“The fact that you can get a little bit of paint and, with film, create an incredible scene – don’t you think that’s quite a beautiful equation?” – Albert Whitlock, matte artist

Throughout the last century, moviegoers have watched flickering images in darkened theaters, unaware of one of the most magical acts of illusion in motion pictures – the use of oil paints brushed and daubed onto a few square feet of glass to create some of the most iconic movie “locations” of all time.

Alfred Hitchcock once said, “The beauty of a matte shot is that you can become God.”  Indeed, practically since the dawn of cinema, matte painting has been indispensable to filmmakers faced with the challenge of conjuring the impossible, from lost visions of the ancient world to the sweep of modern city skylines, from the depths of outer space to the far reaches of the imagination.  These filmmakers have relied on the talents of matte artists to help transport audiences to such amazing destinations as the Skull Island lair of King Kong, the Emerald City of Oz, Charles Foster Kane’s dark Xanadu estate and the Death Star ruled by Darth Vader.

Until recently, matte painting has largely been unexamined as an art form, its use shrouded in secrecy by producers and studios, its techniques closely guarded by matte artists themselves.  Perhaps even moviegoers have been reluctant to learn too much for fear of spoiling the magic, although the artistry involved is spellbinding in itself.

Craig Barron will host a creative journey through 100 years of movie matte painting, celebrating the long history of the traditional oil-on-glass method and its recent transition into the new frontiers of software and pixels.  The evening includes a panel discussion with matte painters and camera operators who will share their insights and anecdotes about this wonderful art of illusion.  The discussion will be augmented by film clips from such movies as King Kong (1933), The Wizard of Oz (1939), Citizen Kane (1941) and Star Wars (1977).