American Cinematographer - December 1988 - 74

Cocoon II,

Challenges Wizards

by Lynn Carpenter

Sequels have become a Hollywood
cliche. Most any film with a mod¬
icum of success is a candidate for a

by Lili and Richard Zanuck. This

sequel. Film number two rarely

ducers. Scott Farrar

does

well

as

as

film number

There is, however, a list

one.

of notable

exceptions and interestingly, they
do have at least

element

one

special effects by Indus¬
Light and Magic. The list in¬
cludes the Star Wars trilogy, the
Indiana Jones saga, and part of the
Star Trek phenomena. ILM hopes to
add Cocoon II to that list. Only time
-

will tell.
It's

never

upsmanship
and yet
ter.

by

now

In 1984-85

play onewith yourself

easy to

games

time Daniel Petrie directed and
once

again the Zanucks

ILM is a grandmas¬
they produced the

were pro¬

was

and

a

very

tough schedule and it

went to 88 shots with the same,

slightly shorter schedule. That's al¬
ways the biggest concern - to get
the shots done and done well, be¬

fore the time

runs out. Everyone producers, directors, everyone - is
under the gun to produce more for
less these days," said Farrar in an
a week before wrap.
Unlike the first Cocoon

interview

which had

direction of Ron Howard,

of effect," the new film

American

Cinematographer

the

"We started with 49 shots

visual effects for Cocoon I under the

produced

on

plate and blue screen camera crew
for the first outing. This time Farrar
was the visual effects
supervisor.

common

trial

72

the Return

December 1988

"just about

kind
depends

every

mainly on animation, bluescreen
and opticals. The main "effect" in
the film is the alien character Phil.
Farrar

explains, "Phil is involved in
key shots. He looks very

about 15

similar to the aliens in the first film

only he undergoes changes be¬
cause he is
captured and held in a
scientific laboratory so he can be
studied. As the story progresses he
loses his energy and seems to be
dying."
The challenges with Phil
fell into several categories. The
blue-screened part of Phil included
a series of
flying-rig shots of an
actress in a white body suit and
latex mask. The
Phil
more.

includes

optical version of

that element and

Phil is made of vapors

of

various colors and intensities. Cre-



American Cinematographer - December 1988

Table of Contents for the Digital Edition of American Cinematographer - December 1988

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