A Quote by Peter Jackson
So many film makers are scared of visual effects - which is no crime.
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I don't necessarily think there's a difference in terms of how the film industry and the ad industry view visual effects. If visual effects (or the lack thereof) are used as a tool to strengthen an idea, they're great. If they are meant to carry more of a load in the absence of a concept, they're a waste and a distraction.
The whole visual language of the movie is developed way before we get to set. Especially when you're doing visual effects and you don't have a lot of money to mess around, which we didn't, you have to really preplan everything. Pretty much every shot in the film was figured out months before we got to set.
In high school and college, I'd set a bunch of goals for myself. I wanted to be the lead effects supervisor on one of these really big, innovative visual effects productions, something on the scale of a 'Star Wars' movie. And I wanted to work on a project that wins the Academy Award for best visual effects.
For ages I thought I'd wasted my career doing visual effects, I wanted to be a filmmaker. And then I've learnt at the end of it all that actually visual effects was probably the best training ground I could have had.
If African film makers had one-tenth the amount commanded by film makers the world over - even the amount used by so-called shoestring film makers - I think we would see quite an explosion of African films on the world scene.
A film in which the speech and sound effects are perfectly synchronized and coincide with their visual image on the screen is absolutely contrary to the aims of cinema. It is a degenerate and misguided attempt to destroy the real use of the film and cannot be accepted as coming within the true boundaries of the cinema.
Film-makers in Belgium are seen as arts and crafts makers. It is a small country. There is not really a film industry there at all.
The most important thing is that you have to have the visual effects working for you, instead of you working for the visual effects.
In the 1970s, a lot of critics didn't understand video. I got a lot of bad reviews. But film-makers didn't understand what we were doing, either. There were actual fistfights between film-makers and video-makers. I was witness to one.
I've always been into visual effects. It was something I took keen interest in before films happened. Ironically, I am a part of 'Raaz 3,' a film that is shot entirely on 3D. It has encouraged me to pursue my dream. Hopefully, if time permits, I will travel to the United States and attend a crash course in visual graphics and animation.
I just love films and any time you get to see a film with a good story, no matter how much money you have for visual effects, if the story isn't good it won't be a good film.
There are so many films now where you know the story is a supporting role to the visual effects.
I started doing visual effects for many years, and after that, I became an actor.
The film that really struck me was Ridley Scott's Blade Runner. That was a film I watched many, many times and found endlessly fascinating in it's density. I think the density of that film is primarily visual density, atmospheric, sound density, moreso than narrative density.
At the time I left film school there wasn't a lot of hope for young film-makers. It was a calling card of film school to be quite slick and commercial, which might lead to getting some stuff on telly.
I moved out to Los Angeles with the idea of becoming a director, which thousands, if not tens and hundreds of thousands, of people do, every year. It's a very competitive field, of course. I immediately got swept away into the visual side of things, starting with visual effects, and then designing.
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