[dropcap size=small]H[/dropcap]ollywood movies today incorporate lots of visual affects, most of which are accomplished by Computer-generated imagery. But even though how advanced today’s technology is, our eye alwasys catches something fake or false in those scenes. But sometimes directors and their amazingly good special effects teams do not compromise no matter how much effort and cost it takes. Just look at how wonderful 2001: A Space Odyssey was. There was no literal CGI in 1968, but still Stanley Kubrick could come up with a movie visually so satisfying and so ahead of its time. So, Crizic decided to list a few of the special effects in movies that weren’t CGI:

7. Plane Heist Scene – The Dark Knight Rises (2012):

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Christopher Nolan always tries to make scenes in his movies look as realistic as possible. And that involves less use of CG. Now if you remember the plane heist scene in the beginning of The Dark Knight Rises, well unbelievably most of it was real. Nolan used a real plane and real stuntmen for the exterior action. As for the action going on inside the CIA plane, a studio fuselage was built so that actual actors could be involved for that. And for the shots where the plane lose its wings and finally drops to the ground they used a model plane to film that. Insane, right. Some other director wouldn’t have ever tried this when they can always resort to CGI.

6. Baby Joel – Eternal Sunshine Of The Spotless Mind (2004):

For the filming of Eternal Sunshine of the Spotless Mind, Michel Gondry avoided using CGI whenever possible. In the scene where a baby version of Joel (Jim Carrey) sits underneath a kitchen table, Gondry opted a technique called forced perspective that made Jim Carrey look like he was shrunk in size. The same technique was also used by Perter Jackson in his Lord of the Rings trilogy. So it was actually optical illussion that made Frodo look so small in front of Gandalf.

5. Arm Amputation – 127 Hours (2010):

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If you have watched 127 Hours, you would recall the arm amputation scene in which Ralston hacks off his own arm. The scene is not for the faint of heart to watch. To film it, director Danny Boyle used a fake arm. While Boyle had multiple fake arms readdy on set, the shot was accomplished in a single take.

4. Flamethrower Guitar- Mad Max: Fury Road (2015):

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One of the most interesting elements of George Miller’s this year’s blockbuster, Mad Max: Fury Road was the blind Doof warrior rocking his flame throwing guitar, and by now this deep into this article you would have already realised that the next thing you’ll be reading will say that this was no CGI trick. And that’s absolutely true. All it took was an eight-wheel drive for the Doof Wagon, some drummers in the back and bungie cord to keep the gutarist from falling off.

3. Dust Stroms and Robots – Interstellar (2014):

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One thing Christopher Nolan wants in all his movies is that the visual effects appear as real as possible. And it was no different for the movie that won the Academy Award for Best Visual Effects.
The giant sarcastic robot, TARS and also CASE were actually life-size machines operated by a puppeteer. CGI was used only to remove the human operators from the scene. Even the dust storms weren’t CGI. Giant fans were used to direct wind movements. Nolan never believed that it could be realitically done by other advanced computer techniques at hand.

2. Web Slinging – The Amazing Spider-Man (2012):

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You might have never imagined that even the web slinging in the Spiderman movies can be done without digital trickery. And surprisingly it was the reboot in which Marc Webb decided that the web slinging should appear real and true to the laws of physics. For this a 200-300 feet long car rig with a series of wires was built to help with the effects.

1. Spinning Room – Inception (2010):


The magic of Christopher Nolan’s craftsmenship. The actors went through two weeks of hard training to actually maneuver with caution in the giant rotating sets that were built for the shot in question. Various different hallway settings were built to shoot the scene with perfection, because perfection is what Nolan’s movies always deliver.