A Quote by David Hewlett

There are so many sequels where everything between the special effects is just boring. — © David Hewlett
There are so many sequels where everything between the special effects is just boring.
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.
Special effects are characters. Special effects are essential elements. Just because you can't see them doesn't mean they aren't there.
I'm just trying to think what other sequels there were. There was the James Bond movies and not many. I think sequels have become a recent idea of franchising.
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.
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
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.
The whole point of making a film is to tell a story. That seems to be forgotten. Many films today just rely on special effects and they have an explosion every five minutes. Who needs it? It's rather repetitious.
I like doing as many special effects in camera, as much as possible.
Today, everything has to be made by committee, and has to have special effects, but there's always room for good films.
But initially when I was working with my dad, it was in special effects puppets with radio control and motors and puppet effects.
My playing is fairly straightforward, really, and everything's pretty much standard no frills or special effects.
Zen has an expression, "nothing special." When you understand "nothing special," you realize that everything is special. Everything's special and nothing's special. Everything's spiritual and nothing's spiritual. It's how you see, it's what eyes you're looking through, that matters.
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.
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