Peter Ellenshaw was the step-son of Walter ‘Poppa Day’, undergoing an early initiation into matte artistry. They worked together through the 1940s – including Powell & Pressburger films like BLACK NARCISSUS (1947) – but Peter wished to step out from his step-dad’s shadow.
Peter was swayed by Disney Studios, working on matte paintings for TREASURE ISLAND (1950) in London. He then moved himself and his family to Hollywood for 20,000 LEAGUES UNDER THE SEA (1954), although the film wasn’t ready yet. So Peter made DisneyLand’s map while waiting.
One of Peter’s most stunning mattes was the Ancient Roman landscape for Stanely Kubrick’s SPARTACUS (1960). It’s estimated Ellenshaw spent around 10 hours on this, and although its his only matte contribution to SPARTACUS, the 24"x54” painting has been carefully preserved.
During this time, Ellenshaw formed an unexpected bond with Walt Disney himself, who often oversaw his animator/painter’s work. It also led him to make over 100 mattes for MARY POPPINS (1964), recreating Edwardian London for Disney’s passion project.
Peter Ellenshaw stepped back from matte work, and retired after being production designer on Disney’s THE BLACK HOLE (1979). But Peter continued ‘Poppa’ Day’s legacy and worked on it with his own son, Harrison Ellenshaw. The two also worked together on DICK TRACY (1990)
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