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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.
The main prank that we play with props is for people's birthdays. The special effects people will put a little explosive in the cake so it blows up in their face - that's always fun to play on a guest star, or one of the trainees or someone who's new.
That was fun to play. There were some nice special effects coupled with some really nice moments with child and wife. I also was able to age to about 100 years in 'Brief Candle.'
Richard Dean Anderson
It's more fun if you can control things like lighting and make special effects in the darkroom.
I mean, I have done scenes with animals, with owls, with bats, with cats, with special effects, with thespians, in the freezing cold, in the pouring rain, boiling hot; I've done press with every syndication, every country; I've done interviews with people dressed up as cows - there's honestly nothing that's gonna intimidate me!
Special effects are characters. Special effects are essential elements. Just because you can't see them doesn't mean they aren't there.
So, when the special effects are at the service of the story and draw you into it, that is really the magic.
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.
George R. R. Martin
I love the power of words - no music or special effects - and I want to demonstrate that power.
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.
You are always hoping that movie audiences are interested in characters and interested in story values rather than just mindless special effects. But you never know.
'Macbeth' is one of the best operas ever, and doing it was a great experience. I added some things to the opera based from my experience on the movie - such as some of the special effects and bits of film - to make it new and interesting. It was a very good work and a very good experience.
I think audiences have hit the wall with CGI and special effects. They have seen so many over-the-top events that they can't suspend disbelief.
People often tell me how much they love the digital skies that we obviously painted for 'War Horse.' Well, there's not a single sky that we put in through special effects. The skies you see in the movie are the skies that we experienced - but it was definitely challenging at times.
The action movies changed radically when it became possible to Velcro your muscles on. It was the beginning of a new era. The visual took over. The special effects became more important than the single person. That was the beginning of the end.
When you're in something as successful as 'Transformers,' you can't use it as a sales piece for your ability as an actress because it's all about the 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.
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.
If you make action movies, the critics will savage you, and then your movies are outdated the following week with the new wave of special effects.
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.
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.
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.
Photoshop makes things look beautiful just as you have special effects in movies. It's just a part of life.
CG can do anything, but it can't do everything well. What it naturally can do is special effects. But using stop-motion comes from our desire to do handmade stuff. There are always going to be kids who get out whatever it might be - clay, bits of wire, Barbie dolls, Legos. They want to tell little stories.
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