:## Carlo Rambaldi: The Master of Movie Magic Remembered

One hundred years ago, on September 15, 1925, Mainarda (Ferrara) Carlo Rambaldi was born in Vigarano. A great creator of special effects for cinema, and a three-time Oscar winner for creating the creatures in ET, Alien, and King Kong. Today, Ferrara remembers him with two exhibitions.

Carlo Rambaldi was above all an artist and a craftsman, and he did not boast at all. he also hated computers. It was a real contradiction. “The magic has been lost, like when a magician reveals his tricks to those present,” he said to those who asked him about his work.

The great creator of special effects died at 86 on August 10, 2012, in Lamezia Terme (catanzaro), where he had lived for ten years.

among the numerous other films to which he collaborated, along with the three for which he had received the Oscar (King Kong by John Guillermin, Alien by Ridley Scott, and ET the Extra-Terrestrial by Steven Spielberg), there are also Close Encounters of the Third Kind (1977) by Spielberg, and dune (1984) by David Lynch. On his hatred of digital effects, Rambaldi, who was the representative of that artisan Italy of cinema that has never failed to win at the Oscars more than any other category of our cinema, said: “Digital costs about eight times more than mechatronics. And it cost a million dollars, we made it in three months. In the film there are about 120 shots. If we wanted to achieve the same thing with the computer, it would take at least 200 people for a minimum of five months.”

In his long life full of successes, two episodes stand out for his professionalism. In 1971, for the investigation of the circumstances of the death of Giuseppe Pinelli, the investigating magistrate asked for his help to reconstruct the modalities of the fall. Rambaldi then created an ad hoc mannequin. The following year, Rambaldi was forced to demonstrate in court that the canine vivisection was only a trick in the film A Lizard with the Skin of Women (1971) by Lucio fulci, after Fulci himself was accused of mistreatment and cruelty to animals.

Born as a painter and sculptor, he entered the world of Italian cinema by working on films such as Terror in the Space by Mario Bava and deep Red by Dario Argento. John Guillermin (king Kong) and then Spielberg and Ridley Scott were the first to notice him in the USA in the seventies. For his most famous creature, he repeatedly said: “It is obvious that the eyes remember those of a feline, for the first sketches I was inspired by the muzzle of the Himalayan cat seen frontally, the same expressive lines.”

even though the legend has it that Spielberg was never fully convinced by the cat story, the director underlined in interviews that ET’s face was a mix of Albert Einstein, Ernest Hemingway, and Carl Sandburg.

Did you enjoy this article? Share it with your friends and leave a comment below!

What specific techniques did Carlo Rambaldi employ to make E.T.’s movements appear organic and emotionally resonant?

Carlo Rambaldi: Celebrating the Centenary of the Creator Behind ET’s Iconic Design

The Master of Animatronics: A Life Dedicated to Bringing Fantasy to life

Carlo Rambaldi,born January 8,1925,and passing away in 2012,wasn’t a household name like Steven Spielberg or George Lucas. Yet, his artistry was fundamental to some of the most beloved cinematic moments in history.This year, as we mark the centenary of his birth, it’s crucial to celebrate the legacy of this pioneering special effects artist – a true innovator in the field of animatronics and creature design. Rambaldi’s work transcended mere technical skill; it was about imbuing fantastical beings with believable emotion and life. His influence on modern filmmaking, notably in science fiction and horror, remains profound.

Early Career & Breakthroughs: From Italian Cinema to Hollywood

Rambaldi’s journey began in Florence, Italy, where he initially pursued a career as a painter. However, his fascination with mechanics and movement led him to explore special effects. He started working in the Italian film industry in the 1950s, gaining experience in various roles, including set design and model making.

* Early Italian Films: Rambaldi contributed to films like Ulysses (1954) and The Ten commandments (1956), honing his skills in creating realistic props and effects.

* first Academy Award Nomination: His first Academy Award nomination came in 1963 for his work on The Thief of Bagdad,showcasing his growing talent for creating fantastical creatures.

* Transition to hollywood: The late 1970s marked a pivotal shift, bringing Rambaldi to Hollywood and setting the stage for his most iconic creations.

Close Encounters of the Third Kind: Laying the Groundwork for Alien Life

Before E.T.,Rambaldi’s collaboration with Steven Spielberg on Close Encounters of the Third Kind (1977) was a landmark achievement. The film required the creation of alien beings that felt both otherworldly and strangely relatable.

* The Bioluminescent Creatures: Rambaldi designed and built the bioluminescent creatures encountered by Roy Neary, utilizing innovative materials and lighting techniques.These weren’t simply props; they were designed to move and react,creating a sense of genuine alien presence.

* developing Animatronic Techniques: This project allowed Rambaldi to refine his animatronic techniques, crucial for the more complex challenges that lay ahead. He experimented with lightweight materials and remote control systems to achieve fluid, realistic movements.

* Academy Award Recognition: Close Encounters earned Rambaldi his second Academy Award nomination, solidifying his reputation as a leading special effects artist.

E.T. the Extra-Terrestrial: The Creation of an Icon

The 1982 release of E.T. the Extra-Terrestrial cemented Carlo Rambaldi’s place in cinematic history. The challenge was immense: to create a sympathetic, believable alien that audiences would connect with emotionally. Rambaldi didn’t just build a puppet; he crafted a character.

* Multiple E.T.s: Rambaldi didn’t create just one E.T. Several animatronic versions were built, each serving a specific purpose.

* Full-Body animatronic: A complex, fully articulated puppet used for many of E.T.’s movements.

* Rod Puppets: Smaller, rod-operated puppets for close-ups and more delicate actions.

* Mechanical Head: A highly detailed mechanical head controlled remotely,allowing for nuanced facial expressions.

* The Importance of Movement: Rambaldi focused intensely on E.T.’s movements, studying animal behavior to create a gait and mannerisms that felt organic and believable. The tilting head, the expressive eyes, and the delicate hand gestures were all meticulously designed.

* Academy Award Win: Rambaldi finaly won his Academy Award for Best visual Effects for E.T., a well-deserved recognition of his groundbreaking work. This win highlighted the power of practical effects in storytelling.

Beyond E.T.: A diverse and Lasting Legacy

While E.T. remains his most famous creation, Rambaldi’s career spanned decades and encompassed a wide range of projects.

* Alien (1979): Rambaldi contributed to the design of the Xenomorph in Ridley Scott’s Alien, though his contributions were ultimately minimized in the final film.

*