Ridley Scott Quotes

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

Pixar has invented much of computer animation as it's known today, and I've been very lucky to be the first traditional animator to work with computer animation.

The days when you needed amazing Silicon Graphics machines to run animation software are gone now.

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.

The thing with computer-generated imagery is that it's an incredibly powerful tool for making better visual effects. But I believe in an absolute difference between animation and photography.

Are we blasphemous in saying that 2-D is largely a thing of the past, and computer-generated animation is the present and future? It's all about creating a better experience for the viewer - and that includes 3-D.

The great thing about computer animation is that all of those environments exist as three-dimensional worlds, so these VR worlds already exist.

As I look back on my career, I had a goal, which was to build the first feature computer-animated film.

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.

I know a lot of games have been going to the facial capture. And movies like 'TinTin' are using it, as well.

Yes, actually. Animation's a very easy thing to watch on tour.

Obviously, CGI in the last ten years has gone through such leaps and bounds that today, people are looking for these kinds of movies to wow audiences with technology.

Computers don't create computer animation any more than a pencil creates pencil animation. What creates computer animation is the artist.

By the way, it was his simulations that helped out in Jurassic Park - without them, there would have been only a few dinosaurs. Based on his techniques, Industrial Light and Magic could make whole herds of dinosaurs race across the screen.

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

I remember when I first came around, the computer-generated stuff was pretty wicked. I was like, 'Wow!' but I feel like then for the longest time, we saw so much of it, after a while, you might as well just be watching an animated movie.

It's amazing what they can do with animation nowadays. It's really beautiful. The 3D stuff is out of hand.

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 believe in 3D for certain kinds of films. I certainly believe in using 3D for all things in animation because animation has such clarity and so much depth of focus. It worked great with 'Avatar' because 70 percent of that film is animated.

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

One thing I was thinking about the other day was you can't even conceive of the kinds of things you can do in movies today. The idea that you could draw, in a computer, dinosaurs and have them running around was totally impossible.

I've always been thinking in three dimensions, ever since I started working with computer animation in the early '80s.

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.

If people want to watch a CG movie, there's plenty out there.

When we made 'Toy Story,' journalists were more interested in talking about the technique because it was so new and unknown, and we just wanted to talk about the story.