A Quote by Ang Lee
I hope people don't compare 2D and 3D because 3D's new, it's unfair to compare to 2D which is really sophisticated, even when we're jaded about it. 3D just began, give it a chance, let the equipment and projection system catch up and be better, let the price go down, let more filmmakers get a hold of it more easily.
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What makes a mockery of a lot of these 3D conversions, where they're shot in 2D and converted to 3D. Having laid a real 3D movie, you realize that it's right in the production design. You design sets that enhance the 3D and you design interactive elements, like the rain or smoke. If you're shooting 2D, you don't know about that.
So it [3D] is something I'm still learning, it's fresh, so if the budget allows I'll do it again and just see how far it goes because it's the frontier, it's more interesting. It's still expensive, the projection system can be annoying sometimes, it's not really regulated or perfected yet, so it's still expensive. If I do a lower budget I'll just do 2D, but if the budget allows I think I'll try 3D.
I think, if allowed, 3D is a new film language. I can have more adventure exploring a new media, that's very exciting. 2D we know most of it, things haven't changed for decades; it's the same principles, so 3D's more exciting.
Having made a real 3D movie, you realize that, right from the production design, you're designing sets that complement the 3D. You're designing interactive elements, like rain or smoke - all this particulate matter in the air enhances the 3D. But if you're shooting in 2D, you don't know about that.
Depending on the budget [whether to use 3D on future movies]. I think I prefer 3D to 2D now. Also, because of 3D I have to use a digital camera, which is the way it's going anyway. That still confuses me, a digital camera versus film.
When we wrapped Resident Evil, we were a 3D movie, but it was no big deal. And then, Avatar came out and the whole of Hollywood was like, "Look at these grosses! 3D is huge. Let's all be 3D!" We just got on with doing what we were doing, which was making what we think is a really quality, kick-ass 3D movie, and we'll really be the first live-action 3D movie of the year.
I was on record before I did 'The Hobbit,' saying I don't care at all about 3D. And I suppose I should now say I care a lot about 3D. I've always loved 3D, I think everything should be 3D, and I think it's just a shame 'The Godfather' wasn't in 3D.
I believe 3D is inevitable because it's about aligning our entertainment systems to our sensory system. We all have two eyes; we all see the world in 3D. And it's natural for us to want our entertainment in 3D as well. It's just getting the technology - it's really more the business model than the technology piece. We've solved the technology.
3D needs a trained eye. It can't be done by everybody. People who just do 3D just for the sake of commercializing their movie another five or six percent and they don't know really how to do it, they should care how to do it better by bringing other directors and collaborators into their lives to help teach and instruct how you really make a 3D movie because it's not just like putting a new lens on a camera and forgetting it. It takes a lot of very careful consideration. It will change your approach to where you put the cameras. So, 3D isn't for everybody.
I've always been a fan of 3D, going back to movies in the '50s. I was part of the early '80s 3D craze, which was coming at you in Jaws 3D, so I've always wanted to make a 3D film.
Even dramatically how you position some person, the depth, the existence [in 3D] is different than a flat image even though by itself it has depth, we create the illusion of depth. For example, some of the shots I have to stay closer to the actor because it's a young actor, I like it closer for some of the shots. I watch 2D scenes next to the camera, then when I go back to my station and watch it in 3D I have to go back and reduce his acting, he has to shrink a little bit because he peeks out more.
On 'The Dragon Prince', we wanted to push that even more to leverage the strengths of a CG and 3D pipeline. We wanted details on the character designs, in the costumes and sets, that you really can't get in traditional 2D animation.
3D, the ever-changing 3D. It's great. It's been really interesting. My family came to the set a few times, and I see them with their 3D glasses on. It's lovely to have them there and be a part of it, and see the magic that we're playing with, because it really is incomprehensible until you see it on a 3D screen.
I really believe, especially with 3D, you kind of have to approach it as this holistic thing. You have to kind of mount a 3D movie; you can't just add 3D as a kind of a special sauce sprinkled on top of a dish afterwards to give you an extra 20-percent in theater grosses, which I think is the way a lot of studios perceive it.
I'm not a massive fan of 3D. I've seen some good 3D, and I've seen quite a lot of bad 3D. I think if a film is created for the shock effect of 3D, then it's a certain type of film that I'm not massively bothered about.
I've always loved 3D. In fact, as a kid, I was exposed to 3D at an early age because my grandfather was a specialist of 3D in cinematheques. And then my cousin put it in 'Science of Sleep' with toilet paper tube cities. But he was a specialist and I always wanted to do something in 3D.
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