Garrett Hedlund Quotes

Acting on a blue screen is awful.

I don't mind doing the green-screen stuff at all, and in fact it's a lot like black-box theater, which I did plenty of in New York.

Whether you make an action blockbuster or a comedy or a drama, you've got the right camera and all the right technology to do it. In games, it's not the same yet, and I would like to see technologies dealing with cameras the way we do - dealing with bouquet, dealing with performance capture, with lighting - with all this stuff the way we do.

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

I read about some movie where they did everything on blue screen, and the actors were not even connecting to each other.

It doesn't bother me to work with so much green screen. I prefer real settings obviously.

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.

With 'Tron,' we had so many crew members around and a stage full of special effects people that know exactly what has to be done in the situations. You're on a stage in sets the whole time.

Acting with a green screen has been physically challenging. I look at the green screen and then I'll look somewhere else and everything looks red. It's a bizarre thing where green has an effect on my vision, but it's fun.

I wish they taught green screen acting classes.

Writing, directing... anything behind the camera is what I want to do.

I want to try and be as involved in the art of filmmaking as possible. I feel that the only way to really do that is to take on as many roles as possible, whether it be as an actor, an editor, a director, a cinematographer.

And after you've done the acting, there's a lot of places you can put your input - in the editing, in the production of it, in the rewriting of it and so on.

I spent four months in Prague in these blue rooms reacting to nothing and you basically place your faith in the hands of the director and the special effects co-coordinator and you keep your fingers crossed and hope that the creatures look really scary.

It's hard, the green screen; it's a different way of working.

All the time that I'm acting with an animated character, I'm looking at a tennis ball or sticky tape or an eyeline or a man in a green suit. There's no real environment, just this electric green that's blaring into your brain.

Technically, the green screen acting can be difficult because there's something worse than a tennis ball on the end of a stick; it's an Australian visual effects assistant running around a field with a cardboard dinosaur head on the end of a stick while wearing sandals.

When you're making a bigger movie, you have much bigger set pieces that require more time and more effort and more people.

On 'Game of Thrones,' we always shoot away from the green screen because it's bloody expensive to shoot green screen.

When you're doing a film that has so many effects, you do a lot of it on green screen, and you can't see what that world is.

For four years, I worked as one of the general shop crew on movies like 'Naked Lunch' and 'Arachnophobia.' I made lots of bugs.

I work a lot with a green screen, which is really time consuming. All the special effects are.

Working with green screen, you really rely on the director in a way that you don't on different types of films.

[I was filmed] against a blue screen [in the Star Wars]. All the rest came later, in Lucasland. They did have me take gun lessons, though. I went to the same guys who taught Robert De Niro for Taxi Driver.

Working with a green screen is so different than working with another human.