Travis Knight Quotes

I always considered Ray Harryhausen's work so fine that it was way out of my league: in terms of realism and naturalism, in terms of animal movement.

When you take something that's inert, and through motion, give it life, make it appear to be alive, living, breathing thinking and having emotions, that's animation. But when you take something that's live-action, and move a part of it, that's a special effect.

I feel I'm just meant to do stop-motion. Live-action is much more glamorous to some, but it's basically a whole army of people focused on one thing.

Making films is sort of like you're pulling off a magic trick. It's sort of like an illusion. It's not real but you want it to appear real, and all kinds of things go into that, from the clothes you're wearing to the make-up, to the light.

Every 'Star Wars' film was about pushing what was possible in terms of effects, puppets, matte paintings, stop motion and, now, digitally.

The nature of motion capture is only going to work for certain films. It's not going to put any other type of movies out of business.

All film directors, even the ones using 3-D today, want you to look at what they chose.

The learning curve is 'The Hobbit' is being shot in 3D.

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.

Written and directed by French showman Georges Melies, 'Le Voyage' features one of the most indelible images in cinema history: the wounded Man in the Moon bleeding like a particularly runny Brie, grimacing in pain with a space capsule protruding from his right eye.

I think of Ray Harryhausen's work - I knew his name before I knew any actor or director's names. His films had an impact on me very early on, probably even more than Disney. I think that's what made me interested in animation: His work.

I spent four months in Prague in these blue rooms reacting to nothing and you basically place your faith in the hands of the director and the special effects co-coordinator and you keep your fingers crossed and hope that the creatures look really scary.

In '83, not only was there no such thing as performance motion capture technology, there was no such thing as digital animation. This was the analog era.

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

'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.

I couldn't do what I did in 'Deadpool' without 'Transporter,' categorically.

Acting with a green screen has been physically challenging. I look at the green screen and then I'll look somewhere else and everything looks red. It's a bizarre thing where green has an effect on my vision, but it's fun.

Whether you make an action blockbuster or a comedy or a drama, you've got the right camera and all the right technology to do it. In games, it's not the same yet, and I would like to see technologies dealing with cameras the way we do - dealing with bouquet, dealing with performance capture, with lighting - with all this stuff the way we do.

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.'

What happened in the early days of Disney is that Walt Disney used all of the new technologies as they came out. When matting came out, they adopted it. They adopted sound and color and xerography. Walt did that. And then, when he died, people began to think that this is just about making films, so they stopped bringing in new technologies.

Historically, for a stop-motion film, you gathered the crew together, you made the movie, and then everyone ran screaming to the next project.

Technology is a very important part of cinema.

By 1949 I knew all the studio tricks.

Stop-motion is filmmaking at the pace of a glacier. In live action, you're moving so quickly.