Green Screen Quotes

On some level, acting is the art of pretend, and you have to have a highly cultivated sense of imagination. You have to be able to see things that aren't there, no matter what aspect of acting, whether it's green screen, whether it's on stage, whether it's anything else, whether you're working on the radio.

The longer I spent time on 'The Daily Show,' standing in front of a green screen pretending to report from war zones and hot spots around the world - most often from somewhere in the Middle East - the more I began to realize that 'The Daily Show' was radicalizing me.

You learn so many different skills on the show «Merlin». You're constantly asked to do green-screen, horse riding, comedy scenes, dramatic scenes, everything. The ability and the skill to adapt under a tight schedule is one that I'll definitely take away.

Comedies are just never that expensive quite frankly. They really aren't. We aren't doing green screen shooting, so even Hangover II in Bangkok might seem like it's expensive, you're flying over and back, but they're just not that expensive to make when you do it the way we do it which is very focused and I've done it before.

I don't like movies that are shot on green screen much, you know. I mean, I know that's the thing to do, and I know that it's getting. I'll put it this way; David Lean would probably kill himself, you know, again if he knew that people were watching Lawrence of Arabia on a telephone.

Making a fantastical world real is a bit of a challenge, for sure. When you're on set and you have a green screen you're working with where you'll pretend there's a giant lizard chasing you when there's nothing there. Being shown the images of what the creatures were going to look like and then having to react to them realistically without feeling like you're a crazy person. You kind of have to go for it. In order to sell it to the audience, you can't really hold back.

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.

I think that I've been pigeon-holed by virtue of the fact that I've spent so much time in front of a green screen.

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

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.

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.

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

'Speed' and 'Point Break' were a lot of running and jumping, and then 'The Matrix Trilogy' had a lot of fights and wire work and green screen elements.

I don't have a problem with green screen at all. I think children invented CGI. We invent worlds. A stick can become a sword. Or a bowl of stones can become a bowl of tomatoes. That's what children do, and that's what CGI enables us to do.

If you go into a studio without a set effectively, you've got a blue screen. As a DP you have to light it of what you think it should look like. You don't have any reference of what the background looks like. You might have some concepts, but effectively you're lighting it as what you think it should look like.

I'm in 'Gods of Egypt.' It was CGI on a level that I've never encountered. You're in a blue environment on a mirrored floor because that's going to be looking like Ra the Sun God's boat. In the studio, it was like I was in a Robert Lepage theatrical piece.

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.

All the time that I'm acting with an animated character, I'm looking at a tennis ball or sticky tape or an eyeline or a man in a green suit. There's no real environment, just this electric green that's blaring into your brain.

Green screen's not my favourite thing to do.

'Mars Needs Moms' was motion capture, where you walk into a space that's essentially a black box with cameras everywhere. It was so technical. You have these mandibles with cameras on your face and a helmet, and you have to hit certain marks. You couldn't shoot this stuff without the green-screen aspect.

There are always challenges to green screen.

I didn't work with any of the beasts [ "Fantastic Beasts"], I didn't have much green screen, but I loved working on it. I'm excited to see it myself.

You always feel quite vulnerable when you're naked on a set. You feel quite silly, actually. And with the green screen around you, it's not that sexy. But, it looks stunning. It's art. It's not vulgar. It's not indecent. It's not realistic. It's beautiful, I think.

'Green Screen' was a total experiment. I'm glad we did it, but it was just tough on that network to get it going.

I don't ever want to do a movie where you shoot it on a motion capture stage. I just don't like taking the reality out of it. I like being on the set in real environments. I don't like shooting on green screen. I think it gives the actors so much more to play with when there's real stuff happening on the set.