Ivan Reitman Quotes

When I was younger, I was hopefully going to do animation and special effects.

Clearly, if we'd had the kind of computer graphics capability then that we have now, the Star Gate sequence would be much more complex than flat planes of light and color.

I don't have anything against CGI.

ILM was the first company that I had worked at that had a computer-graphics division.

The days when you needed amazing Silicon Graphics machines to run animation software are gone now.

I remember when I first came around, the computer-generated stuff was pretty wicked. I was like, 'Wow!' but I feel like then for the longest time, we saw so much of it, after a while, you might as well just be watching an animated movie.

It's amazing what they can do with animation nowadays. It's really beautiful. The 3D stuff is out of hand.

The thing with computer-generated imagery is that it's an incredibly powerful tool for making better visual effects. But I believe in an absolute difference between animation and photography.

My particular aesthetic of light and color and design wouldn't change as a result of working with computer graphics rather than with slit scan or miniatures.

The two great things about computer CG stuff are I can now do gags I would never have dreamed of in the old day.

I've always been thinking in three dimensions, ever since I started working with computer animation in the early '80s.

If people want to watch a CG movie, there's plenty out there.

As I look back on my career, I had a goal, which was to build the first feature computer-animated film.

You hear people say that there's too much CG in movies today, but CG is what allows me to take a green-painted wall in a studio and make it disappear, and then put 100 miles of landscape in. CG, in the right hands, can be a marvelous tool.

We have grown up in an age where there is nothing that cannot now, courtesy of computer-generated imagery, be convincingly rendered in the visual field.

Pixar has invented much of computer animation as it's known today, and I've been very lucky to be the first traditional animator to work with computer animation.

When I started work with LucasArts Computer Division back in 1984, I went to the Palace of Fine Arts and saw the Festival of Animation for the first time. I loved the diverse collection of animated films the festival held.

What's happened with computer technology is perfectly timed for someone with my set of skills. I tell stories with pictures. What I love about CGI is that if I can think it, it can be put on the screen.

We can do things that we never could before. Stop-motion lets you build tiny little worlds, and computers make that world even more believable.

Computers don't create computer animation any more than a pencil creates pencil animation. What creates computer animation is the artist.

If you take a regular animated film, that's being done by animators on computers, so the filmmaking is a fairly technical process.

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

I learned a lot about 3D animation from and with my dear friend Michael Hemschoot of Workerstudio. Taught me that I want to play more with animation and image manipulation. Fun stuff!

I've always wanted to be an animator. That's an ultimate art form, right there.

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.