The Art of Cinematography: Forbidden Planet

 First-Hand account By George Folsey, ASC - Article by Jason Brazeal

As a cinematographer, I've had the privilege of working on numerous projects, but none as challenging and innovative as MGM's science-fiction thriller, Forbidden Planet. Directed by Fred Wilcox and produced by Nicholas Nayfack, this 1956 classic pushed the boundaries of filmmaking, showcasing cutting-edge special effects, elaborate sets, and a pioneering use of color and CinemaScope.

Pre-Production and Set Design

Before we began filming, the studio invested over two years in technical research, laying the groundwork for our ambitious project. The art department, led by supervising art director Cedric Gibbons and art director Arthur Lonergan, designed sets that were both futuristic and fantastical. The production required an enormous amount of space, utilizing four of the studio's largest sound stages.

One of the most impressive aspects of the set design was the creation of the planet's surface, which was achieved through a combination of miniature sets and matte paintings. The art department built a massive miniature set of the planet's surface, which was then combined with matte paintings to create the illusion of a vast, alien landscape.

Mechanical Marvels and Prop Shop Wonders

One of the most impressive aspects of Forbidden Planet was the creation of Robby, the seven-foot-tall mechanical robot. With six electric motors and a complicated switchboard panel, Robby was a marvel of engineering. The prop shop also crafted an atomic cannon, space Jeep, electromagnetic tractor, and other futuristic gadgets that added to the film's sense of wonder.

Robby was controlled by a team of operators who used a complex system of levers and pulleys to move the robot's arms and legs. The robot's face was made of a combination of metal and plastic, and its eyes were capable of moving independently.

Lighting Challenges

Lighting was a major concern throughout the production. The sets, designed for CinemaScope and color film, presented a unique challenge. The problem of matching lighting, or achieving lighting gradations, was far more complex than in conventional productions. We had to carefully balance the lighting to avoid harsh reflections and ensure that the sets looked realistic.

To achieve the desired effect, we used a combination of lighting techniques, including using colored gels, diffusion filters, and spotlights. We also used a technique called "rim lighting," where we placed a spotlight at the edge of the set to create a sense of depth and dimension.

The Invisible Monster

One of the most memorable and technically impressive sequences in the film is the invisible monster's attack on the space ship. To create this effect, we used a combination of special lighting, shadowing, and color. By shooting from a moving camera crane elevated to 10 feet, we achieved the illusion of seeing the scene from the monster's perspective.

To create the illusion of the monster's presence, we used a combination of smoke and fog machines to create a misty atmosphere. We also used a technique called "negative printing," where we printed the film in reverse to create a sense of depth and dimension.

Set Lighting and Reflections

Lighting was a constant challenge throughout the production. The sets, made of bright metal and plastics, reflected light in almost every direction. We had to carefully place lamps and use masking to avoid unwanted reflections. In one instance, we used 40 MGM-designed Skylights, each holding 10 1,000-watt photo lamps, to light the space ship set.

We also used a technique called "bounce lighting," where we placed a light source at a 45-degree angle to the set to create a sense of depth and dimension. This technique allowed us to create a sense of volume and texture on the set, even in the most reflective of surfaces.

The Electronics Laboratory

The electronics laboratory set was another complex and challenging environment. With 50,000 feet of wiring, 2,500 feet of neon tubing, and 1,200 square yards of plexiglass, it required a staff of 15 electricians to handle 110 separate switches on a giant control panel. We used a combination of lighting techniques, including changing light and dulling bright surfaces with wax, to achieve the desired effect.

To create the illusion of the laboratory's futuristic technology, we used a combination of special effects, including miniature sets, matte paintings, and optical printing. We also used a technique called "stop-motion animation," where we moved the laboratory's machinery and equipment in small increments to create the illusion of movement.

Camera and Lighting Techniques

Throughout the production, we employed a range of camera and lighting techniques to achieve the desired effects. We used a mobile crane to shoot long takes, such as the 9 ½-minute scene in the electronics laboratory. We also used Venetian-type shutters over each arc lamp to create the illusion of the invisible monster's approach.

We also used a technique called "panning," where we moved the camera from side to side to create a sense of movement and energy. This technique allowed us to create a sense of dynamism and tension on the set, even in the most static of scenes.

Conclusion

Forbidden Planet was a groundbreaking film that pushed the boundaries of cinematography, special effects, and set design. As a cinematographer, I'm proud to have been a part of this innovative production, and I'm grateful to have contributed to its technical and artistic success. The film's legacy continues to inspire filmmakers and cinematographers to this day, and I'm honored to have been a part of its creation.

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