Ray Harryhausen poses with a skeleton (Jason and the Argonauts), the Hare (The Tortoise and the Hare) and the Fox (The Story of Little Red Riding Hood) before his appearance at the Academy of Motion Picture Arts and Sciences’ George Pal Lecture on Fantasy in Film on April 23, 2004. © A.M.P.A.S.

Legendary special effects animator Ray Harryhausen was in Los Angeles in April to promote his telling new book, Ray Harryhausen: An Animated Life (with Tony Dalton from Billboard Books), which chronicles the making of his famous films, including Mighty Joe Young, The Beast From 20,000 Fathoms, 20 Million Miles to Earth, The 7th Voyage of Sinbad, Jason and the Argonauts, The Golden Voyage of Sinbad and Clash of the Titans. Why divulge the secrets now to the spectacular skeleton battle in Jason, the development of Medusa in Titans and all the rest? Because the wizard is tired of seeing other people explain his work. VFXWorld editor Bill Desowitz caught up with the gentlemanly Harryhausen (who turns 84 in June and wouldn’t mind opening a real Sushi restaurant in his honor) right before he presented the newly restored Mother Goose Stories and four other seminal fairy tales at the Academy of Motion Picture Arts and Sciences.

Bill Desowitz: Has it surprised you that you’ve inspired so many filmmakers over the years?

Ray Harryhausen: It certainly does. I’m amazed and, frankly, because we set out just to make pictures of entertainment quality. And I’m so grateful that DVD and laser disc brought these films out from, shall we say, extinction [through Warner Home Video, Columbia TriStar Home Ent. and Fox Home Ent.]. They seldom show them in the cinemas anymore. So it’s wonderful that these people have been encouraged to go on other things. I was inspired by [King Kong creator] Willis O’Brien and the snowball rolls on. People are inspired by me, and I guess the computer generation will inspire other people.

Harryhausen shares the spotlight with Mighty Joe Young. The scene in which the ape pushes over the lion’s cage is one of Harryhausen’s favorite moments from his career. © Animation Art Gallery London.

BD: They lose that larger-than-life fantasy element at home.

RH: It is fantasy. King Kong, if you see that on a little screen for the first time, it’s just another picture — an ordinary picture. But to see it on the screen the way I did in 1933 on a 30-foot high screen [at Grauman’s Chinese Theatre] is a startling experience; it was a beautifully constructed screenplay. That’s what I found so intriguing.

BD: Are you intrigued by what Peter Jackson may be able to do with it?

RH: Oh, yes! If anybody’s going to make it good… There’ll always only be one Kong original. But he’ll make the best, shall we say, interpretation. The one in the ‘70s was certainly uninspiring, because they lost all contact with what the picture is all about. It was a fantasy film and Peter Jackson has a love of the old Kong, so I’m sure he’ll do a very good job. It may be different. It must be, I suppose. It was made in the Depression days and films were a rarity. Today you’re inundated with entertainment so it’s a different world, so it’s hard to say how it’s going to be received. Lord of the Rings has been received so well; I’m sure that his Kong will be equally successful.