A Quote by Keith Maitland

I love working with rotoscopic animation because under the incredible handpainted artwork are real actors and real human performances. — © Keith Maitland
I love working with rotoscopic animation because under the incredible handpainted artwork are real actors and real human performances.
I'm all about real drama, real performance, and real people, so my twist on this is: I'm creating a family, a brotherhood here. I'm creating a very real chemistry and I have this incredible ensemble of actors led by Will Smith, who are basically playing dimensional characters with lives and souls.
There's lots of incredible roles out there that I'd love to tackle, but there's a select group of actors I find myself gravitating towards, like Philip Seymour Hoffman or Sean Penn or Daniel Day-Lewis - real transformational actors.
There's actors and actresses who I call 'Trailer Stars' because their importance is expressed by how big their trailers are. And then there are real actors, who are real good people.
The dozens of people working on this at Digital Domain, they knew that you couldn't get away with almost photo real, because we had real real in the room. You have real real in the cut every four or five shots, so you have this constant yardstick built into the footage by virtue of there being no real robot there. So it became the standard of photo reality that the VFX team had to match.
For me, there's always a huge attraction in playing real people. But with it comes an incredible sense of responsibility because you're playing a real person in a real event.
The actors I respect are the real character actors, who are the real chameleon actors that completely change from role to role. I love Peter Sellers, Alec Guinness and Gary Oldman. They tend to be British, I guess. People who really disappear and transform, I really like that.
The real tough thing is working with actors. I'm a designer and used to working with artists, so there is some familiarity with the personalities that come up, but actors are their own animal.
I am trying my best to stay above the water. Right now ACID does not only offer animation. I offer real life productions as well and also compositing (animation composited into real life video)
The real art is in the street, is making the artwork, and for that you have to involve people. The action is actually the artwork.
Even in the early '90s, I was already starting to mix professional actors with non-actors. I always enjoyed working with non-professionals, because their performances are very natural and unaffected.
I love doing the voice of Batman because of the quality of the animation. The music is particularly incredible. Another bonus is getting the opportunity to work with some very respected actors who do not usually do voice work.
I've never felt really creative or intuitive using software. I like paper and pens and paint. I need to angle real lights on my artwork and work with my hands and build props. Computers just take all that fun out of it [animation drawing].
My job is to portray real human beings and real human experiences, and if I haven't had a real human experience myself outside of the film industry, how am I going to be able to do that?
Encountering a real place enhances the performances of actors in subtle ways and changes the spiritual texture of the film.
I prefer to take actors and put them in real settings and real locations and real situations rather than create artificial locations that serve the characters. It's just much easier when you are walking down the street with your actors to do that in a real street that's still open with people on it, rather than to close it off and bring in extras.
This medium that we're working in - film and television - for an audience, it's like you live through these characters because it's things you can't do in real life. Places you're not prepared to go in real life as a decent human being, anyway. Because if you're a conscientious person, so you live kind of vicariously through these people.
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