Paul W. S. Anderson Quotes - Page 2

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• I was excited about the fourth movie I guess conceptually because, what I felt we should do it, we should try to make it a conceptual jump like Terminator did to T2. It was still the Terminator franchise, but it was something kind of bigger and grander.

  Paul W. S. Anderson

  Trying, Kind, Excited

  Source: collider.com

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• I never really thought I went away because I've written all of the movies and I'm produced them all and certainly provided services about and beyond the average producer on two and three. I was on set most of the films and called action and cut a lot of times and did all that good stuff.

  Paul W. S. Anderson

  Cutting, Average, Two

  Source: collider.com

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• I've so got my plate full with Resident Evil and then The Three Musketeers, I'm just not involved with Castlevania. I'm not personally involved with the movie at all. I'm not producing that. After these two films, then I'm having a holiday.

  Paul W. S. Anderson

  Holiday, Two, Evil

  Source: collider.com

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• I started doing commercials in 2008 right after we released Death Race, and the reason was that I spent two years prepping Death Race and building all these custom rigs to shoot cars in the most dynamic and exciting way.

  Paul W. S. Anderson

  Race, Years, Two

  Source: collider.com

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• Every time I go to Japan and meet Capcom it is like going to see the Umbrella Corporation. You ask them things and they won't give you a straight answer about anything.

  Paul W. S. Anderson

  Japan, Giving, Answers

  Source: collider.com

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• It's a very different experience shooting in 3-D because the camera rigs are so large. Everything we've become accustomed to in the last ten years as filmmakers, which is cameras getting smaller and smaller and you can just throw them on your shoulder and stick them in a car and do whatever you want, you can't do any of that now. You're forced to put things on dollies and track and cranes.

  Paul W. S. Anderson

  Years, Different Experiences, Track

  Source: collider.com

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• I had the opportunity to work with Aliens and Predators when Resident Evil 2 was being made and it was for two different studios. It was for Fox and Sony. They don't care about one another. They just want their movies. So it was very difficult to delay one and... So I had to make a very painful decision to kind of step away from directing the second movie and with the third movie it was the same.

  Paul W. S. Anderson

  Opportunity, Two, Evil

  Source: collider.com

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• I had this movie, Death Race, that was a passion project for me that I'd had in development for almost ten years.

  Paul W. S. Anderson

  Passion, Race, Years

  Source: collider.com

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• You really feel like you're on the cutting edge and you know you are because all the camera equipment you take for granted doesn't exist for 3-D. So all the cranes with all the stabilized heads, they don't work on 3-D because they're all built for lightweight camera packages. As soon as you kind of put two cameras together and all the other crap that they need and the cabling to go back to the computers, we've literally, the cranes on these movies, they break after a couple of days.

  Paul W. S. Anderson

  Couple, Cutting, Two

  Source: collider.com

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• There was a lot of pressure on me as a filmmaker to raise the bar and do better than before so, you know, I put a lot of thought and energy, that's for sure.

  Paul W. S. Anderson

  Energy, Filmmaker

  Source: screenrant.com

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• There's something very terrifying about that and very primal about it. It's my belief that what horror does for people is that it provides that primal fear that, when we were wild hunter-gatherers, we had as part of our natural lives because maybe something was trying to hunt and gather you as well. We don't have that anymore in life and that's one of the things that horror films and action films provide for us.

  Paul W. S. Anderson

  People, Trying, Doe

  Source: collider.com

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• I always run the stories by Capcom. They read the scripts and give their comments. I would never want to kill a character that they really want to use in the next game.

  Paul W. S. Anderson

  Running, Character, Games

  Source: collider.com

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• We've been working on the visual effects for a year, so we're trying to raise the bar. Stuff will absolutely come out at the screen, but it will absolutely not look as bad as that tire in Final Destination.

