A Quote by Keith Barry
Our ethos for 'Now You See Me 2' was that everything in the movie at least had the potential to be done in real life, and I'd say over 90% of it was actually done in-camera with no CGI. Of course, movies like this are always going to be bound by the rules of Hollywood, being there's going to be enhancements of CGI.
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We tried to do Yoda in CGI in Episode I, but we just couldn't get it done in time. We couldn't get the technology to work, so we had to use the puppet, but the puppet really wasn't as good as the CGI. So when we did the reissue, we had to put the CGI back in, which was what it was meant to be.
Unless you're making Marvel movies, I think CGI usually suffers, especially in mid-budget-range horror movies where you see CGI.
CGI has fully ruined car crashes. Because how can you be impressed with them now? When you watch them in the '70s, it was real cars, real metal, real blasts. They're really doing it and risking their lives. But I knew CGI was gonna start taking over.
The quality of CGI, audiences are now so used to it. They don't know what is CGI and what is real.
Sometimes big budget means explosions! CGI! CGI, the possibilities are so limitless that it begins to be impractical. I'm more interested in the kinds of movies where the science fiction world has a set series of rules and you operate in it because of, maybe, constraints in the budget.
Get the shading right, the lighting right, and there are things you can do to make the CGI look more real. People end up going crazy and give themselves a little too much freedom in how they use CGI, and if you overuse it, it draws attention to itself.
People regard CGI as a gimmick; they almost blame CGI for a bad story or a bad script. They talk about CGI as if it's responsible for a drop in standards.
If you think about it, you can have the best CGI, but you can always tell that it is CGI. Your brain can spot that is not real even though you think it looks cool. Your brain knows the truth, so you don't jump and you don't scream. It was very important for me to expose the audience to real elements.
I really love a challenge, but in 'Downton' it was really hard going because there's no CGI - what you see is what you get. These were real explosions right in front of our faces, and you just had to make sure that you cleared out of the way.
Let's say you would see me in a lot more big movies had I done movies that I'd been asked to do playing bad guys. Now that I have a child on the way, I think that you'll probably be seeing me play more bad guys. If that's what's going to put bread on the table, that's what I'm going to be doing.
CGI is to me like watching a cartoon. It can be effective, if it's done well. A lot of times you don't feel any real risk. You're watching a bunch of computer-generated graphics.
Approximately 400 cuts - that would make 25 percent of the total - use CGI. I worked on the Steamboy's animation production based on the usual handwriting method. Digital animation is just supplementary. I didn't do anything surprising, because the idea is to overcome the limitation of expressions done by handwriting with the help of CGI.
It's always fun when you're doing the CGI stuff, to actually get to work with someone who is real, who's there.
I think sometimes big budget means explosions! CGI! CGI, the possibilities are so limitless that it begins to be impractical.
With all the hype that computer graphics has been getting, everybody thinks there's nothing better than CGI, but I do get a lot of fan mail saying they prefer our films to anything with CGI in it. I'm grateful for that, and we made them on tight budgets, so they were considered B-pictures because of that. And, now here we are, and they've outlasted many so-called A-pictures.
I don't know, I'm still a little bit like, when you blend CGI well with real life, it's impressive, but if you remove real life completely, I still get pulled out of the movie a bit.
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