Felicity Jones Quotes

The sets on 'Defiance' are incredible. I've never really seen a set like this, where the world is so built around us. There's not too much left for us to have to imagine. We do a lot of stuff on the green screen as well, but when we're outside in the streets, it's all there. It's amazing! The creators have just been incredible.

If you think about it, you can have the best CGI, but you can always tell that it is CGI. Your brain can spot that is not real even though you think it looks cool. Your brain knows the truth, so you don't jump and you don't scream. It was very important for me to expose the audience to real elements.

People say that soundstage sets never quite look like reality. But actually, they can. They can be as real as you want as long as you pay attention to the kind of detail that is given for free in a real place.

Scale is not just something that a director wants so as to play with all the toys. Scale also lends verisimilitude, to put together a real world.

The size of a studio film lets you see technology in a way that you wouldn't on an independent film, like the gadgets and the angles and all that.

I love doing big movies. It's awesome! You have all these toys. The thing I like about this movie is, like they always say, directors have the biggest train sets! Don't tell anyone, but I'd do this for free.

They spend an awful lot of money on I-don't-know-what in Hollywood movies; I certainly didn't get any of it. But they sure do love spending money.

The biggest challenge has been simulating a tornado with wind machines and dirt and debris. Right when you walk on the set, you feel the energy of a tornado. But the hardest thing is trying to get dialogue out in all of that.

I loved being behind the scenes and finding out how they make movies.

I worked for UFA as a set designer, you know.

Working on such a big film was amazing. I learned a lot. There weren't too many stunts, just some doubling.

I never wanted to be in the show business. I wanted to do 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.

The sets on 'Defiance' are incredible. I've never really seen a set like this, where the world is so built around us. There's not too much left for us to have to imagine.

Although it is a fantasy film, it's as real as it can be. You have to imagine that an audience will buy their ticket to a cinema and get on a first-class flight and journey to Middle Earth.

The quality of CGI, audiences are now so used to it. They don't know what is CGI and what is real.

If you stood me in a costume next to a computer graphic of the same-looking character, I think there would be a difference. And many movie fans I've spoken to would rather see an actor in a costume than CG.

Big, big movies are in 3D, but we haven't reached a point yet where that's just what a movie is.

I spent four months in Prague in these blue rooms reacting to nothing and you basically place your faith in the hands of the director and the special effects co-coordinator and you keep your fingers crossed and hope that the creatures look really scary.

In this movie they took them up in space. They're floating around and doing zero gravity stuff. Well, they had to do it all on wires. All the wires had to be painted black against this black background. If you didn't light it properly you could see the wires. Drove them crazy!

Movie magic is movie magic and acting magic is acting magic.

I don't mind doing the green-screen stuff at all, and in fact it's a lot like black-box theater, which I did plenty of in New York.

With 'Tron,' we had so many crew members around and a stage full of special effects people that know exactly what has to be done in the situations. You're on a stage in sets the whole time.

Making films is sort of like you're pulling off a magic trick. It's sort of like an illusion. It's not real but you want it to appear real, and all kinds of things go into that, from the clothes you're wearing to the make-up, to the light.

When you're making a bigger movie, you have much bigger set pieces that require more time and more effort and more people.