My name is Raquel Welch. I am here for visual effects, and I have two of them.
I think that it drives from an emotional connection with everybody that pulls you through all of those events, whether it's the events or what would be more the action, or I guess the visual effects side of it. So it always starts with me from - emotionally - 'Why do you care about the people who are going through what they're going through?' Because it takes a hell of a lot to put them through that. So you better care for them when they're doing it.
Certain Academy Awards like Sound and Visual Effects and Editing are sometimes referred to as technical awards. They're not technical awards. They're given for artistic decisions. And sometimes we make them better than others, and I guess we made a couple of good ones on this one.
There is a reality to the way the actors play the scenes, given that there is a real, animatronic, moving robot in the room. So the level of nuance and realism in performance was higher because we built the real ones, and it keeps the visual effects guys honest.
In my opinion, visual effects are great when it compliments a good story, and action is great when it compliments a good story, but just to have them for the sake of having them, it gets a little boring, especially if you're talking a TV series. At least with a movie that's an hour and a half to two hours, you see it and you're impressed, and then you're out. With a series, if it's only that, week after week after week, there's nothing there to bring you back. You have to get invested in the characters and care about them and want to follow them.
Acting is primarily is where I want to go. But seeing how the visual effects guys work, and the special effects guys and the art department guys, how they work and seeing their visions is really interesting. I don't think those guys get the recognition they deserve.
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.
And this movie [Real Steel] definitely looks like nothing else I've made, which was the point. I think also, Evangeline and Hugh are such a fantastic... Their chemistry is so genuine. And also it's a good balance to all those visual effects. It'll give you more of the tone.
The g-forces increased and I wasn't able to continue to hold the camera against the window, so I had to lay it back against my chest, but still continued to photograph the re-entry until there was no more unusual visual effects of the energy in the atmosphere. And it was very comforting to understand that the people in Houston, the controllers, had very high confidence that we were on the right path.
The violence you witness is Denzel doing it and we're taking some visual effects and doing some things and you see something happen it's happening in front of you as opposed to cutting away and doing a bunch of tricks. It's in front of you. So it's hard not to make it a hard "R" if you see a guy get punched and teeth wind up in someone's knuckles.
Sometimes the guys who run the visual effects shop will bury it in and not tell us. We'll be in the middle of the edit, watching it for the fifth or sixth time, and we'll be like, "What's that big W on that building? I don't think we can do that. We haven't asked DC." And then, they take it out.
The creation of the island, or the impression of the island, as it changes in the mind of the character also came in to play... there was another very important collaborator, Rob Legato, on special visual effects. And then ultimately there's Thelma Schoonmaker, who keeps me focused during the editing of the picture.
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