Matthew Yuricich |
Biography |
Matthew J. Yuricich (born January
19, 1923) is an American Academy Award-winning special effects artist.
Yuricich won the 1976 Academy Special Achievement Award for visual effects
in the movie Logan's Run. He was nominated for the best visual effects
Oscar for his work on Close Encounters of the Third Kind in 1977.
He worked in the movie industry
since 1950 with 20th Century Fox, M.G.M. and Paramount Studios at matte
artist.
His department heads were Fred
Sersen at Fox, Warren Newcombe and Lee LeBlanc at MGM,and later Bob Hoag
at MGM.
After he left MGM at early 70´s
he worked freelance. Very often was recuited by Frank Van Der Veer, with
who he worked at Fox FX departement during the 50´s.
During the 80´s the worked
at Richard Edlund "Boss Filsm" as Chief matte painter. He retired from
matte painting at 1990.
Before becoming an award winning
special effects artist, Yuricich received a Bachelor's degree in Fine Arts
from Miami University in Oxford, Ohio where he also played football.
Photos Gallery |
Filmography and Gallery: |
Click on the linked titles to see some samples of his work.
- Harley Davidson and the
Marlboro Man (1991) (matte artist)
- Dances with Wolves (1990)
(matte painting)
- Monster Squad (1989)(matte
art super)
- Field of Dreams (1989)
(matte artist)
- Die Hard (1988) (chief
matte artist: Boss)
- Masters
of the Universe (1987) (visual effects chief matte artist)
- Poltergeist II: The Other
Side (1986) (chief matte artist)
- Boy Who Could Fly, The
(1986) (chief matte artist)
- Solarbabies(1986)
(Chief matte paint)
- Fright Night (1985) (chief
matte artist)
- “V”
(tv
series)(1984)
- 2010 (1984)(Chief matte
artist)
- Ghostbusters(1984)(Chief
matte artist)
- Strange Brew (1983) (special
photography unit matte artist)
- Blade
Runner (1982)
(matte artist)
- Yes, Giorgio (1982) (matte
artist) (as Matthew J. Yuricich)
- My Favorite Year (1982)
(matte painter)
- Last Chase, The (1981)
(matte painter)
- 1941 (1979) (matte painter)
- China
Syndrome, The (1979) (matte painting)
- Close
Encounters of the Third Kind (1977) (matte artist)
- Logan's
Run (1976) (matte painter)
- Future
World (1976) (matte painter)
- Damnation
alley (1976)(spec fotog effects)
- The
Wind and the Lion (1975) (matte artist)
- Young
Frankenstein (1974) (matte artist)
- Towering
inferno (1974) (matte artists)
- Soylent
Green (1973)
MGM (special photographic effects)
- The
Poseidon adventure (1972) ( matte painting)
- Ice
Station Zebra (1968) (matte artist ) MGM
- The
greatest story ever told (1965) MGM (matte assist)
- The Prize (1963) MGM
- The Courtship of Eddie's
Father (1963) MGM
- Four Horsemen of the Apocalypse
(1962) MGM
- Mutiny on the Bounty (1962)
MGM
- Atantis,
the Lost Continent
(1961)MGM (matte paintings)
- Cimarron (1960) MGM
- Ben
Hur (1959)MGM (matte assist uncretited)
- North
by Northwest (1959) MGM (matte artist)
- The world, the flesh,
and the devil (1959) MGM
- Forbiden
planet (1956) MGM (matte assist)
- Untamed (1955) FOX
- Seven
brides for seven brothers ( 1954) MGM
- Prince
Valiant (1954) FOX
- The
robe (1953) (FOX
Thanks to Peter Cook and Rick Rische for
the pictures.
Steven Spielberg :
"Close Encounters of the Third Kind was a film that I didn't feel limited
on at all, but it took a lot more individual creativity by matte artists
and visual effects supervisors to get UFOs to look like UFOs, to get the
mothership to look spectacular. It was a lot harder in those days. You
earned your stripes by being inventive, by creating illusions. In the 1970s,
matte painting was like French impressionism. When I saw my first matte
painting in Close Encounters by Matthew Yuricich, I said, "This isn't done
yet. Where are all the details?" And he said, "No, no, no - matte paintings
are always impressionistic." Today, however, all matte paintings done on
the computer are photo-realistic. So the pure art of fooling the eye, of
misleading the eye, of controlling where the viewer looks and how much
the viewer gets to see, those days are gone. That also makes me sad. "
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