Rodrigo Santoro Quotes

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.

I wish they taught green screen acting classes.

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

Technology is a very important part of cinema.

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.

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

Green screen's not my favourite thing to do.

Acting on a blue screen is awful.

'King Kong,' especially the first two acts of it, is a really good example of the use of miniatures mixed with digital characters and how convincing it was.

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.

If you give an actor a green screen, the shot may work, but that green screen will not inspire you on the set as a director or as an actor.

I don't have anything against CGI.

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.

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

I think you should be prepared for a green-screen CGI at all times.

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

I don't like camera trickery and editing and doubles and all of that.

I'm of a generation of director that came up understanding special effects.

It was close to like a 67- or 70-day shoot for 'Tron' on stage, in the suit. You can't even sit down during the day because of all the cables that divide the foam rubber and all the electrical circuits. We had these stools that were tall with a bicycle seat on them and you're just looking at a blue screen all day.

That's the trouble with anything which essentially has a lot of bits that are physically impossible: You're left, stuck, in the studio. And that's a shame. You're making a movie. You don't want it to stay put, you want it to be a movie - to move.

I wouldn't want to do a whole movie with effects.

There's nothing worse than a dream sequence done all in post-production.

Unless you're making Marvel movies, I think CGI usually suffers, especially in mid-budget-range horror movies where you see CGI.

I'm excited about what technology is offering storytellers and movie- and TV-makers.