The Powell & Pressburger Pages Dedicated to the work of Michael Powell and Emeric Pressburger and all the other people, both actors and technicians who helped them make those wonderful films. A lot of the documents have been sent to me or have come from other web sites. The name of the web site is given where known. If I have unintentionally included an image or document that is copyrighted or that I shouldn't have done then please email me and I'll remove it. I make no money from this site, it's purely for the love of the films. [Any comments are by me (Steve Crook) and other members of the email list]

The Day/Ellenshaw Timeline

W. Percy Day, his stepson Peter Ellenshaw and Peter's son Harrison form a long line of brilliant matte artists.

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1922

Walter Percy ("Pop") Day introduces the "The Hall Process" to the French film industry in Les Opprimés.

1927

Still in Paris, Percy Day uses the "The Hall Process" for Napoleon.

1930

Percy Day develops his version of the latent image technique and applies it in Au Bonheur des Dames.

1934

Returning to England, Percy Day and his assistant and stepson Peter Ellenshaw paint mattes for producer Alexander Korda. Day will head the visual effects departments at Denham Studio and later at the Shepperton Studio.

1936

Percy Day and assistant Peter Ellenshaw paint mattes for Things to Come.

1940

Percy Day and assistant Peter Ellenshaw paint a fantasy world for The Thief of Bagdad. The film wins the Academy Award for Visual Effects.

1945

Percy Day paints old London for Henry V.

1946

After returning from five years in the RAF, Peter Ellenshaw paints mattes for A Matter of Life and Death. Percy Day heads the visual effects for the film.

1947

Day and Ellenshaw paint Himalayan views and the monastery for Black Narcissus.

1947

Percy Day, Les Bowie, and Ivor Beddoes paint mattes for the ballet dream sequence in The Red Shoes.

1950

Peter Ellenshaw works on his first Disney Studio film, painting mattes for Treasure Island.

1951

Peter Ellenshaw paints mattes for Quo Vadis?

1954

Peter Ellenshaw supervises matte work for 20,000 Leagues Under the Sea at Disney Studio. He paints Captain Nemo's lab within a volcanic crater. The film wins the Academy Award for Visual Effects.

1959

Peter Ellenshaw supervises and paints mattes along with Albert Whitlock for Darby O'Gill and the Little People. Ellenshaw paints the interior caves of the Fairy Mountain.

1960

At Disney Studio, Peter Ellenshaw re-creates ancient Rome for Stanley Kubrick in Spartacus.

1964

Peter Ellenshaw supervises and paints mattes along with Jim Fetherolf on Mary Poppins. The film wins the Academy Award for Visual Effects.

1966

Peter Ellenshaw retires as head of the Disney Studio matte department and Alan Maley steps in as the new head.

1970

Harrison Ellenshaw (Peter's son) joins Disney Studio as Alan Maley's matte painting apprentice.

1974

Alan Maley leaves the Disney Studio matte department. Harrison Ellenshaw succeeds him as department head.

1977

Harrison Ellenshaw and Ralph McQuarrie paint mattes for Star Wars, including Death Star interiors and exteriors, as well as alien planets.

1979

Supervisor and matte artist Harrison Ellenshaw with assistants David Mattingly and Constantine Ganakes paint mattes for The Black Hole. Peter Ellenshaw comes back from retirement to supervise the production design and the visual effects. The two Ellenshaws are among the Oscar nominees the following year.

1979

Harrison Ellenshaw leaves the Disney Studio matte department.

1980

Harrison Ellenshaw supervises and paints mattes along with Ralph McQuarrie and Michael Pangrazio for The Empire Strikes Back.

1982

Harrison Ellenshaw receives his first credit as visual effects supervisor for Tron.

1990

Harrison Ellenshaw, Michael Lloyd, Michele Moen, and Paul Lasaine paint mattes for Dick Tracy. Peter Ellenshaw comes out of retirement to help out.