Jed Mercurio Quotes

We have grown up in an age where there is nothing that cannot now, courtesy of computer-generated imagery, be convincingly rendered in the visual field.

We're in a time now where technology is such that we can create anything, and that's what's new about television and film these days.

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

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

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.

Over 55% of all shots using animals in 'The Hobbit' are in fact computer generated; this includes horses, ponies, rabbits, hedgehogs, birds, deer, elk, mice, wild boars and wolves.

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.

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.

It's quite amazing what 3D is doing to movies. Just simple things like a paper plane flying at you or flower petals fluttering about are wonderful.

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

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

3D is quite a lot more advanced in animated movies; for live-action movies we're just taking baby steps, we're just in the beginning.

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 don't have anything against CGI.

'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.

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

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

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.

I think some of the special effects in Close Encounters hold up better than the new more expensive special effects is because they were better actually.

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.

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.

I mean I've seen 3D films so far and I think it's a long way to go before they replace actors. It's a funny thing with 3D, I haven't quite got it yet. Yet.

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

By the way, it was his simulations that helped out in Jurassic Park - without them, there would have been only a few dinosaurs. Based on his techniques, Industrial Light and Magic could make whole herds of dinosaurs race across the screen.