Special Fx Quotes

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.

Of course when you toss a stick of dynamite at a cartoon character, he can come back to life again in the next frame. Getting the same effect with actors is going to be a lot tougher.

Well, I've always thought that my career was in England, really. I used to do more in the theatre, and I felt that I should be there. It's not far is it? It's amazing the way that special FX have taken a quantum leap in what they're capable of doing.

First of all, in the old days, if you wanted to show someone getting shot on film, all you could do was place an effect in the original take. And if you wanted to brighten somebody's face and leave the rest of the room dark, that was a very expensive process.

But in the former, those movie sets that you've been on like that, even if they're huge movies and most of its being spent in special effects afterwards, I think that's the way that we're going.

When I was a kid, I loved action, war, horror, monster movies... Anything with special effects. I was fascinated with how'd they do that.

I remember the special effects people had fun making a little doll that looked like me - which is not so easy - and it had to move along the floor.

Even before 'Moon,' I did a short film called 'Whistle,' and it had a lot of the things that I thought I would need to be able to do on a feature film: I shot on location, there was special FX work, there was stunt work, we used squibs, I shot on 35 mm film.

When you are working with low budgets and you have a gunshot with a squib and it goes wrong - the gun flash does not synchronize with the squib or whatever - it takes half an hour or 40 minutes to clean it all up and reset it. It's much easier to use a computer to paint in the flash and splatter.

In this movie they took them up in space. They're floating around and doing zero gravity stuff. Well, they had to do it all on wires. All the wires had to be painted black against this black background. If you didn't light it properly you could see the wires. Drove them crazy!

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

Well, the Empire State was about 40' high in the studio. King Kong was a little model about 2' high, and the scenery that he worked in was in proportion to his size.

Special effects are becoming more and more affordable and looking more and more like the real thing.

I think I'd much rather have a wooden stick and metallic ball than a real dire wolf on set.

I did what we call dry for wet effects, some of the miniatures work and two animation sequences.

I think some of the special effects in Close Encounters hold up better than the new more expensive special effects is because they were better actually.

There was a great magazine in the '80s called 'Cinemagic' for home moviemakers who liked to do monster and special effects movies. It was like a magazine written just for me.

Other effects in the show included models of the ships which were extremely expensive to make. We used to do our shots in front of a blue screen and they'd put the effects on after.

When I was younger, my goal in life was to work in special FX makeup. Liquid latex and fake blood! That was the dream!

Going from 'Shark Night' to 'Piranha,' a guy holding a fish on a stick in front of you that they're going to replace in post-production, it's a lot different than seeing this animatronic shark that, if you get caught up in the moment, looks, acts and you sometimes think could be real.