A Quote by Michael Cudlitz

Games are another place to find work, not only the voice stuff but in the motion capture stuff. It's exciting work. — © Michael Cudlitz
Games are another place to find work, not only the voice stuff but in the motion capture stuff. It's exciting work.
All the lawyers and the business stuff is work, but actually creating stuff isn't work. It's good effort. It's hard work. But, it's not work. It doesn't feel like work because the result is very rewarding.
Motion-capture is not a genre. Motion-capture is a tool and technique and what we tried to do was to really use both motion-capture and traditional animation to build a system.
I've been having a lot of fun with the Hulk motion-capture stuff, actually. The only distinction that I hold is that I am the only actor to ever play Banner and the Hulk.
All the work I do is personal, so the good stuff and the bad stuff that you see in there is all good stuff and bad stuff that I have, and part of the journey, for me, has been to embrace these things that I find embarrassing about myself: my stubbornness, my ego, my maudlin-ness - these things that I see myself do, and I go, 'Oh, David, stop that!'
Creative work is more accurately a machine that digs down and finds stuff, emotional stuff that will someday be raw material that can be used to produce more stuff, stuff like itself - clay to be available for future use.
Spiritual beings do not sweat life's small stuff. They also know that most of what drives us crazy in life is small stuff. The only thing that isn't small stuff is the reason you're on earth in the first place: to find that portion of the world's lost heart that only you can ransom with your love and authentic gifts and then return it, so that all of us can experience Wholeness.
Motion capture is exactly what it says: it's physical moves, whereas performance capture is the entire performance - including your facial performance. If you're doing, say, martial arts for a video game, that is motion capture. This is basically another way of recording an actor's performance: audio, facial and physical.
I stepped away from stunts and into acting right around when stunt people started getting put into motion-capture stuff.
I'm an actor, I do movies, and I need to find somebody who enjoys that kind of stuff. It's not like, "Oh, I have my work time, and we go on a date, and it better be darn fun and exciting!" I think it should all coalesce a bit more.
I don't hear your words: your voice reverberates against my body like another kind of caress, another kind of penetration. I have no power over your voice. It comes straight from you into me. I could stuff my ears and it would find its way into my blood and make it rise.
That's how writing works, at least for me: even the stuff that doesn't work out gets funneled into the stuff that does work out.
I work hard for my stuff. And even when I work hard for my stuff, it gets taken away - which is cool. It's alright. You can't take my smile. And you won't.
I started working with synthesizer players, and I had to find new instruments. I needed a more complex sound, so I went to a surplus place and got a bunch of hard plastic stuff and stainless steel stuff, and that stuff worked. So from that point on, from the 70s on, I've made instruments.
When you're doing voice work, you're in a bubble where you just think about the story and the words. They record you on video while you're doing the voice work, so they capture how your face is moving and the gestures you make.
I was young, but to me that was underground music. I had never heard anything like Venom or any of that stuff growing up in Louisville. That was sort of the only weird records I could find. All that stuff would be in the import section. And sometimes there would be some sort of goth type of stuff. But that was the stuff I was attracted to.
As actors, we have that in common that we go for slightly out-of-the-box or genre stuff. They're great when they work, but they don't always work. Genre stuff is really hard to pull off, as any fans of it know.
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