Mark Waters Quotes

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

The nature of motion capture is only going to work for certain films. It's not going to put any other type of movies out of business.

I've always been into visual effects. It was something I took keen interest in before films happened. Ironically, I am a part of 'Raaz 3,' a film that is shot entirely on 3D. It has encouraged me to pursue my dream. Hopefully, if time permits, I will travel to the United States and attend a crash course in visual graphics and animation.

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.

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.

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.

Acting on a blue screen is awful.

I could take my grandma and put her in a cape, and they'll put her on a green screen, and they'll have stunt doubles come in and do all the action. Anybody can do it. They're relying on stunt doubles and green screen and $200 million budgets - it's all CGI created. To me, it's not authentic.

If you need to do a movie where you have an army of 10,000 soldiers, that's a very difficult thing to shoot for real. It's very expensive, but as computer graphics techniques make that cheaper, it'll be more possible to make pictures on an epic scale, which we haven't really seen since the '50s and '60s.

I came in during the era of models, motion control, and optical printers. ILM had just started its own computer graphics division, after the Lucasfilm computer division had been sold off and became Pixar.

I wish they taught green screen acting classes.

Obviously, CGI in the last ten years has gone through such leaps and bounds that today, people are looking for these kinds of movies to wow audiences with technology.

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

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

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.

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.

'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.

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

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.

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.

I don't have anything against CGI.

Special effects are becoming more and more affordable and looking more and more like the real thing.

'Phantom Menace' was a huge project. It was the biggest visual effects production ever done at that point, and it was a little scary how big it was and how many unknown technologies had to be developed to do that work.

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