Gore Verbinski Quotes

I guess my first digital movie was 'Tintin' because 'Tintin' has no film step. There is no intermediate film step. It's 100% digital animation, but as far as a live-action film, I'm still planning to shoot everything on film.

I would love to continue working on animated films. Yeah, those are my ambitions. No doubt.

'Alice' took over two years to make and took a great deal of planning, obviously much more than usual. We spent so much more time prepping the film, and that was unique for us.

CGI is done after the film is done. It's through the computer. Most of the film is not computer-generated special effects. Most of it is that creature that is in the room with you.

I worked in the story department for years on 'Cars' and 'Toy Story 3.'

Now, I just made an animated movie a few years ago, 'The Tale of Desperaux', and that had twelve hundred shots in it. Twelve hundred CG shots is a pretty big plan.

A live action movie is work, and an animated movie is you showing up in your pajamas once every three months, or in my case, just a splash of baby powder. It's not any kind of heavy lifting.

Animators have to live life 24 times as long as we do - every 24 frames of a second.

We go through, I think, six different drafts of each script. And then my shooting it is roughly, you know, fifteen percent of the total work that gets done on a show. Then it's all post-production animation after that.

'Iron Man 3' was very educational. There's a train that starts moving which already has so many moving parts, and it's a constant process of animatics and storyboards and consulting meetings, and it's a very mechanical process once the script is written. It's sprawling, and they're throwing money at it to get these things accomplished.

If people want to watch a CG movie, there's plenty out there.

One of the tricky things with animation is, because we spend four years on the movie and everything is done so methodically day by day by day, it can be a struggle to have the finished film feel spontaneous and loose and naturally occurring.

When I was a kid, I wanted to make movies. In particular, I loved animation and would love to have been an animator.

When you make an animated film, you make it over and over and over. We almost do ten versions of the film.

There's a process in the movie industry in both live action and animation called development hell!

I won't say which one, but one shot on 'Kubo' took two months to get the expression right. It's ridiculous on some level.

Animation is very singular. Like, even the 'Toy Story' movies. People will go, 'Oh, gosh, you're so lucky, getting to play opposite Tom Hanks!' And it's, like, 'It may have appeared to be that, but we were never in the room together.'

Live-action has always been my focus and my passion. I love voice-over, and I definitely could see myself doing some voice-over, as much as I could, and even if I ended up doing only that for the rest of my life, and I could be successful at it, that would be great. But I think my real dream is to do films and live-action films.

I like pre-production and post the best. I don't like shooting at all. I find it grueling and tough, but I love post and the whole process of seeing the film finally come together. You start ironing out all the rough spots, and the really bad bits you just throw away. So from day one of post to the last day, you see nothing but improvements.

If you would ask me what my ideal process is, I would say, long pre-production, long production and long post-production.

You've seen how they make movies like Star Wars and stuff. They're never really there. They're in front of a green screen just pretending to be jumping around.

What we do sometimes when we're in the sessions recording the dialogue is we'll set up a video camera and we'll video the whole session. So then the animator, if he wants, can draw upon those tapes to pull expressions, mouth shapes, maybe some gesturing that happens.

The vast majority of the CGI budget is labor.

The great thing about the animation process is that is goes from, I write the lines, it goes to the actors, the actors bring a whole world to that, they bring the characters to life, then it goes to the animators, then it goes to the editor who cuts it together, and then you screen it and it goes back through the system again.

When you take something that's inert, and through motion, give it life, make it appear to be alive, living, breathing thinking and having emotions, that's animation. But when you take something that's live-action, and move a part of it, that's a special effect.