Steven Spielberg Quotes

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.

Other effects in the show included models of the ships which were extremely expensive to make. We used to do our shots in front of a blue screen and they'd put the effects on after.

You know, there was not much wire work for any of us actors to do because the extent of what they did was so huge. I mean, they wouldn't just throw you from this table to that wall.

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.

There were challenges with production because of the special effects. There are just some things that, although written, special effects just isn't able to do.

When I filmed 'Power Rangers,' almost everything was being assisted by a green screen, but it wasn't the same with 'Stranger Things.'

Blood, especially fake, and guns, this is bullshit. It works in the movie, but on set it doesn't work for me.

I feel that so many sci-fi films and films in general have just become really dependent on and addicted to CGI, and that some of the big CGI films of the summer, you see these effects that look like crap. You don't know if you're watching a cartoon or something that's real. And I didn't want to fall into that trap. I really thought there was a way to use a lot of these old techniques to do some new and really neat stuff.

'Nightmare on Elm Street' really lends itself to using new technologies. CGI would be a great way to exploit and embrace the dream sequences.

Polar Express is not an attempt to do animation. It is a technology-based film.

I mean I've seen 3D films so far and I think it's a long way to go before they replace actors. It's a funny thing with 3D, I haven't quite got it yet. Yet.

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.

Going from 'Shark Night' to 'Piranha,' a guy holding a fish on a stick in front of you that they're going to replace in post-production, it's a lot different than seeing this animatronic shark that, if you get caught up in the moment, looks, acts and you sometimes think could be real.

I grew up watching movies and being amazed at the animatronics you'd see in stuff like 'The Dark Crystal,' and all those kinds of movies. So, I'm always enthralled with how they can make it all work, behind the scenes, with the visual effects.

I like doing as many special effects in camera, as much as possible.

The vast majority of the CGI budget is labor.

It's quite amazing what 3D is doing to movies. Just simple things like a paper plane flying at you or flower petals fluttering about are wonderful.

When you throw punches at actors, you stop, you pull it, and it looks like you pulled it. When you throw punches at cartoon characters, they are not there, so you can swing through. It looks like you really decked them.

Special effects are characters. Special effects are essential elements. Just because you can't see them doesn't mean they aren't there.

Even today, a lot of the CGI you see in movies is so clean and crisp that it just looks fake. It's weird: the more advanced they get, the faker it looks.

It's always fun when you're doing the CGI stuff, to actually get to work with someone who is real, who's there.

In '83, not only was there no such thing as performance motion capture technology, there was no such thing as digital animation. This was the analog era.

Critics in particular treat CGI as a virus that's infecting film.

If you imagine yourself as a craftsman at ILM, you spend your days tumbling buses and animating shards of glass. You're doing a lot of visual effects work.

I did what we call dry for wet effects, some of the miniatures work and two animation sequences.