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coming to life appeals directly to the imagination, and exploits the craft of stop motion. If an
elephant could be trained to act as dynamically as required then, possibly, a real elephant might
have been easier, but bringing Talos to life through stop motion is so appropriate. Today, a
sophisticated CG model might convey the scale better and i t him into the environment more
seamlessly, but I doubt that CG would have given Talos the quirky, ponderous movements that
dei ne him one of the greatest animation characters. Thanks to the perfect marriage of sound
ef ects, design and Ray's restrained animation, you feel the metal straining as Talos begins to
move. The pacing of the sequence gives you time to see the performance. The editing doesn't
tease you or apologise with glimpses, but there is Talos in all his glory, in an uncluttered
environment, mostly shot full length, in dazzling daylight. It is breathtaking animation laid
naked and looking stunning. The performance is full of little touches, he feels heavy and stif ,
and in spite of the eyeless head, Ray manages to suggest some thought process going on.
Important moments of stillness show decisions being made. Seeing Talos on the big screen
caused many doors to open, and I thank Ray whole-heartedly that these doors have never shut.
I am humbled that my puppets are sitting next to a cast of Ray's Talos in the National Museum of
Film, Television and Photography in Bradford. Smaller than I imagined, Talos is testament to Ray's
performance of a convincing giant statue.
Interviewing Ray Harryhausen and Medusa.
Musicals are a passion, and to some extent the i lms featuring Ray's creatures
are much like musicals. Chunks of plot slot in between physical and musical set
pieces, where the actors hardly speak as their combatants seldom have language.
Talos, brilliantly, has no deafening roars, just that hollow creaking. These set pieces
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