Moon Bloodgood Quotes

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

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

I think sometimes big budget means explosions! CGI! CGI, the possibilities are so limitless that it begins to be impractical.

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.

I think you should be prepared for a green-screen CGI at all times.

I mean I think people prepared me for like a lot of green screen [in Oz the Great]. I didn't have a lot of green screen. They build most sets. When this castle was tangible, Emerald City was tangible, the forest, the woods was tangible, the cemetery, everything was there.

You can't see any movie nowadays really without it having some sort of CGI treatment, albeit whether it's a creature or an environment, something like that. To make a point, sort of poetically in that case, but clearly it was a drama and how do you approach it? Well, I think what you're supposed to do is what the text dictates. What you bring to it and everything you need to know should be there, and pay attention to your director.

I think that in big-budget movies there's a lot of other stuff going on besides acting, like special effects.

I feel that so many sci-fi films and films in general have just become really dependent on and addicted to CGI, and that some of the big CGI films of the summer, you see these effects that look like crap. You don't know if you're watching a cartoon or something that's real. And I didn't want to fall into that trap. I really thought there was a way to use a lot of these old techniques to do some new and really neat stuff.

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

I find myself really privileged to be able to go in and look at a set that the likes of Hollywood can provide, and say, 'My God, look at the craftsmanship in this; look at the ambition in it, the scale of it.'

The nature of the movies is different than it was five years ago, and they're all driven by the possibilities of CGI, which means you can make anything happen on screen that you can possibly desire.

There's an electrical thing about movies.

The wonderful thing about 48 fps is the integration of live action and CG elements; that is something I learned from 'The Hobbit.' We are so used to 24 fps and the romance of celluloid... but at 48 fps, you cannot deny the existence of these CG creations in the same time frame and space and environment as the live action.

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.

The irony is that you can't use real rain to make movies.

'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.

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.

When they're good, there is nothing like a big film.

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

There were challenges with production because of the special effects. There are just some things that, although written, special effects just isn't able to do.

Technically, the green screen acting can be difficult because there's something worse than a tennis ball on the end of a stick; it's an Australian visual effects assistant running around a field with a cardboard dinosaur head on the end of a stick while wearing sandals.

For 'Avengers,' in the Albuquerque desert, we shot New York there. And I was standing on a platform, nine feet high... and it was the rooftop of a skyscraper in New York. And it was all desert around me!

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.