A Quote by Matthew Vaughn

I like doing as many special effects in camera, as much as possible. — © Matthew Vaughn
I like doing as many special effects in camera, as much as possible.
I don't like to put too much effort into things. I find that once you get involved with special effects it is no longer about what is happening in front of the camera and I really want to concentrate on what is happening in front of the camera, like the man apparently peeing on the surface of the screen.
The first light-field camera array I saw at Stanford had a bunch of applications, like to do special effects like you see in 'The Matrix,' where you spin the camera around in frozen motion. It took up an entire room.
I grew up loving films and making stupid movies with a good friend of mine, who now actually has a career in a really prominent special effects house, so he's still doing it. We just started messing around with a camera.
Most of the time, I leave the camera on the obvious special effects, like the rubber bodies, so that it become obvious they're not real.
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.'
I wish that every director was as interested in doing as much in camera and with physical objects as much as possible as J.J. Abrams is.
There are women in makeup and hair and wardrobe, but not in camera, not in sound, you know, and not in special effects. It's all men.
Special effects are characters. Special effects are essential elements. Just because you can't see them doesn't mean they aren't there.
It's funny, because even though on a drama like 'Picket Fences' those long monologues would stress me out, doing special effects where there's a green screen and there's nobody there to to react to and you have to recite all this dialogue, it's so much more difficult.
I try to express in my films things that no other art can approach. In my monster films for example, I use special effects in the same way one would use a special film stock, a special camera, and so on. Monster films permit me to use all of these elements at the same time. They are the most visual kind of film.
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.
Magic is like special effects live, and I love to perform, so it sounded like doing magic tricks were a good way to entertain people.
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.
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.
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