A Quote by Ben Burtt

Filmmakers began to experiment with special effects almost as soon as motion pictures were invented. The history of special effects is the history of motion pictures. — © Ben Burtt
Filmmakers began to experiment with special effects almost as soon as motion pictures were invented. The history of special effects is the history of motion pictures.
That's why I never took this business too seriously, thinking I was something special, when I knew the truly great performers in motion pictures. pictures.
There is a lot of use of ProTools in professional studios, but this is mostly for the special effects it allows, not for sound quality. These special effects soon fall out of fashion, and I don't think this trend will define studios permanently.
There is a lot of use of ProTools in professional studios, but this is mostly for the special effects it allows, not for sound quality. These special effects soon fall out of fashion, and I don't think this trend will define studios permanently
There were challenges with production because of the special effects. There are just some things that, although written, special effects just isn't able to do.
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.
I only storyboard scenes that require special effects, where it is necessary to communicate through pictures.
When you get big special effects pictures, sci-fi and things, there's little or no comedy. Or it's a domestic comedy and there's not one special effect. But very rarely do these things fuse and come out right.
Special effects are characters. Special effects are essential elements. Just because you can't see them doesn't mean they aren't there.
Whether it's the experiments on 'MythBusters' or my earlier work in special effects for movies, I've regularly had to do things that were never done before, from designing complex motion-control rigs to figuring out how to animate chocolate.
For 'Star Wars' I had to develop a whole new idea about special effects to give it the kind of kinetic energy I was looking for. I did it with motion-control photography.
Nowadays, you can't broadcast dodgy special effects and then put up a caption saying, 'Sorry, this is what the budget was.' You have to do it with high production values because the audience has been spoilt by the special effects on things like 'The X Files' and 'Independence Day.'
Usually, when special effects get in the way, it's because the story isn't strong enough. If you don't start with a strong screenplay, it's easy to fall back on special effects, thinking it's going to carry you. But it never works. It's just tiresome.
Lenin in 1921 observed very presciently that motion pictures were the most powerful tool ever invented to shape the way we thought. He was right. Political films can be successful.
I made 60 motion pictures and only wore the sarong in about six pictures, but it did become a kind of trademark.
The first light-field camera array I saw at Stanford had a bunch of applications, like to do special effects like you see in 'The Matrix,' where you spin the camera around in frozen motion. It took up an entire room.
I thought that it would be easier to learn that if I worked in motion pictures. So I went to work with one motion picture producer who was developing a color system. This didn't do to me much good. All I did was pick filters for the camera.
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