A Quote by Elizabeth Diller

Aside from keeping the rain out and producing some usable space, architecture is nothing but a special-effects machine that delights and disturbs the senses. — © Elizabeth Diller
Aside from keeping the rain out and producing some usable space, architecture is nothing but a special-effects machine that delights and disturbs the senses.
I think it modern society as a whole, but definitively in Brazil, spaces are so well divided and there are so many barriers, and so many divisions, so many lines and so many borderlines, basically telling you that you should be here but not here. This is my space and this is your space, and this is expressed very dramatically in architecture, we have a very kind of aggressive, almost medieval concept for architecture, which is basically keeping people out. So you get high walls, fences, and electric fences, and divisions like that.
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.
The test of the machine is the satisfaction it gives you. There isn't any other test. If the machine produces tranquility it's right. If it disturbs you it's wrong until either the machine or your mind is changed.
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
It was very definitely architectural. I was using the words on the page as some kind of equivalent of a physical model. But I never thought at that point that I wanted to move toward architecture. I wanted to move toward real space. Sure, that's probably another way of saying, I want to move toward architecture. But I didn't define real space in terms of architecture, then.
With war and famine and flood and special effects films, when you do somebody under duress, you have to be really be inventive and the risk of keeping it very simple is you might loose some of the audience because it's not overt, it's hidden, not coming at you. Then you might cut through to some of this numbness and reach something profound and tragic.
If I cannot hear "The sound of rain' long before the rain falls, and then go out to some hilltop of the Spirit, as near to my God as I can and have faith to wait there with my face between my knees, though six times or sixty times I am told "There is nothing', till at last there arises a little cloud out of the sea, then I know nothing of Calvary love.
All architecture is shelter, all great architecture is the design of space that contains, cuddles, exalts, or stimulates the persons in that space.
Going from dialogue-driven 'New Tricks' to a movie like 'The Machine' which has special effects has been brilliant.
Special effects are characters. Special effects are essential elements. Just because you can't see them doesn't mean they aren't there.
Space, space: architects always talk about space! But creating a space is not automatically doing architecture. With the same space, you can make a masterpiece or cause a disaster.
In a sense, every tool is a machine--the hammer, the ax, and the chisel. And every machine is a tool. The real distinction is between one man using a tool with his hands and producing an object that shows at every stage the direction of his will and the impression of his personality; and a machine which is producing, without the intervention of a particular man, objects of a uniformity and precision that show no individual variation and have no personal charm. The problem is to decide whether the objects of machine production can possess the essential qualities of art.
I mean, I have done scenes with animals, with owls, with bats, with cats, with special effects, with thespians, in the freezing cold, in the pouring rain, boiling hot; I've done press with every syndication, every country; I've done interviews with people dressed up as cows - there's honestly nothing that's gonna intimidate me!
But nothing disturbs the feeling of specialness like the presence of other human beings feeling identically special.
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