and special effects than for its story. The film earned
the duo an Academy Award nomination.
Harrison later rejoined Lucasfilm to contribute to George Lucas’ “The
Empire Strikes Back.” He later worked on the Disney film “Tron” and
was acknowledged as one of the key creative forces behind what has become a landmark
use of the then-revolutionary digital technology computer-generated imager used
to create a highly visual world inside a computer.
Harrison had no difficulty introducing high-tech computer imaging techniques
to his artistic folio. “It wasn’t that difficult to change from matte
painting to computer graphics, because the visual effects were similar,” he
said.
Other notable projects followed: a 3-D theme park film by Francis Ford Coppola
and George Lucas, “Captain Eo”; the effects-laden “Superman
IV” and the blockbuster film, “Ghost.” Harrison also found
time to direct an independent feature length comedy, “Dead Silence.”
Soon, after completing “Dead Silence,” Harrison worked on his favorite
film, “Dick Tracy.” The film became known for its stunning backgrounds
and cityscapes.
What made this film fun for Harrison was the artistic challenges it presented. “‘Dick
Tracy’ was a great opportunity to do matte painting that didn’t have
to look natural but still had to be believable,” he said.
Other successes quickly followed. Disney asked Harrison to head up a new effects
facility, Buena Vista Visual Effects (BVVE). During its six years of existence,
BVVE became highly regarded throughout the industry, contributing to over 40
films including work for outside studios: Paramount Pictures, Warner Bros, 20th
Century Fox, MGM and Sony.
In addition to his film work, Harrison has also been able to concentrate on a
fine art career, producing one man shows for several galleries. In 2002, he began
collaborating with his father, creating a number of spectacular Disney giclée’s — a
form of art print noted for its quality and fidelity to the artist’s vision.
Harrison’s artistic collaboration with his father lasted until February
of 2007, when Peter passed away peacefully at his Santa Barbara home at age 93.
Harrison continues to create his own Disney giclées. He also creates fine
art paintings of unique cityscapes, the landscapes of New Zealand, the American
Southwest, as well as scenes from England, France and Asia.
Unlike his art in films, Harrison has no favorites among his paintings. “They’re
like children,” he explained. “I love them all.”
The artwork of Peter Ellenshaw and Harrison Ellenshaw may be viewed locally at
the “Going Hollywood” exhibit of the California State Fair. It may
also be found in the Art Vault of the State Nine Entertainment Store located
in Old Sacramento.
TOP
This page and its contents ©2008
Metropolitan News Company, Inc.
|
 |
 |