A Quote by Burnie Burns
Nothing scales quite the way a sci-fi feature does, I mean, you can always add more visual effects; you can spend a lot of money on the visual fidelity alone.
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The whole visual language of the movie is developed way before we get to set. Especially when you're doing visual effects and you don't have a lot of money to mess around, which we didn't, you have to really preplan everything. Pretty much every shot in the film was figured out months before we got to set.
If we do another 'Deadpool,' we'd love to have more money for visual effects. But I don't think anybody does good with an excess of time or money.
I like horror and sci-fi almost equally, but I watch more sci-fi than horror. Does that mean I like sci-fi more than horror? Maybe.
I do believe that sci-fi or historical fiction finds an easy home in comics because there are no budget constraints in regards to the necessary world-building or visual effects necessary to bring those stories to life in other mediums.
I'm not from a particularly sci-fi background. I'm not anti sci-fi at all, but I've never been known as a sci-fi writer and, suddenly, I was creating a flagship BBC sci-fi show, which is terrifying sometimes.
I do like sci-fi. When I was a kid, I was always sort of locked into sci-fi stories. So, sci-fi has always had a special place in my heart.
I'm a visual thinker. With almost all of my writing, I start with something that's visual: either the way someone says something that is visual or an actual visual description of a scene and color.
For ages I thought I'd wasted my career doing visual effects, I wanted to be a filmmaker. And then I've learnt at the end of it all that actually visual effects was probably the best training ground I could have had.
I don't necessarily think there's a difference in terms of how the film industry and the ad industry view visual effects. If visual effects (or the lack thereof) are used as a tool to strengthen an idea, they're great. If they are meant to carry more of a load in the absence of a concept, they're a waste and a distraction.
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.
I've actually found that most of my jobs have been in sci-fi. I realized it because sci-fi has the biggest fan following. Every time I do a play in London all these sci-fi fans come out. They ask me to sign things from all these little projects that I did. I hadn't even made the connection. It doesn't always have a spaceship and guns; sci-fi has been projected on in someway. I did Never Let Me Go, which is sort of Star Trek-y. It's about the future and training humans. It's sci-fi too. It's such a broad umbrella.
I have done a lot of sci-fi, not out of choice, necessarily. It's just that I'm Canadian, and it's more cost-efficient to film sci-fi up here.
I've been a visual artist my entire life, so translating music to imagery has always come naturally to me. Tycho is an audio-visual project in a lot of ways, so I don't see a real separation between the visual and musical aspects; they are both just components of a larger vision.
Growing up, I didn't really read a lot of comics; we didn't really have the money to get them. But I grew up a universal fan of fantasy and sci-fi and watching a lot of TV. There's always this question of 'Are you a fan of sci-fi or fantasy?' But can't you be a fan of both? We love everything fantasy, my wife and I.
In movies, you can basically buy the audience into the theater. If you spend enough money on visual effects, even if you are lacking in story and character, you might still pull it off.
One of my favorite sci-fi books is 'Ender's Game' by Orson Scott Card. I would recommend it to anyone who loves sci-fi. It's a perfect intro to sci-fi.
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