Top 56 Quotes & Sayings by John Knoll
Explore popular quotes and sayings by an American artist John Knoll.
Last updated on November 25, 2024.
Eighty percent of my job is to ask the question, 'If this were real, what would it look like?'
ILM was the first company that I had worked at that had a computer-graphics division.
Part of the process is always, 'Is there a better way?' We try to think through if there's something we can do better creatively or technically, or just is more efficient.
Ideally, you will never know that you're seeing a computer-generated car.
In animation, you can often defer decisions or make changes later.
You have to do what the story demands, but inside of those constraints, I try to inject as much realistic physics as I'm allowed to.
On every show, there's some amount of work that is brought to some state of completion - or even finished - and then cut out of the movie.
When I was a kid, I built miniatures, and that was actually the first thing I did professionally in the film industry. It was a demonstrable skill that I had, so I worked as a model maker.
Visual-effects shots should flow into the rest of the live action, and you shouldn't be able to see a difference.
A lot of us got into the industry because of 'Star Wars,' and we all have this love of the original source material.
I read a magazine called 'Cinefantastique' that had just come out with a making of 'Star Wars' issue. They had some very long and detailed interviews with a whole bunch of people at ILM. I think I memorized that whole magazine.
I have three daughters who grew up while I was working on the special editions and the prequels. They got to be big 'Star Wars' fans. And, you know, I would see them identifying with a lot of the male characters, and I just thought, 'Star Wars' could use more good strong female leads.'
I don't have any particular loyalties to one technique or another. I'm just trying to use the best for the job.
I loved movies. In particular, I loved movies depicting places and events that obviously you couldn't have gone out and shot. It was obvious you were looking at something that had been manufactured in some way. I was fascinated by that.
Almost everything I've been paid to do was something that was largely self-taught.
It's harder to get your second picture than it is to get your first one.
I came in during the era of models, motion control, and optical printers. ILM had just started its own computer graphics division, after the Lucasfilm computer division had been sold off and became Pixar.
'Phantom Menace' was a huge project. It was the biggest visual effects production ever done at that point, and it was a little scary how big it was and how many unknown technologies had to be developed to do that work.
'Pacific Rim,' for me, was a chance to touch on those old Toho monster movies. 'Godzilla' and 'Rodan'... and then 'Ultraman' and 'Robotech' and all those kinds of things.
I started off as a model maker, so the first part of my career was a model maker and then a motion control camera operator, so I shot a lot of miniatures.
I just have this very simple idea about the rebel spies in the opening crawl of A 'New Hope' who steal the plans for the Death Star.
There are things that I am nostalgic about from the 'good old days.' I loved motion control cameras, actually. I love the way they sound. I used to do a lot of miniature work, and it's still warranted, but it's done less often, largely for budgetary, schedule, and flexibility reasons.
When I was a kid, one of my hobbies was as model-maker.
When I first started in the industry, there were - this is prior to the era of computer graphics and all these digital tools - there were some pretty rigid, technologically imposed limitations about how you shoot things, because if you didn't shoot 'em the right way, you couldn't make the shot work.
Something we often struggle with on pictures is the right way to shoot live-action elements that are for an environment that's very complicated from a lighting standpoint. An example is a starship flying through an environment that's constantly changing.
Having been a cameraman, I think about, 'Well, if this was real, how would this be shot?' I try to inject as much realism as much as possible.
I've gone through a whole series of careers where something started as a hobby of some kind. Almost everything I've been paid to do was something that was largely self-taught.
I certainly have opinions about things, but we're a service organization. Our job is to try and realize the director's vision.
Imagine a 'Mission: Impossible'-style spy or infiltration mission into the core, the very heart of the Empire's military-industrial complex, the most secure facility in the Empire. You have a small band of experts with complementary skills who, together, are able to do these amazing things.
There's no reason to think Disney is going to stop wanting to make 'Star Wars' movies if there's quality and there's interest. It has unlimited potential. It has a huge number of characters, worlds... It's a massive playground.
