I hope you're joking, because that little area behind the garbage disposal is about four feet across, so if that's a "wing" on the house, my walk-in closet is Radio City Music Hall.
Besides, you added a foot or two when your drew your red line.
The blueprint doesn't even show the back wall of that space behind the garbage disposal the way the virtual tour does. Here's where the red line should be.
I suspect Wayne just wanted to see if I was gullible enough to take his post seriously. Dammit, he got me. You and I should probably get off this endless debate about the house and give our members something more interesting to read and reply to.
Anything else from me would be redundant.
Well, I do have one last interesting idea to present which we should consider in connection with this controversy. If you don't find this idea worthy of consideration, I'm sure David and a few other members might feel it provides a sense of closure to our fine debate.
According to the posts you've made, Henri based this painting of "the back of the house" on the blueprints and the set . . . despite the fact that those blueprints clearly show that the Moribus home had no "back" — nor did the set.
The only source of all these features is in the blueprint, painted cycloramas around the set, and the set itself.
From the POV you claim is shown in the painting, we should be seeing the Krell tunnel entrance in Morbius' study (since the mountain that covers it is missing). To the right of that door (in the blueprint) is just the empty area from which the film crew shot the scenes.
— and certainly not in the portion that butts against the cliff.
In view of that, the painting is obviously not the "back" of the house.
The blueprints and the set don't even provide info about the walls of the house in the area just to the right of Morbius' study. That part of the set was never even designed, much less built. The green lines above were added by me to estimate where the back walls of the living area might be.
Going by the blueprints you said Henry used as a reference, your claim that the painting shows the back of the house conflicts with the designs to a staggering degree. Henri obviously did not use the blueprints. In fact, he ignored them completely!
You dismissed the claim made by Cinefantastique, which said the painting was actually done from art department sketches that show the house with a cliff either directly behind it or physically connected.
There is very little in the concept pictures for him to use in his painting of the residence. These sketches have no correlation with the house set as constructed. If he saw these sketches at all he obviously disregarded them in preference to the actual sets.
I agree that the concept sketches don't seem to be the inspiration for the painting, but the sketches and the blueprints have one all-important thing in common: they show that the "back of the house" couldn't possibly look like the painting.
As I've said several times, the house was not designed to a have a "back". That side joined with the cliff.
Even the one below has a visible connection to the cliff, but it has very little in common with the design in the painting, so it's definitely not the design Henri used either.
I'm sorry, Gord, but your theory seems to be busted by the simple fact that none of the reference material Henri might have used provides a way for him to paint what you're describing as the "back" of the house, because that side was designed to join with the cliff, and the area to right of Morbius' study includes no designs at all that Henri could use.
~ and the "wing" that takes up as much room as the missing pool patio would have.
But that creates a new problem for your theory.
The blueprint shows us that the house really only has a limited area which contains the main entrance we see in the movie. That area is bordered by the low outcropping next to the forecourt, and the cliff that connects with Morbius' study.
That's it. No room for more architectural features.
The total area shown in the painting actually takes up more room than the blueprints allow for both the main entrance and the small outside wall of Morbius' study. The painting also includes considerably more architectural features than would fit into that area — and according to you, the main entrance isn't even part of it!
Gord, if what we see is NOT the front of the house, then Henri just invented a new side for the house, and (according to the blueprints you said he used) it's the side that was supposed to be where the cliff is located.
I can't understand why you think it's more reasonable to assume (without any evidence to support it) that Henri completely redesigned the house ALL THE WAY AROUND, rather than just making the most logical assumption . . . which is that Henri painted his own version of the front of the house and left out the cliff to which it should have been connected on the right-hand side.
Face is, Gord. That's the simplest answer. Occam's Razor, Dude!
By the way, the painting you posted is called Christina's World by Andrew Wyeth, and it's not a "portrait" of a girl from the back. It's a picture of a girl with Charcot-Marie-Tooth disease, which makes it nearly impossible for her to walk. The painting is meant to illustrate her sad life of isolation and immobility.
Of course I know that. I have a print of it hanging in my hallway. As usual my use of subtlety has gone over your head. I was implying that sometimes an artist will use a point of view to better dramatize a feeling or to establish an environment.
You say that there is nothing in the blueprint indicating anything about the back view of the house.
Of course you've seen all the other 16 blueprint sheets in the group for the set. So you know that these were all blank and didn't show anything of the rest of the house.
I know these are all SET construction blueprints and not house construction plans, but you know all the art department drawings other than the few shown in the magazine article.
Of course you know why Henri decided to disregard ALL aspects of what would be at the front of the house and decided to put in those "flying buttress" supports even though there's no hint of them ANYWHERE in the movie!
And if that's supposed to be an extension either over the entrance or some sort of carport you know why those supports are right in the way of any opening.
You also know why Henri was such an incompetent that he just forgot to put ANYTHING in his painting that resembled the front of the home and put the pool in the wrong place and forgot to show the road and forgot to put the darn DOOR in... I could (and have done so for 9 pages !) go on.
If you know all these things.....Well gee.....I guess you're just a lot more perceptive than I am.
Yes to all your questions, Gord. I saw all the blueprints, I know everything Henri thought, said, and did.
Yes, please give up. This has gone on way too long already.
I believe these pictures haven't been posted.
I saw a photo from "Destination Moon", the one with all the items stripped from the Luna spread out in front of the Spacemen. There, in the lower left corner sat the Gizmo. I wonder what function it served on the Luna.
I have yet to signup for a photo hosting service, so I can't post the photo, but it is not a rare photo.
Send me the link to the site that has it!
Click on this link and play a game that's like "Where's Waldo" — except that it's called "Where's Gizmo".
My God, those images are stunning! What a magnificent gallery of pictures, Gord.
The jpeg of the planets that were created for unused shots of the C-57-D flying past various planets in the Altair system is remarkable because it shows us how large the models of the planets were, based on the size of the clapperboard and the way the shadow indicates it's not far behind it.
The picture of the two young boys in front of the Forbidden Planet poster is absolutely priceless. Norman Rockwell couldn't improve on it (except to giving plenty of color).
The artwork is terrific. I was especially impressed with this one.
This one is very good, too. Robby seems to be headed for the "front door". (Just joshin', Gord.
ROBBY did always like to take the "back" roads to avoid the traffic.
AND with Alta and her tiger looking on! Priceless!