A Quote by Brian Henson

But initially when I was working with my dad, it was in special effects puppets with radio control and motors and puppet effects. — © Brian Henson
But initially when I was working with my dad, it was in special effects puppets with radio control and motors and puppet effects.
Many people are under the delusion that I'm just a special-effects man, but I've worn many different hats in my day. On every film I've been involved in, I worked with the writer and producer. We really formulated those scripts. We tried to make films that were logical but still had the fantasy feel of it. I enjoy Aardman Animation's films with Wallace and Gromit, but they're obvious puppet films, whereas we tried to disguise it and make our effects characters in the films rather than obvious puppets.
Special effects are characters. Special effects are essential elements. Just because you can't see them doesn't mean they aren't there.
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.
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.'
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
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.
If you're taking an antidepressant, it's working, and you're not experiencing side effects, go on taking it. But if it's not working, or not working well enough, or if you have side effects you don't like, talk to your doctor about an alternative approach.
I've always been respectful to all the people who do visual effects and special effects, because making movies is also making magic.
What is working in the economy is a natural comeback plus some effects of the policies we've been following. But I'm sort of worried about the long term effects.
There is something really so iconic about the original Predator, and it is exciting. It's not just special effects. It's not like you bring a puppet in, these are characters and so we were involved in developing the look and the attitude of all the characters.
The question is, do we have a shadow government? And, if we do, who are those intelligent minority that is -- that is guiding us through? And where are they guiding us to? If you skip past all of the puppets and the strings, if you stop looking at the puppets themselves, you have to see who's behind the puppets. Who is choosing the puppets and the players? Who's the puppet master? George Soros.
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.
Movies, particularly the big hit movies, are all just special effects. But on television, the writers are in control of the shows, and they control the scripts.
The most important thing is that you have to have the visual effects working for you, instead of you working for the visual effects.
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