It's part of the culture at ILM and at Lucasfilm that the work is better when you collaborate, you know. There's this culture of open exchange, a wonderful ego-free sharing of ideas and talent.
It's definitely an issue if the actor has passed away without stating any intention or desire about how his or her likeness should be dealt with. Then it falls to their estate. That's a problem that will start solving itself. Now the technology exists, and actors are aware of this and can make their wishes known.
Reacting is so important to the craft of acting.
When you are shooting traditional motion capture, it's a big footprint on set. There are, like, 16 cameras that are needed and constraints over the lighting.
I think it's an important part of the visual effects supervisor's job to get really deeply embedded in production and keep us all focused on trying to generate the best result. I'm not proprietary about, 'I would rather do this effect than let physical effects do it.' No, let's do the smartest thing for the movie.
There was a 3-foot-long model that was built for 'New Hope,' and then there was an 8-foot model that was built for 'Empire Strikes Back.' The 8-foot model and the 3-foot model are kind of different. A lot of the details are different between the two of them.
If you were a new guy at ILM, they put you on the night crew - my shift was from 7 P.M. to about 5 A.M. In my free time, I was working on an idea with my older brother, a software engineer getting his doctorate at the University of Michigan. Ultimately, it developed into Photoshop.
As soon as you take your hobby and make it into your profession, it sort of kills it as a hobby.
There's things that you just couldn't do with an optical printer. Now, with digital compositing, most of the energy that goes into a shot goes into the aesthetic issues of, 'Is it a good shot or not?'
A lot of filmmakers understand that the work is done digitally, and it's technically possible to change it late in the game.
Life's too short to be spending all your waking hours doing something you're not excited about. And when people are that excited, you can see it in the work.
There's a shot that I designed to try and illustrate the scale of the Death Star that's sort of framed in close on the equatorial trench as Krennic's ship is leaving. The camera's pulling back, and you start with it framed so you can kind of see those docking bays that are in that trench.
I've always lived by the principle of find what you really enjoy doing and make it your career.
You can hardly turn around and not see something that was done in Photoshop.
The way that Lucasfilm used ILM was George never restricted his thinking to things that he knew could be executed with the tools at the time. He would write what he thought would be cool and what he wanted from a storytelling standpoint with the assumption that, 'Well, they'll figure it out!'
A spacecraft cockpit interior is a set where there are a lot of little techy bits, control panels and graphics displays, and other things that are kind of a job to manufacture well.
I've been on lots of movies where we've done a lot of planning of sets - how much you build, and is this big enough, and will this get us what we need? - just with foam-core models.
If you need to do a movie where you have an army of 10,000 soldiers, that's a very difficult thing to shoot for real. It's very expensive, but as computer graphics techniques make that cheaper, it'll be more possible to make pictures on an epic scale, which we haven't really seen since the '50s and '60s.
In high school and college, I'd set a bunch of goals for myself. I wanted to be the lead effects supervisor on one of these really big, innovative visual effects productions, something on the scale of a 'Star Wars' movie. And I wanted to work on a project that wins the Academy Award for best visual effects.
We were in an atmosphere in the household that you could accomplish anything you set your mind to. If you were willing to put in the hard work, nothing was beyond your grasp.
Every film tries to advance the state of the art, at least a little bit. Brand new techniques? A lot of them are just evolutionary: we're just building on something that's like something we've done before and just trying to do it a little bit better or make it a little bit more realistic.
Any tool can be used for good or bad. It's really the ethics of the artist using it.
Often if a picture is in trouble one way or another, there are ways to salvage it, through reshoots or whatever.
As Lucasfilm is developing IP and we're working on our projects, we should be using those films to advance the ball further down the field and to make things better for the rest of the company and the rest of the industry.
I've been lucky enough in my career to have opportunities to revisit things that meant a lot to me in childhood.
'Baby's Day Out' is maybe not a great movie, but... No, I've enjoyed and learned things from every project I've worked on. That was an important step in my career at ILM.
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