Filming A Trip to the Moon

méliès (at left) in studio trip moon filmed

as science writer ron miller notes, trip moon 1 of complex films méliès had made, , employed every trick had learned or invented . longest film @ time; both budget , filming duration unusually lavish, costing ₣10,000 make , taking 3 months complete. camera operators théophile michault , lucien tainguy, worked on daily basis méliès salaried employees star film company. in addition work cameramen, méliès s operators did odd jobs company such developing film , helping set scenery, , salaried operator, françois lallement, appeared onscreen marine officer. contrast, méliès hired actors on film-by-film basis, drawing talented individuals in parisian theatrical world, had many connections. paid 1 louis d or per day, considerably higher salary offered competitors, , had full free meal @ noon méliès.

méliès s film studio, had built in montreuil, seine-saint-denis in 1897, greenhouse-like building glass walls , glass ceiling let in sunlight possible, concept used still photography studios 1860s onward; built same dimensions méliès s own théâtre robert-houdin (13.5×6.6m). throughout film career, méliès worked on strict schedule of planning films in morning, filming scenes during brightest hours of day, tending film laboratory , théâtre robert-houdin in late afternoon, , attending performances @ parisian theaters in evening.

the workshop set includes glass roof, evoking actual studio.

according méliès s recollections, of unusual cost of trip moon due mechanically operated scenery , selenite costumes in particular, made film using cardboard , canvas. méliès himself sculpted prototypes heads, feet, , kneecap pieces in terra cotta, , created plaster molds them. specialist in mask-making used these molds produce cardboard versions actors wear. 1 of backdrops film, showing inside of glass-roofed workshop in space capsule built, painted actual glass-roofed studio in film made.

many of special effects in trip moon, in numerous other méliès films, created using substitution splice technique, in camera operator stopped filming long enough onscreen altered, added, or taken away. méliès spliced resulting shots create apparently magical effects, such transformation of astronomers telescopes stools or disappearance of exploding selenites in puffs of smoke. other effects created using theatrical means, such stage machinery , pyrotechnics. film features transitional dissolves.

the pseudo-tracking shot in camera appears approach man in moon accomplished using effect méliès had invented previous year film man rubber head. rather attempting move weighty camera toward actor, set pulley-operated chair upon rail-fitted ramp, placed actor (covered neck in black velvet) on chair, , pulled him toward camera. in addition technical practicality, technique allowed méliès control placement of face within frame greater degree of specificity moving camera allowed. substitution splice allowed model capsule appear in eye of actor playing moon, completing shot. notable sequence in film, plunge of capsule real ocean waves filmed on location, created through multiple exposure, shot of capsule falling in front of black background superimposed upon footage of ocean. shot followed underwater glimpse of capsule floating surface, created combining moving cardboard cutout of capsule aquarium containing tadpoles , air jets. descent of rocket moon covered in 4 shots, taking twenty seconds of film time.

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