Jennifer Morrison Quotes

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.

Special effects are becoming more and more affordable and looking more and more like the real thing.

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.

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.

We brought what we liked from the real world into our videos.

The first light-field camera array I saw at Stanford had a bunch of applications, like to do special effects like you see in 'The Matrix,' where you spin the camera around in frozen motion. It took up an entire room.

When I played Gollum in 'Lord of the Rings,' if I was climbing up the side of a mountain, which I physically did, you know, I was on every single occasion swimming through streams, all of that, that wasn't captured. That was filmed on 35 millimeter, and for certain of those shots, it was rotoscoped and painted over.

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

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

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.

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.

I'm excited about what technology is offering storytellers and movie- and TV-makers.

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

To me, the future of TV and movies is going to be 3-D animation.

Technology is a very important part of cinema.

I've been working in computer animation for 25 years. I'm obviously a devotee of the technology. I just think it's the one aspect of the medium that's going to continue to revolutionize the filmmaking. It's constantly changing and it's constantly opening up new possibilities. The technology is evolving where 2-D animation was ultimately limited by how long you could pay how many people to make a movie. I mean computers, not that it's in anyway a labor saving device, but it promises to open up exciting new technical possibilites.

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.

100 years ago, movies were black-and-white, silent, and 16 frames a second. So 100 years from now, what are they going to be?

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.

Polar Express is not an attempt to do animation. It is a technology-based film.

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.

There's a level of sophistication of filmmaking that's mind-boggling. Anything you need for your movie, there's an establishment that can make it happen really fast.

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

I don't use film cameras. I don't do visual effects the same way. We don't use miniature models; it's all CG now, creating worlds in CG. It's a completely different toolset. But the rules of storytelling are the same.