Opposite page: Computer graph¬ ics-designed pseudopod is only of the many effects which one made Abyss a winner. Above: Fox as Marty McFly is himself of translucent fiberglass and illu¬ minated with laser light transmit¬ ted through fiber optic tendrils. One of the miniature interiors was a complex tunnel 30 feet long and 21 inches in diameter. Larger scale spires of the city were built for scenes in which the city rises to the surface of the sea. If Back to the Future III retains the success of its predeces¬ sors a last December, "John Bell (a young, up and coming effects art proud of his taxicab of the fu¬ director) is the future. He de¬ The picture includes so much intricate blue screen work that it is difficult to account for all of it. In one sequence a real car takes off on wires, passes behind someone and then is replaced by signed much of the live action part of the film.. .Everything you built from scratch - all the futuristic cars, every piece of see was clothing. . .Bell was particularly ture." three times around the table in the amazing compos¬ ite shown here for Back to the Future Part II. Below: Many marvelous miniatures made the Munchausen epic a competitor. good bit of that take-it-to- the-bank magic can be attributed to the superb special effects which enhance all three movies and for which Part II was nomi¬ nated for an Oscar this year. Also nominated were effects for The Abyss and The Adventures of Baron Munchausen. Specifically named for Back to the Future, Part II were Ken Ralston, Michael Lantieri, John Bell and Steve Gawley. Both Part II and Part III of this series were produced at the same time - at least many of the sequences - partly because of the aging of the main characters and partly be¬ cause of economics. Wear and tear on personnel was under¬ onerous and the sur¬ vival of all is noted with awe. Ken Ralston, supervisor of the effects, said in an interview standably May 1990 American Cinematographer 29