Martin Freeman Quotes

48 frames per second is something you have to get used to. I've got absolute belief and faith in 48 frames... it's something that could have ramifications for the entire industry. 'The Hobbit' really is the test of that.

I don't get tripped up in technology. I use technology as a tool. 'Oldboy' we shot Two Pro 35mm. For 'Da Blood of Jesus,' we shot digitally. We shot the new Sony F55. It's a 4K camera.

The wonderful thing about 48 fps is the integration of live action and CG elements; that is something I learned from 'The Hobbit.' We are so used to 24 fps and the romance of celluloid... but at 48 fps, you cannot deny the existence of these CG creations in the same time frame and space and environment as the live action.

Making this movie was a great opportunity for me to explore high-definition. I'm glad I got to see what the challenges are, what makes it better. It works wonderfully.

Peter Jackson is a real big hero of mine because he had the nerve to make 'The Hobbit' at 48 frames per second.

I really believe, especially with 3D, you kind of have to approach it as this holistic thing. You have to kind of mount a 3D movie; you can't just add 3D as a kind of a special sauce sprinkled on top of a dish afterwards to give you an extra 20-percent in theater grosses, which I think is the way a lot of studios perceive it.

So many films are being shot on the DSLR, that they're all starting to look the same. There's a shallow depth of field. It's a nice look, but I can always identify a film shot with a DSLR.

I do believe that a film like Ten could never have been made with a 35mm camera. The first part of the film lasts 17 minutes, and by the end of that part, the kid has totally forgotten the camera.

I never really understood how movies were made, because it was such a technical accomplishment.

I heard the new film, 'Tangerine,' was filmed entirely on iPhones. No cameras were involved!

I must admit, strong films are more interesting to me, as, by the end of the day's shooting, you feel good.

Vada Chennai 2' needs a big budget.

I've got to give a lot of credit to my cinematographer, Chung-hoon Chung, who is a master and among other things shot 'Old Boy,' which is a very famous single-take fight scene. He's really a true master.

With good content, a solid director can make a film without a superstar.

Arachnophobia' was one of the first films I did major effects for.

Something we often struggle with on pictures is the right way to shoot live-action elements that are for an environment that's very complicated from a lighting standpoint. An example is a starship flying through an environment that's constantly changing.

I ended up falling in love with the whole movie-making experience.

If you ask me whether I can direct, I can. In fact, I have shot several songs, scenes and stunts. When certain directors of my movies were not able to be there for some reason and had asked me to help out, I have directed. But to helm an entire movie is a different art altogether.

In animation, action is changing so quickly that there's really not a lot of suspended moments.

A lot of filmmakers understand that the work is done digitally, and it's technically possible to change it late in the game.

When you do a freeze frame, you have the opportunity to find the exact shot that you want - no guessing.

I've had a really hard time dealing with 35mm. I greatly prefer HD.

You have more time to work in movies. My experience with movies is that you have more time to experiment with the character and camera angles and things like that.

There are shots that I had to walk away from because we had to get the movie in the theaters. There are some in "Independence Day" and "Godzilla," but lately I got smart. I would plan it so I had enough time [to get it right]. That just comes with experience.

To be fair, it's not even the first time I've seen a dead version of myself. There was one on Harry Potter, on the last movie, that they actually used to bring to set in a body bag.