McG Quotes

Working on 'Westworld' has been an incredible experience in learning to make something with the scope of a feature on a TV timeline with a budget nowhere near what you would expect for a feature film equivalent.

Nowadays, kids know how a programme like Merlin is made and how it works. But the show just seems to grow in popularity the more it goes on.

The whole world of 'Game of Thrones' was realized with such detail, with directors and writers who really geeked out and really loved all the little bits of it.

A TV show is constant work, which is the great thing about it.

It's interesting: I went 25 years without watching a single television show. I was one of those people, because I was so inside how a television show was made, if I would turn on somebody else's show, I would sit there and analyze it, like, 'Oh, so they had four hours in this location and had to get out and the number of set-ups, etc.'

'Green Screen' was a total experiment. I'm glad we did it, but it was just tough on that network to get it going.

The sets on 'Defiance' are incredible. I've never really seen a set like this, where the world is so built around us. There's not too much left for us to have to imagine. We do a lot of stuff on the green screen as well, but when we're outside in the streets, it's all there. It's amazing! The creators have just been incredible.

I worked with her on the second season of Dark Angel in Vancouver, one of my first real jobs.

On 'Game of Thrones', the people that I've met, of the people behind the scenes, was not even a scratch of the vast crew that actually does work on that show.

I think the amount of production value that was put into 'Game of Thrones' was incredible, and it's unlike anything I've seen on any other production, including 'The Lord of the Rings.'

I think you can achieve things in television that you can't achieve on film, and I think we managed to do a lot of that in the first season of 'Lost.'

Having made other shows, the thing with 'Doctor Who' is that you're doing everything, all at once.

What's the hardest thing about making a show like 'Vinyl' or 'Handmaid's Tale' is they are expecting movie-level cinematic quality in every way - from the performances to the visuals and the shots - especially on a show where you are doing Scorsese style.

Well, we shoot for so long on 'Stranger Things' that I know Atlanta really well.

Making a fantastical world real is a bit of a challenge, for sure. When you're on set and you have a green screen you're working with where you'll pretend there's a giant lizard chasing you when there's nothing there. Being shown the images of what the creatures were going to look like and then having to react to them realistically without feeling like you're a crazy person. You kind of have to go for it. In order to sell it to the audience, you can't really hold back.

Show-running is a very difficult job that includes so many responsibilities; I'm working with the actors, working with directors, writing, making decisions like, 'What fabric is that sofa gonna be?'

Working on movies and TV is a blast, and ILM has the most talented people in the world. But on 'Mythbusters' I've been able to go places I would never have access to otherwise.

I never take credit for my movie's success. I am the face of the movie, but there are numerous unsung heroes behind the scene. From the director, cameraman and editor to the light boy, everyone knows how difficult it is to satisfy the audience.

June Cleaver didn't keep her house in perfect order, the prop man did it.

I love doing 'Castle.' We pump out 24 episodes in 10 months, and we work long hours. We do lots and lots of takes, and everyone there is a talent machine. It is a taxing endeavour to say the least, but when you get into a groove, it doesn't matter if you're tired, it doesn't matter if you're sick. You can do it.

You can shoot a show and have it not air. It's not real until it's airing.

It's what we live for, to be able to make great illusions. The thing about 'Entourage' is everything we do is realistic. We go to the real places, we shoot on location. We get the real people. It's a perfect marriage between fact and fiction.

I am trying my best to stay above the water. Right now ACID does not only offer animation. I offer real life productions as well and also compositing (animation composited into real life video)

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.

Being on the floor of a TV show is sometimes a quite frustrating experience.