But initially when I was working with my dad, it was in special effects puppets with radio control and motors and puppet effects.
What it is is that comedy is underrepresented in every actor's life, because it's so bloody difficult to write. Anyone can write, and then you leave it to special effects to make it look good. But comedy, you've got to do some writing.
We have to have films about action and violence and special effects. That's the sad part, but you know what? It's not me doing it.
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'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.
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.
Today, everything has to be made by committee, and has to have special effects, but there's always room for good films.
I want to play a fireman and a spy. I want to learn special effects.
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.
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.
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.
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.
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.
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.
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.
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.
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 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.
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.
I'm one of the guys who wants to watch the film completely done, with special effects, sound and music, because I tend to get disappointed if I watch it not fully done.
Really successful designs can be created without software produced "special effects." Identities do not NEED bevels, gradations, 3-D imagery, Web 2.Oh-Oh and other oh so "special" treatments to be great design solutions for clients.
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.
My playing is fairly straightforward, really, and everything's pretty much standard no frills or special effects.
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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