  Paul W. S. Anderson

  Years, Trying, Finals

  Source: collider.com

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• When that technology becomes widespread and it's on every car on the freeways, it's going to save so many lives. Especially in America, so many people get killed in these multi-car pileups on the freeways.

  Paul W. S. Anderson

  Technology, America, People

  Source: collider.com

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• These commercials, I directed them all from inside the tracking vehicle, so I was traveling about 85mph most of the time, so there wasn't really anyone sitting beside me other than the driver. But, you know, yeah the agency is there and VW is there, which is- they're paying for it all and also because the agency created the boards, they want to make sure that you're not going off the rails in executing it. And also they can help, because they- it's a very different thing to cinema.

  Paul W. S. Anderson

  Agency, Different, Boards

  Source: collider.com

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• Interestingly it's when you come to the comedy, that's where a lot of the discussion is. It's like ten people sitting around talking about what is funny. "Is that funny? Is that funnier than that? Is this slightly funnier than this?" I guess that's what it's like when you're making a comedy movie as well, you just have to sit around talking seriously about the nature of comedy.

  Paul W. S. Anderson

  Talking, People, Sitting

  Source: collider.com

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• The cameras were a little twitchy, and you'd get less footage and less set-ups every day. The interesting thing about it was that you just composed images in a completely different way because we had big 3D monitors on set, and you'd wear the glasses and see the image in 3D.

  Paul W. S. Anderson

  Glasses, Interesting, Different

  Source: collider.com

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• Death Race was a very modern action movie and it used all of those modern action techniques with lots of hand-held camera, lots of punchy zooms, and lots of quick movements and quick cuts. In 3D, I didn't want to do that anymore.

  Paul W. S. Anderson

  Cutting, Race, Hands

  Source: collider.com

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• I went for a more classical approach to filmmaking with lots of dolly, track and cranes, and slightly slower, more choreographed fight moves, so you get more fight moves in one take.

  Paul W. S. Anderson

  Moving, Fighting, Track

  Source: collider.com

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• What makes a mockery of a lot of these 3D conversions, where they're shot in 2D and converted to 3D. Having laid a real 3D movie, you realize that it's right in the production design. You design sets that enhance the 3D and you design interactive elements, like the rain or smoke. If you're shooting 2D, you don't know about that.

  Paul W. S. Anderson

  Real, Rain, Design

  Source: collider.com

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• 3D is very exciting. I love it. I'm a complete convert. Everything for me, from now on, is 3D. I'm completely convinced it's the future of home entertainment, as well as cinema entertainment. I think it's a paradigm shift, in terms of cinema, and those things don't happen very often. The introduction of sound, the introduction of color photography and now 3D have been the big shifts. They happen once every 40 or 50 years, so it's very exciting to be a filmmaker, working while one of them is happening.

  Paul W. S. Anderson

  Photography, Home, Thinking

  Source: collider.com

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• When we wrapped Resident Evil, we were a 3D movie, but it was no big deal. And then, Avatar came out and the whole of Hollywood was like, "Look at these grosses! 3D is huge. Let's all be 3D!" We just got on with doing what we were doing, which was making what we think is a really quality, kick-ass 3D movie, and we'll really be the first live-action 3D movie of the year.

  Paul W. S. Anderson

  Thinking, Years, Evil

  Source: collider.com

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• What happened with Final Destination was that the movie was in post-production for a long time and I think they changed a lot of the deaths, so a lot of those things were last-minute additions. Everything we shot is in the movie and it's all been designed. We didn't change anything. It's been a year of making those things happen, exactly as we had pictured them.

  Paul W. S. Anderson

  Thinking, Years, Long

  Source: collider.com

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• I find it terribly distracting in movies when people do accents, I must say, unless it's terribly serious and the story is rooted in South Africa and you're doing a South African accent. But in period movies I think nothing can be more distracting than people doing accents.

  Paul W. S. Anderson

  Thinking, People, Serious

  Source: www.indielondon.co.uk

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