Darren Aronofsky Quotes

Nowadays shots are created in post-production, on computers. It's not really photography.

We also have the option of scanning in an image from outside the computer... a photo, or a sketch done with traditional tools; and we can then paint, manipulate, process, change, and further develop the image within the computer, watching our progress on the monitor.

Currently computer graphics are used a great deal, but it can be excessive.

I don't have anything against CGI.

Special effects are becoming more and more affordable and looking more and more like the real thing.

With digital technology there's a huge spectrum of flexibility in what you can do to manipulate sound and image - which you can push into a really artificial realm if you aren't careful.

There's things that you just couldn't do with an optical printer. Now, with digital compositing, most of the energy that goes into a shot goes into the aesthetic issues of, 'Is it a good shot or not?'

I used to touch up my pictures on the computer and send them to friends. I would change colours, the design, and stuff like that.

Working with CGI is more like doing theater where your sort of imagining things. I didn't experience it as restrictive.

In the first earthquake scene [ in "2012"], there was only a limo and a plane. That was it. There was nothing else there, so everything had to be created in the computer, and that's always very difficult.

I mean I think people prepared me for like a lot of green screen [in Oz the Great]. I didn't have a lot of green screen. They build most sets. When this castle was tangible, Emerald City was tangible, the forest, the woods was tangible, the cemetery, everything was there.

CGI is to me like watching a cartoon. It can be effective, if it's done well. A lot of times you don't feel any real risk. You're watching a bunch of computer-generated graphics.

Actually I think CGI has the potential to equal or even surpass what the human hand can do.

I've been working in computer animation for 25 years. I'm obviously a devotee of the technology. I just think it's the one aspect of the medium that's going to continue to revolutionize the filmmaking. It's constantly changing and it's constantly opening up new possibilities. The technology is evolving where 2-D animation was ultimately limited by how long you could pay how many people to make a movie. I mean computers, not that it's in anyway a labor saving device, but it promises to open up exciting new technical possibilites.

I love CGI if it's invisible. I don't like it when it's there and obvious.

I think sometimes big budget means explosions! CGI! CGI, the possibilities are so limitless that it begins to be impractical.

'King Kong,' especially the first two acts of it, is a really good example of the use of miniatures mixed with digital characters and how convincing it was.

Actually, the camera was never overhead at any time. It was always a side view of me. Subsequently, after the picture was released, I saw some scenes from above and my clothes being pulled-and I think that was added later.

I think that if Shakespeare had had access to CGI, he would have used it. Imagine Lear conjuring the storm and the lightning.

I've done some effects shots. I've done some compositing. And in 'Just Like Heaven' did a lot of, like, motion control and things like that. But never done, like, computer-generated imagery in action.

I love creating. I had been really into photography when I was in college.

Unless you're making Marvel movies, I think CGI usually suffers, especially in mid-budget-range horror movies where you see CGI.

I really tried to get comfortable with the notion of shooting digital on 'Foxcatcher' and just couldn't. I shot many tests and experimented with all sorts of techniques to manipulate it into a place that worked for us, but it just didn't happen.

The great thing about computer animation is that all of those environments exist as three-dimensional worlds, so these VR worlds already exist.

With CG, I can do more and be sillier. In 'Diary,' there's a scene where they hit a guy with acid, and the camera is never off him, and you see it gradually eat through his skull and get all the way through his brain. That's fun, too.