Pre-Visualization Quotes

One of the main reasons I am so drawn to Hitchcock is that he planned his shots way in advance on story-boards, which he designed like classic paintings (he was an art connoisseur). It's why he found shooting on set boring - because he had already composed the film in his head.

Only one time in my career I had that feeling [that this is not gonna get made], it was for this movie [Life of Pi]. It was right before we started the physical pre-production. I pre-visualized the whole ocean part before we made the movie, I was that prepared. At one point they seemed to want to drop it because it was really risky. The budget we proposed was a lot higher than they expected, they wanted to [drop it]. After all, it's a philosophical book and a literature property, it's not Batman.

Thinking should be done before and after, not during photographing.

A photograph is not an accident - is a concept. It exists at, or before, the moment of exposure of the negative.

There is an animated version of 'Lazer Team,' with all the action sequences, that exists. It's a pre-visual fidelity, and the voice acting is terrible because it's one of our animators doing it. But we could sit there and watch what the scene is supposed to look like while we're doing individual shots.

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.

No one is an artist unless he carries his picture in his head before painting it, and is sure of his method and composition.

An animatic is a process where every voice and every sound effect is added to rough animated drawings and it lasts exactly as long as the final movie. So you actually get to go into a screening room with the rest of the cast and you get to see it all at the same time.

First we pre-visualized it [the flying fish scene in 'Life of Pi'] so the actors could act. It took a long time to get that to come to life and to design those coming out of the screen. We had great fun with that. It takes a long time, a year maybe.

In the case of a film like The Exorcist or To Live and Die in L.A., I saw the whole movie in my head before I went to shoot it. I never did storyboards, or anything like that. I had the film in my head.

If you've written it you know exactly; whoever you're playing if you've written it you already know it. As a matter of fact, you've already made the movie if you wrote it. You've made it in your head.

Of course there's a value in a storyboard if you do a big - let's say an action movie and actors have to move and act in front of a green screen because entire backgrounds exploding and cars flying through there have to be created separately, and in this case you better make sure the actors are precisely placed and the background action is moving in a certain moment, for this type of film you would need a storyboard.

To visualize an image (in whole or in part) is to see clearly in the mind prior to exposure, a continuous projection from composing the image through the final print.

Filmmaking, at the end of the day, is really - in addition to the story and all of the equipment and the actors, it's really about time management. And so the smartest filmmakers are the ones who sort of pre-visualize the film in their head and are literally shooting the shots they need to cut the story together.

I've always pre-vized my movies, just on my own. Even when it was, like, zero-budget things, I used this programme to do storyboards because I can't draw that well.

Some filmmakers go into a film and it's already shot and cut in their head.

It's hard, the green screen; it's a different way of working.

Since the recording process is instantaneous, and the nature of the image such that it cannot survive corrective handwork, it is obvious that the finished print must be created in full before the film is exposed.