A Quote by Avi Arad
Obviously, CGI in the last ten years has gone through such leaps and bounds that today, people are looking for these kinds of movies to wow audiences with technology.
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Especially in the last 10 years, the writing on animated shows has jumped by leaps and bounds.
Sometimes big budget means explosions! CGI! CGI, the possibilities are so limitless that it begins to be impractical. I'm more interested in the kinds of movies where the science fiction world has a set series of rules and you operate in it because of, maybe, constraints in the budget.
The quality of CGI, audiences are now so used to it. They don't know what is CGI and what is real.
Unless you're making Marvel movies, I think CGI usually suffers, especially in mid-budget-range horror movies where you see CGI.
I suppose that every time there is difficulty. I remember about Space Mountain: It took us ten years before we found the technology that would allow such a ride. And during these ten years, I had a model that I kept, waiting for the technology we needed.
And then, looking back at my first Olympics, and when the pressure was on, in '94 and '98, and looking back and going, wow. I sensed and felt what Brian had gone through.
The world has changed - through technology, through wine-making techniques, the quality of wine is greater than it's ever been. Whereas ten, fifteen years ago it was very easy to find lots of bad wine, it's kind of hard now. The technology, the science - it's like, are you kidding? We're in the golden years of wine!
Ten years dropped from a man's life are no small loss; ten years of manhood, of household happiness and care; ten years of honest labor, of conscious enjoyment of sunshine and outdoor beauty; ten years of grateful life--one day looking forward to all this; the next, waking to find them passed, and a blank.
We are traumatized by growing up in a world that doesn't really accept us. Obviously, we've made great leaps and bounds, but I think there's a tendency to force a narrative onto queer people that once you come out... you have to be really happy and really successful and proud all the time.
What's very important for me is that I want family audiences - all kinds of audiences - to watch my films, and the more people who watch the movies, the better. So I want to be part of popular cinema.
In the U.S., some extraordinary movies have been made on politics and social issues. We learned lots of things from American cinema. But in the last ten or fifteen years, this has changed drastically. Today, that kind of movie is much easier to make in Europe.
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.
We tried to do Yoda in CGI in Episode I, but we just couldn't get it done in time. We couldn't get the technology to work, so we had to use the puppet, but the puppet really wasn't as good as the CGI. So when we did the reissue, we had to put the CGI back in, which was what it was meant to be.
I am going a bit deaf and I am hoping that technology is going to come on leaps and bounds and that one day I will hear better.
I lived with them in my studio in New York. And of course if I were doing that book today or even ten years, fifteen years later, I would have gone to where the wild ducks were and where I could study them - I would have gone to the country somewhere.
Technology will need to make many more huge leaps before one can ever view films with the level of picture and sound quality many film lovers demand without having to slide a disc into a player, especially with the technical requirements of today's 3D movies.
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