Paul W. S. Anderson Quotes

I'm one of the guys who wants to watch the film completely done, with special effects, sound and music, because I tend to get disappointed if I watch it not fully done.

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.

The wonderful thing about 48 fps is the integration of live action and CG elements; that is something I learned from 'The Hobbit.' We are so used to 24 fps and the romance of celluloid... but at 48 fps, you cannot deny the existence of these CG creations in the same time frame and space and environment as the live action.

'King Kong,' especially the first two acts of it, is a really good example of the use of miniatures mixed with digital characters and how convincing it was.

'Spider-Man' seems to have a different tone to the pure Marvel stuff, but I really enjoyed the 'Guardians Of The Galaxy' and 'Iron Man' movies. I love the special effects and how it seems very real, but at the same time, it still lives within the realm of Marvel. That's got to be a lot of work.

We're always striving to make Avatar look like a cinematic, live-action movie.

My own personal aesthetic is all to do with real actors and real locations and a kind of almost hyper reality and actuality to things. But the digital world, I explore that through other mediums, with music videos and commercials. Even 'The Road' was a real learning curve for me with digital effects.

On 'Ghost In The Shell,' I'm looking forward more to working with Scarlett Johannson and Rupert Sanders than portraying a lead!

To do a train wreck and make it look real on screen is tremendously skilful.

I personally found 'Avatar' - the blue people, to me, looked like painted art from the seventies. It didn't have the realism as, say, the robotic machines.

I am trying my best to stay above the water. Right now ACID does not only offer animation. I offer real life productions as well and also compositing (animation composited into real life video)

You can't just do cheap CGI and think that's going to work. It doesn't.

I don't like movies that are shot on green screen much, you know. I mean, I know that's the thing to do, and I know that it's getting. I'll put it this way; David Lean would probably kill himself, you know, again if he knew that people were watching Lawrence of Arabia on a telephone.

I've worked in the movie business for many, many years, where you have lots of days and lots of money. It's really mainly about time. We always try to conceive all of our action from a place of, "What can we shoot that looks fantastic?," rather than trying to do the kinds of thing that you would be able to accomplish in a movie.

I was just like, "I want to make a decent 2-D movie." I was so worried that, instead of being a decent 2-D movie, it would have been a bad 3-D one.

If you can make a good picture that actually has some substance, that's doubly good nowadays 'cause most everybody else is trying to address how many CGI plates we're gonna do, what little being is gonna come in from another asteroid.

My entire career is contemporary based, not by choice, but just by character. So, all the movies I've done, except for one in 40 years, are contemporary. But I never did an effects movie. So, I'm also a producer and I was really curious about how this whole thing went together.

I love CGI if it's invisible. I don't like it when it's there and obvious.

When what you’re doing doesn’t work for 50 years, it’s time to try something new.

The shortness of life, I keep saying, makes everything seem pointless when I think about the longness of death. When I look ahead, all I can see is my final demise. And they say, But maybe not for seventy or eighty years. And I say, Maybe you, but me, I'm already gone.

In the end [of the "2012"], there were no ships, no water, no nothing. Only the interiors [were real]. Everything else had to be made, and that is always challenging.

If there's a movie of Neuromancer, what I really want the special effects guys to do is make you see, from Case's point of view, the little acid giggies: the little lines and trails coming off of things.

Nothing ruins the mood during foreplay more than the recurring image of your sixty-five-year-old homeroom teacher trying to stretch a condom over a cucumber.

A year ago, I turned the final page of The Book of the Dead. I don't feel young any more.

I left Stone Sour in '97 because, by that time, we'd been together for about five years and I was kind of getting to the point where I wanted to do something different. I loved the music that we did and I loved the guys that I was with, but I was 24 and just felt like I needed to go and try something different so I didn't get stuck where I was, you know, just doing the same thing. And, coincidentally, that's when Slipknot came and asked me to join. I'd never done anything like Slipknot up until then, so I was like, "Okay, we'll try this and we'll see what happens." And it worked out.