Making Talos Awakes – Part 15 of 20
Attempts to heat-bend the elbows through 90° resulted in forms that were too rounded. So instead, I cut forearm sections from donor casts to graft onto the existing upper arms.
To set the hands in their correct positions I heated the forearms, rotated the wrists and then set the angle of the hands to match film footage.
Constructing the left elbow
I grafted in a new section from the mid-point of the back of the left arm to elbow. This introduced a downwards curve to the upper arm and lengthened it to match the dimensions of the right arm.
Next I fitted the forearm, remedying an elongation of the elbow that I’d hadn’t corrected during the restoration. I then used four further grafts to rotate the muscle details around the 90° bend of the elbow joint and reinstate the muscle structures around them.
Setting the fingers of the left hand
In Jason and the Argonauts when Talos first comes to life at 33:40 (right), the fingers of the left hand are extended with a slight bend. The second finger being more flexed than the others.
First I cut fine lines through the back of the joints (above). This reduced the prominence of the knuckles and to eased the straightening process. Then I heat-bent and super-glued the hand into the correct position (above).
Final adjustments to the left arm
I corrected the slightly concave appearance of the left bicep with a reformed graft (below left). I used a further graft to smooth a sharply defined form at the end of the forearm muscle, leading to the elbow and triceps muscle (below right – light graft).
Forming the right hand to grip the sword hilt
Before attempting to heat manipulate the right hand I cut it off to prevent the heat releasing the wrist rotation. Next I cut back areas of the palm that would foul the sword grip. Then I cut half way through the inside of each finger joint. This allowed me to heat-form the hand around the hilt of the sword.
I still needed to curve the hand and pull the third and fourth knuckles into a realistic grip. So I cut lines freeing the two knuckles. Once heated I was able to heat-adjust, glue and fill the hand in its final position.
Setting the angle of the sword
Referring to the wax maquette and film footage, I then set the hand onto the wrist holding the sword at the correct angle.
Right upper arm rebuild
As previously mentioned I had to carry out extensive work to correct a number of issues caused by the under rotation of the right shoulder.
Heat-rotating the shoulder joint to the correct angle had been difficult to achieve due to resistance caused by the structural rigidity of the chest. Consequently the deltoid muscle had under-rotated compared to the rest of the upper arm, resulting in a slightly curved form (below left). To correct this I formed and fitted a new front-half deltoid graft in the correct position (below right).
Correcting a flattening of the right shoulder
The shoulder muscle and the back of the deltoid muscle had been slightly but noticeably flattened during the rotation (above left). To correct this I first hollowed out the inside of the shoulder with a die grinder. By applying gentle heat I was able press the shoulder back into an acceptable form and then replace the back of the deltoid with a graft (above right).
Realigning the right forearm
The rotation of the upper body meant that the natural line of the forearm pointed through the left knee. Consequently I would need to rotate the elbow and bicep into line with the forearm. You can see the misalignment of the bicep and forearm in the photo on the right.
In preparation for the corrective work, I built a simple jig to aid relocation, cut away the front of the upper arm below the deltoid muscle and cut a replacement graft. I swelled the graft’s bicep into a form more reflective of the arm’s flexed position and, after adjusting bicep and the front half of the deltoid muscle to form a credible front, upper arm profile, I set the graft and replaced the back of the arm in the same way (below left and right).
Final grafts to correct the right arm’s muscle form
Because the bicep had been rotated into its correct position, when I fitted the forearm, I found I had to replace the muscle graft that stretched over the top of the forearm and around the outside of the upper arm, as the original now fouled the upper arm (above). Once the forearm was fitted I made an additional small graft to refine the bulge of the bicep (above right and right).
The inside of the forearm needed two grafts to rotate and compress the muscle around the elbow joint (right), and another was needed to swell the triceps (below left) and adjust the inner arm down to the elbow (below right).
Finally, I replaced an earlier pectoral muscle graft to correct the line running beneath the pectoral muscle to just above the bicep (right).
These sculptures were hand made by Raven Armoury in association with The Ray & Diana Harryhausen Foundation.
Based on effects characters created by Ray Harryhausen for a Charles H. Schneer Production.
TM & © Columbia Pictures Industries, Inc. All Rights Reserved.