Vijay Antony Quotes

With digital editing, I now can make many, many versions of a scene.

I think some of the special effects in Close Encounters hold up better than the new more expensive special effects is because they were better actually.

Over 55% of all shots using animals in 'The Hobbit' are in fact computer generated; this includes horses, ponies, rabbits, hedgehogs, birds, deer, elk, mice, wild boars and wolves.

I think the Matrix effect is over-used and I don't do it anymore.

I don't like camera trickery and editing and doubles and all of that.

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.

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

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

Truthfully, I don't know how those special effects people do it.

People regard CGI as a gimmick; they almost blame CGI for a bad story or a bad script. They talk about CGI as if it's responsible for a drop in standards.

There's nothing worse than a dream sequence done all in post-production.

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

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

I think a lot of times, in a lot of modern-day movies, a lot of things are CGI, but so much of the stuff in 'Star Wars' is built and created by these artists.

Technology is a very important part of cinema.

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

Sometimes the guys who run the visual effects shop will bury it in and not tell us. We'll be in the middle of the edit, watching it for the fifth or sixth time, and we'll be like, "What's that big W on that building? I don't think we can do that. We haven't asked DC." And then, they take it out.

In 'Star Wars: Episode II,' when Jango Fett is chasing Obi Wan Kenobi through an asteroid field, they needed a big asteroid to shatter into a million pieces, and I had to figure out how to do the fracturing, write the code, and show an artist how to use it.

When you're doing a film that has so many effects, you do a lot of it on green screen, and you can't see what that world is.

I could take my grandma and put her in a cape, and they'll put her on a green screen, and they'll have stunt doubles come in and do all the action. Anybody can do it. They're relying on stunt doubles and green screen and $200 million budgets - it's all CGI created. To me, it's not authentic.

We have an amazing team at ILM who can create fantastic effects.

Every film that comes out that incorporates CGI or performance capture is a little bit ahead of the last film that came out. You're on the cutting edge for a certain amount of time, and then the new technology comes out.

I don't have anything against CGI.

The thing I realized about final cut is it's the power of the best cut. I didn't have final cut on 'Prisoners,' but what you saw is the best cut. 'Sicario' is a directors' cut. 'Arrival' is a directors' cut.

I cut 'Deer Hunter' myself.