Talk:Linwood G. Dunn

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[edit] Dunn vs Dunn's company

In:

"the special effects division of the studio was shut down in 1958 and Dunn focused on his work with his own company.

"Dunn did the optical composites and title sequence for West Side Story and the elaborate finale fire-ladder sequence at the end of Stanley Kramer's It's a Mad, Mad, Mad, Mad World (1963), which required 21 different all-color elements to be composited into final images.

"Other later large-format and/or high-profile films Dunn's company did opticals for are My Fair Lady (1964), The Great Race (1965), Hawaii (1966), The Bible (1966), Darling Lili (1970), and Airport (1970).

"As Desilu grew as a company, even TV production required the occasional use of optical effects, especially for increasingly elaborate title sequences, and Dunn was one of several optical houses that supplied them.

"In 1965, Dunn became one of four optical houses that supplied visual effects for the original classic Star Trek TV show. It was mostly Dunn who photographed the 12-foot large original starship Enterprise model"

....Linwood Dunn is first referred to as himself, then later, referring to Dunn's company (name?) it also refers to Dunn, but at the latter point it is referring to Dunn's company as "Dunn". What is the name of Dunn's company --- rewrite needed to distinguish between Dunn and Dunn's company in this section. User:Pedant 16:54, 21 October 2007 (UTC)

Though it would be good to get the company name (I can't recall it now), the piece is OK for now because Dunn's company WAS Linwood Dunn and a few assistants. BTW: there were several Star Trek Enterprise models of varying size, and the apartment facade in Mad World was a model no more than 8 feet high. I watched them shoot it in the alley outside their Hollywood shop.Jim Stinson (talk) 01:35, 12 March 2008 (UTC)