Josh Brolin Quotes

Green screen's not my favourite thing to do.

I wish they taught green screen acting classes.

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

I'm one of the guys who wants to watch the film completely done, with special effects, sound and music, because I tend to get disappointed if I watch it not fully done.

As soon as you're finished shooting, you have to go into the edit room and choose all of the shots that you're going to commit to because the visual effects vendor has to get it because they'll spend months on it. So, you're editing out of sequence before you've gotten a film for the movie and the performances.

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

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

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.

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

I have, obviously, a very complex relationship with the more industrial side of filmmaking and the machinery that can take an actor or an actress and create something so bamboozling and monumental and fathomless in terms of publicity hits.

I never really understood how movies were made, because it was such a technical accomplishment.

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

[On Doctor Strange] just from costumes to everything was just so well done, so beautifully thought through and well-crafted. And so - , and they didn't even make me pretend that much with green screen.

I always try and bring screenplay, shooting and editing into a sort of symbiotic - as close into alignment as you possibly can get them, consistent, obviously, with the resources that you've got and the time you've got available.

Once your acting job is over, you just hope they have a good editor and they put together a good film.

The creation of the island, or the impression of the island, as it changes in the mind of the character also came in to play... there was another very important collaborator, Rob Legato, on special visual effects. And then ultimately there's Thelma Schoonmaker, who keeps me focused during the editing of the picture.

When you're done shooting, the movie that you're going to release when you're done shooting is as bad as it will ever be. And then through editing, and finishing the effects and adding music, you get to make the movie better again. So I'm really hard on myself and on the movie.

It's been 50 years since I was on the roof of my parents' house shooting Hag in a Black Leather Jacket when I didn't even know there was such a thing as editing. I thought you just shot the film and showed it. That's exactly what I did. I'm not that different 50 years later.

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

Working with green screen, you really rely on the director in a way that you don't on different types of films.

I like to say that films are never finished, they're only abandoned.

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

I do understand sometimes when actors say there's no one to talk to, or you can't react to, there's truth in that, but for me, I've always enjoyed green screen, and blue screen.

Performance is made in the editing room, and I've come to see the truth in that - the idea that they say performances are usually made in the editing room because what you film is the raw material. I think just going through the process of saying, "Which take do we use? Why is that the take we want? I want that take can you edit again, I'm not sure that's the one, I think it's this one." And just because you go through that process, I think somehow it's made me sort of more open about the [actor's] possibilities.

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.