But initially when I was working with my dad, it was in special effects puppets with radio control and motors and puppet effects.
I was there when Sam Raimi showed Stan Lee the first cut of the first Spider-Man movie. I was on a couch next to Stan, watching how special effects had finally caught up to his imagination. It was insane. And I'm thinking, "He had to wait until he was 80 years old for that to happen." When they announced 'Powers' and 'Jessica Jones,' I thought, "Oh, that's nice!"
A good storyteller can hold everybody captive without the special effects of Hollywood.
I don't get it when you get so much openness about the way movies are made, and the special effects and the behind-the-scenes stuff and all of that. I can't help but feel like this reduces it a little bit.
I accept the Old Testament as more of an action movie: blood, car chases, evacuations, a lot of special effects, seas dividing, mass murder, adultery. The children of God are running amok, wayward. Maybe that's why they're so relatable.
I want to play a fireman and a spy. I want to learn special effects.
Cinema is still a very young art form with extraordinary techniques and very impressive special effects. But sometimes it seems the soul has been taken out of things.
Today, everything has to be made by committee, and has to have special effects, but there's always room for good films.
You know, the reward for 'Captain America' is amazing. It's always fun to see a giant spectacle film and see the fun stuff - the special effects.
I'm frustrated with Hollywood and television and the movies because they see science fiction as an excuse for eye candy, for lots of great special effects.
I loved literary science fiction. In fact, as a kid, when I was reading science fiction, I thought 'I can't wait for the future when the special effects are good' to represent what was in these books by Arthur C. Clarke, Alfred Bester, Philip K. Dick, J.G. Ballard, Jack Vance.
Starship Troopers was great. It was great fun to work on something with blue screens and big budget special effects. Denise Richards was nice to look at too, of course.
For 'Star Wars' I had to develop a whole new idea about special effects to give it the kind of kinetic energy I was looking for. I did it with motion-control photography.
I knew that, when writing a book, you're not constrained by a budget. You're not constrained by what you can do, in terms of the special effects technology. You're not limited to any particular running time.
With a book I am the writer and I am also the director and I'm all of the actors and I'm the special effects guy and the lighting technician: I'm all of that. So if it's good or bad, it's all up to me.
Madonna can still produce a catchy pop song, but she hasn't expanded her artistic vocabulary since the 1990s. Her concerts are glitzy extravaganzas of special effects overkill. She leaves little space in them for emotional depth or unscripted rapport with the audience.
I think a lot of the time these days people are so concerned about having the right camera and the right film and the right lenses and all the special effects that go along with it, even the computer, that they're missing the key element.
Fantasy is my favorite genre for reading and writing. We have more options than anyone else, and the best props and special effects. That means if you want to write a fantasy story with Norse gods, sentient robots, and telepathic dinosaurs, you can do just that. Want to throw in a vampire and a lesbian unicorn while you're at it? Go ahead.
Whether it's the experiments on 'MythBusters' or my earlier work in special effects for movies, I've regularly had to do things that were never done before, from designing complex motion-control rigs to figuring out how to animate chocolate.
A performance can have amazing visuals and special effects, but it has to tell a good story, even if that story isn't original.
It [moviemaking] is about entertaining audiences with great characters and great stories, you want to make people laugh, you want to make people cry, you want to have great music that is memorable. You want a movie that, as soon as it's over, you want to watch it again, just like that. That's what it is, whether it's live-action, animation, hand drawn, computer, special effects, puppet animation, it doesn't matter. That's the goal of a filmmaker.
The intimate conversations have its moments, because you have to sell the characters, because there is so much going on. It's so easy to get lost in the special effects and forget about the performances. The dialogue scenes have been great. It's been great working with Bryan and the writers to find where we're going and what's the story. Yeah, it's been really, really interesting.
But in the former, those movie sets that you've been on like that, even if they're huge movies and most of its being spent in special effects afterwards, I think that's the way that we're going.
I work a lot with a green screen, which is really time consuming. All the special effects are.
Take away the robots and the special effects, and Star Wars is just the simple story of a group of friends planning a terrorist attack.
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