Howard Rheingold Quotes

I just bought a Mac to help me design the next Cray.

I'm a film maker who started on the Atari and then went onto the Commodore 64 and the Amiga. So I possibly have a different sensibility to people who didn't play games growing up.

My father, an entrepreneur but hardly a technologist, was looking to buy a computer to 'automate' our family business. In 1981, he characteristically dove head first into computing and bought an Osborne I.

What's happened with computer technology is perfectly timed for someone with my set of skills. I tell stories with pictures. What I love about CGI is that if I can think it, it can be put on the screen.

I do a lot of CG stuff for fun.

We can do things that we never could before. Stop-motion lets you build tiny little worlds, and computers make that world even more believable.

I was involved in a web cartoon of Kung Fu with WB a few years back.

The only legitimate use of a computer is to play games.

If you take a regular animated film, that's being done by animators on computers, so the filmmaking is a fairly technical process.

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

I am interested in computers and technology, and art, photography, and design.

Being young is an advantage. You've grown up with games as the dominant entertainment. You have a lot of experience of video games. So what do you want to see that's not been done? Innovation is really low cost for you. You can afford to take risks and fail to execute new ideas.

I learned a lot about 3D animation from and with my dear friend Michael Hemschoot of Workerstudio. Taught me that I want to play more with animation and image manipulation. Fun stuff!

I'm not against Flash, and I love the work that people such as Joshua Davis do.

There is no doubt that, since 1977 and the launch of Apple II - the first computer it produced for the mass market - many things which used to be done on paper, or on the telephone, have been done easier and faster on a screen.

I remember feeling that technology was like trying to draw with your foot. In a ski boot. It was the most indirect way to work imaginable, but the potential had us all excited. I started in stop motion.

The Cube is approximately - it's around the same age as the Internet, and in that time, we had no personal computers yet.

I have the standard cartoonist setup, which is one of those Cintiq tablets, and a laptop. If I'm mostly writing code, I'm on the laptop, and if I'm mostly drawing, I'm on the Cintiq.

I am now very interested in computer technology as it is used currently to make games. I think this technology is very powerful and could be used in new ways.

I started working at a point in history when digital computers were becoming mature, and before that, there were no such machines.

'Avatar' means so many things to so many different people. When I think of the creation of it, I think of me and Mike at the computer in a little apartment in Burbank.

When I was younger, I would look at a game with computers and still be fascinated by the possibilities.

The very first pieces of film that I did were really graphic designs translated to film. Graphic designs that moved. That was a very new notion.

What you do in film and television is really different than what you do in video games.

I began as a graphic designer. As part of my work, I created film symbols for ad campaigns. I happened to be working on the symbols for Otto Preminger's 'Carmen Jones' and 'The Man With The Golden Arm' and at some point, Otto and I just looked at each other and said, 'Why not make it move?' It was as simple as that.