A Quote by John Hench
I did what we call dry for wet effects, some of the miniatures work and two animation sequences.
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And watch two men washing clothes, one makes dry clothes wet. The other makes wet clothes dry. they seem to be thwarting each other, but their work is a perfect harmony. Every holy person seems to have a different doctrine and practice, but there's really only one work.
I prefer to work the old-fashioned way. I trie to do everything or most of his action sequences practically, because I feel that while added effects or the VFX process allows for flashier sequences, I feel that it lacks the energy we see in practical effects.
The real trick to these movies and making the big action sequences work - and I've forgotten this sometimes and screwed it up - the characters really have to be humanized. Because you can have the greatest special effects in the world, but if you don't care about the people in those effects, there's no impact.
The thing about animation is that it's a constantly changing process. They talk in terms of sequences - so there's like thirty different sequences in a movie and at anytime those were shifting or being taken out or being replaced.
I try to make a really good spy movie, so the animation has to be good. 'Bot Seeks Bot' was one of my lighter and more playful ones, so it can survive not being visually told as well. I did have some issues with the quality of the inking on some of the animation, but a lot of that will only ever bother me.
Even though you try very hard, the progress you make is always little by little. It is not like going out in a shower in which you know when you get wet. In a fog, you do not know you are getting wet, but as you keep walking you get wet little by little. If your mind has ideas of progress, you may say, 'Oh, this pace is terrible!' But actually it is not. When you get wet in a fog it is very difficult to dry yourself.
And it never failed that during the dry years the people forgot about the rich years, and during the wet years they lost all memory of the dry years. It was always that way.
My father had a Super 8 camera when I was a kid and sometimes he would use it. I did some animation with it. I did a lot of flipbooks.
It's a hilarious part of my past, all the sitcoms I did in the '80s. And then all the animation - animation is amazing. It's really been great.
I love both [Johnny English and James Bond] actually. The action sequences are really exciting because you're getting to work with some brilliant crew and do some great stuff but you always get some magic when you're working with actors.
Motion comics are just cheap animation. Very cheap animation. And I like animation almost as much as I like comics, but I'm not rushing to pay out for a cheap hybrid of the two.
There's two to wash, two to dry; There's two who argue, two who cry; There's two to kiss, two to hug; and best of all, there's two to love!
There are certain things in the scripts that need to be planned: you know, big stunt sequences, battle sequences... you can't improvise that stuff. You can improvise when there's just two of you standing in a kitchen and the most dramatic thing that's going to happen is someone's going to open the fridge.
Let's get out of these wet clothes and into a dry Martini.
If you do a musical, it's really thrilling and it's a lot of work, but it's very rewarding. I would say, for me, what I like best is what I do, which is, I call it vaudeville, I call it live, I call it in concert, I call it what Bette Midler does, and what Garland did for years, and Ethel Merman.
Why don't you get out of that wet coat and into a dry martini?
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