Mary Ellen Mark Quotes

There's things that you just couldn't do with an optical printer. Now, with digital compositing, most of the energy that goes into a shot goes into the aesthetic issues of, 'Is it a good shot or not?'

Every time I take a photo, it goes into SnapSeed. Even if it's just a price tag on something, it still goes into SnapSeed, and I start editing it. I'm not a photographer, so I need all the help I can get when it comes to make a picture look cool.

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.

When you are working with low budgets and you have a gunshot with a squib and it goes wrong - the gun flash does not synchronize with the squib or whatever - it takes half an hour or 40 minutes to clean it all up and reset it. It's much easier to use a computer to paint in the flash and splatter.

I feel more like a creative artist using photography because there's - the digital work is so interesting now. It's come to that. I have had many different stages of photography - there are many different ways to take photos. But I feel now I'm in that stage of my life where I use the camera, you know, in that way.

I don't have anything against CGI.

You can make amazing sci-fi films if you want to with very, very little money and very advanced technology that can run on your desktop.

In 'The Greatest Showman,' I'm back doing VFX myself, allowing me to craft exactly how something looks, one frame at a time.

With digital editing, I now can make many, many versions of a scene.

Technology is a very important part of cinema.

A lot of filmmakers understand that the work is done digitally, and it's technically possible to change it late in the game.

CGI means, just to be clear, creating any type of image with a computer. Basically, starting off with nothing, or with images and manipulating them. The way we did it, everything was actual photographed images. A lot of that stuff was shot through a microscope of chemical reactions, yeast growing, lots of weird things, by Peter Parks. We put it into a computer and collaged it, manipulated it. Meaning we digitally shaped it to fit with other images. But there was no computer-generated imagery at all.

There could be no filmmaking without industrywide agreement on frame rates, lenses, and audio recording equipment.

Summer blockbusters are very expensive to make. They have things that have to be expensive, such as 600 effects shots or CG characters that have to go a certain way, or a film design that is different but expensive.

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

Currently computer graphics are used a great deal, but it can be excessive.

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

I used to be a photographer - and now I'm some kind of digital photographic artist.

Technology continues to bring us wondrous advances in filmmaking to improve how we view movies.

It's hard, the green screen; it's a different way of working.

I think filmmakers in general are, as the tools become more and more advanced, you're able to tell stories in a way that I think is more realistic. The technology just wasn't there up until pretty recently, and it takes a bit of time for the normal artistic way of approaching something to become a mainstream thing.

Keep in mind that there are computers, that do touch things up. Like when I got a hold of the poster for 'Gold Diggers,' I said: 'Hey, wait a minute! Those aren't my teeth!'

But now with technology I could sit down and do a bunch of character drawings and scan them into a computer, and the computer using my exact style could bring it into life, where it would have been edited by various human beings before.

The thrill of doing visual effects doesn't exist.

I've always been excited by rotoscoping, the technique used in films like 'Waking Life,' which fuses animation with real-life emotion. It seemed like it was a process ripe for innovation.