This is a strange experience that warrants sharing: [Updated - if you have already read the post scroll to bottom for update]

So, it’s another winter evening looking for a movie to bide the time. With little new from the Movies listings to choose from, I typically go to the Documentary listings to see what might be compelling enough to kill an hour or two.

The only item that popped out is a documentary titled: JURASSIC PUNK

Though not a particular fan of the Jurassic Park it’s the `PUNK’ in the title that got my attention.

The documentary is centered on Steven `Spaz` Williams, a Canadian Computer Animation creator for Industrial Light & Magic (ILM) who gained some attention in Hollywood for having originated the special `water’ effects in James Cameron’s 1989 movie: THE ABYSS. The first time for computer generated animation graphics appearing in a feature film, and to prove to be a pivotal moment for future animation production techniques. [https://www.imdb.com/name/nm0931727/ ]

Given the novelty and uncertainty of Williams' process, Cameron was ready to cut it from the film, however in the end, the public response being so favorable, Williams and his team were given the task of creating the visual effects on Cameron’s 1991 release of Terminator 2.

This CGI (Computer Generated Imagery) visual effect technique being revolutionary, and given  the more than favorable response by the public, it became increasingly evident such innovative technology would take, and hold a prominent place for future feature films.

For those of old-school stop-motion, and puppetry animation special effects, the future for their role in the movie production industry was coming into question. This was most acknowledged by Dennis Muren, Industrial Light and Magic (ILM), Special Effects Artist [https://www.imdb.com/name/nm0613830/] who anticipated the struggle to maintain his Academy winning prominence amongst major movie Studios and Directors might be jeopardized given that he knew nothing of Williams’ revolutionary CGI  visual effect technique.

However, the first indication that establishment Hollywood is slow to rightful acknowledge `the new kid on the block’, the academy award for visual effects for Terminator 2 is given to Muren. But more insulting, and indication of the threat the new technology represented, Muren in his acceptance speech failed to acknowledge Williams and his team's work, though it being central to the success of the movie franchise.

Though deflated and disappointed by being snubbed, Williams continued his employ with ILM under Muren.

The next hurdle came with Steven Spielberg’s production of Jurassic Park for release in 1993.

Muren proposed to Spielberg stop-motion, and full-scale animatronic dinosaur modeling for the visual effects, an important consideration given they were central to the success of the movie, and ignored any consideration of utilizing Williams’ CGI.

Not wanting to be undone by Muren’s obvious snubbing of his talent, though not fully confident it to be possible, he took up to the challenge. In the end, a animation short-film of a skeletal dinosaur walking through frame was successfully produced, and which he surreptitiously submitted for viewing by Spielberg’s visual effects co-ordinator. To Muren’s disappointment, Spielberg decided all visual effects were to be completed using Williams’ CGI process.

The success of Jurassic Park release is history, and the incredible and novel visual effects to a level of reality never seen before being central to the acclaim, leading to the film being nominated and winning the Academy Award in the category.

But here again Williams is to snubbed by Muren. No mention by name or acknowledgment of the incredible innovative, creative work that would prove to be the genesis of computer generated imagery through to current date.

The realization of Hollywood politics being central to gaining popular recognition came too late to Williams whose career failed to take a trajectory commensurate with his obvious, unique talents leading him down a destructive path of alcohol, drug abuse and failed relationships.

Now to the point of this expose’: to experience by this documentary how the innovative, creative talents of an individual [Steven Spaz Williams] or individuals can be usurped and undeservingly awarded to an other [Dennis Muren] solely by state of established position within a hierarchical structure such as in this instance, generates a sense of hostility and anger toward the undeserving.

So, viewing the credits to Jurassic Park, 1993 release to see if Williams would at minimum, be in the rolling credits for his work. Strangely, after wishing `ill’ toward Dennis Muren for  the unacceptable treatment of Williams the following occurred – the center image is where the credit for Dennis Muren appears. For unknown explanation it is so faint, it is hardly noticeable. And Dennis Muren’s credit is the only one so affected: Co-incidence or Influence???

UPDATE: Out of a sense of curiosity given the strangeness of the experience detailed above, I returned to the movie credits 24hrs later from the original posting to see if the situation remained as detailed above. And this is what I found:

It could suggest the negative aspersion I had expressed toward Muren, wishing him `ill' for his snubbing of Williams, and taking all the `glory' for the special-effects, the emotion had imprinted in some strange way - temporarily expunging him from the rolling-credit. But, 24hrs later - there he is. So, what-ever power of `hexing' I may possess, they're by this experience - temporary!