Amy Adams Quotes

Working with a green screen is so different than working with another human.

It doesn't bother me to work with so much green screen. I prefer real settings obviously.

I work a lot with a green screen, which is really time consuming. All the special effects are.

I'm not a great fan of green screen. It's not much fun for actors. It's great for directors and technical people and cameramen.

You don't have your film finished when you have your director's cut finished. It's just a bunch of green screen.

At times, there are misunderstandings [during shooting]. Especially with green screen and not really knowing what it is that you're looking at, you really depend on the director to create that world for you.

You've seen how they make movies like Star Wars and stuff. They're never really there. They're in front of a green screen just pretending to be jumping around.

When I filmed 'Power Rangers,' almost everything was being assisted by a green screen, but it wasn't the same with 'Stranger Things.'

I read about some movie where they did everything on blue screen, and the actors were not even connecting to each other.

I wish they taught green screen acting classes.

Making a movie requires 20 to 500 people to make and a lot of money and the stakes are a lot higher.

I loved being behind the scenes and finding out how they make movies.

I usually do about five cuts as a director. I haven't ever directed a film where I haven't made five passes through the movie, and that takes a long time.

Green screen's not my favourite thing to do.

It was close to like a 67- or 70-day shoot for 'Tron' on stage, in the suit. You can't even sit down during the day because of all the cables that divide the foam rubber and all the electrical circuits. We had these stools that were tall with a bicycle seat on them and you're just looking at a blue screen all day.

'Dark Knight' shot in London and Chicago, and we were on that for so long.

The type of producing that I did for many years involved working very closely with directors.

I like working on big budget films.

What you write on the page has nothing to do with when you're on set. When you're on set, it has nothing to do with when you're in the editing room. And when you're in the editing room, it has nothing to do with the final movie. You just have to let it go.

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.

The process of making a movie is what I love. I thrive on that. It's an exciting miracle, a mad adventure. I love being part of it.

With 'Tron,' we had so many crew members around and a stage full of special effects people that know exactly what has to be done in the situations. You're on a stage in sets the whole time.

When you're making a bigger movie, you have much bigger set pieces that require more time and more effort and more people.

I don't see a big difference between the job of directing a low-budget movie and the job of directing a big-budget movie.

I haven't directed a film since 'Appaloosa,' and I've been looking for something because I love the directing thing.