Jeremy Podeswa Quotes

When I put magic into a book - whether it's a wizard or a crusty old werewolf - I'm asking a reader to swallow a huge leap that is counter to everything he or she knows. An extra big helping of reality makes that leap go down a lot easier.

How was I going to make a man fly? How was I going to convince the public that an actor could fly?

The stage is suspension of disbelief. Film is a literal medium.

I always wanted to be part of a movie that creates a different world.

Film is so immersive.

Acting is make-believe. I never believe I'm the character; I want you to believe.

Regarding green screen, green screen is really like doing some stage work. You have to make believe that there is a window, make believe that something is there that is really not there and convince the audience. It's part of acting.

Magic in cinema is a bit like ventriloquism on the radio.

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.

Encouraging people to believe in it was the most important thing of all. It's one of the reasons I was always uncomfortable whenever film crews came on the set to shoot things. I didn't want our make-believe to be exposed.

Making the unbelievable believable is different on a set with 'Fantastic Four,' where it's like, 'Wind machines! Because the airship is coming in and you're pretending to be afraid!'

The wonderful thing about cinema is you can bring a 3D world to life.

When writing fantastical literature, your biggest problem is getting your audience to believe the fantastical elements of your story.

I always try to have my supernatural or fantasy elements feel grounded in reality so they're easier for the reader to accept and digest.

When I watch a movie, I want to be taken away into worlds that are beyond my imagination.

Working with CGI is more like doing theater where your sort of imagining things. I didn't experience it as restrictive.

Being on set and seeing all that green screen, and how it activated my imagination, was amazing to me. I fell into that world very easily, and it was incredible to be a part of.

The cinema is there to heighten the imagination; I have always tried to make sure it does so.

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.

That's probably the biggest secret of acting: If the actor believes it themselves, they can make you believe it.

Good cinema is what we can believe, and bad cinema is what we can't believe.

I don't think every movie should be made in 3-D, and it should depend on whether it's one of these films that's more immersive or needs to be taken to another world. I'm interested in other formats.

Creating a believable world on the ship was very important, and technically they got better and better and better at showing the ship too.

We're telling a story. And the demands of that are different from the demands of a documentary. The audience must believe in order to keep faith in the story.

Actors get to go to these amazing worlds. In 'Terminator,' I was a cyborg with feelings; in 'Avatar,' I lived for 15 months on a fantastical planet, and in 'Clash of the Titans,' I get to fight a scorpion the size of a dump truck. It's a bizarre job, but you explore yourself.