Josh Hutcherson Quotes

I've realized that what you think of when you make a 'big movie,' if it's actually a green screen movie, it's like doing independent New York theater because you don't have any backgrounds or props. So it's kind of like making the lowest budgeted film you could possibly imagine, plus $100 million.

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

It's a world creation show [Shadowhunters], so we've gotta work hard in the physical production capacity with the visual effects, the sets and everything. It's not just the real world with two people chatting in a diner. That's tough on a television budget.

Green screen, you know, it's been interesting, it's my first time to ever work with green screen technology, and it's, sometimes it can be really boring because you're like wow, I've got to really imagine all of this stuff around me. But it's low maintenance, which is nice, um, and it's not as hard as I thought it would be, so.

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)

Being on set and seeing all that green screen, and how it activated my imagination, was amazing to me. I fell into that world very easily, and it was incredible to be a part of.

I learned so much about the making of Star Wars and that became a real drive for me, right from the time I was 12 or 13.

Making 'Pacific Rim' was a lot like what you imagined making movies would be like when you were 12.

If I can make a dance-based movie like 'ABCD', then I was sure I could make a superhero movie, too.

I did 'Vice' with Christian Bale and 'Foxcatcher' with Steve Carell - both of those films had significant prosthetic work. You do need to be cognizant of the fact that the material that you're photographing is not skin.

In my first-ever shot, there was a big shell that was dropped on my belly in slow motion. I even asked the director why we are doing it, and he said it would look beautiful... and I wondered, 'Really? But why and how?'

My background is in VFX, and I know from experience that the best VFX are when you have something real in the frame that you can either extend or work off of. It was really important to get as much as possible in camera, for real.

It’s very simple why kids are crazy about dinosaurs — dinosaurs are nature’s Special Effects. They are the only real dragons. Kids love dragons. It’s not just being weirdly shaped and being able to eat Buicks. It’s that they are real.

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

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.

There are shots that I had to walk away from because we had to get the movie in the theaters. There are some in "Independence Day" and "Godzilla," but lately I got smart. I would plan it so I had enough time [to get it right]. That just comes with experience.

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 mean I think people prepared me for like a lot of green screen [in Oz the Great]. I didn't have a lot of green screen. They build most sets. When this castle was tangible, Emerald City was tangible, the forest, the woods was tangible, the cemetery, everything was there.

Yes, because it's Len's obsession with practical. I've never really had that experience that I hear people having of being on an empty soundstage painted green talking to a tennis ball on a stick.

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.

But in the former, those movie sets that you've been on like that, even if they're huge movies and most of its being spent in special effects afterwards, I think that's the way that we're going.

Normally I can't watch playback. I can't watch anything because I know that it's so rough and there's going to be effects that are added, there's going to be sound effects, there's going to be so much stuff that happens between this point and that finished product that it just ruins the illusion for me.

[On Doctor Strange] just from costumes to everything was just so well done, so beautifully thought through and well-crafted. And so - , and they didn't even make me pretend that much with green screen.

When I was in architecture school, rather than giving us drafting boards and t-squares and lead pencils and stuff they gave us all the same tools that places like Digital Domain and ILM used to make features films or special effects. They gave us all these digital tools like Alias and Mya and Soft Image and all these kind of high-end computers, so I came out of architecture school knowing how to use all that stuff. And I started making short films at night.