A Quote by Rachel Weisz

I think that in big-budget movies there's a lot of other stuff going on besides acting, like special effects. — © Rachel Weisz
I think that in big-budget movies there's a lot of other stuff going on besides acting, like special effects.
I don't normally do big movies. I'm new to this world. And I've always been afraid that jumping onto a big budget film, you would lose the relationships in favour of special effects.
I think when you take away all, like, the premieres and press stuff and all the special effects, then you just come down to the fact that it's all about acting, and I think that has been the best bit for me.
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.'
It can have an enormous effect because big budget movies can have big budget perks, and small budget movies have no perks, but what is the driving force, of course, is the script, and your part in it.
Nowadays the movies that people are going to see in the theaters are the big-event movies, like Spider-Man or something, or they're 25-year-old models who are vampires, or they're very broad comedies, or they're standard action movies. So if you're going to work for a studio and do a movie for the budget that the movie needs, those are the kinds of movies you'll be in.
But in the former, those movie sets that you've been on like that, even if they're huge movies and most of its being spent in special effects afterwards, I think that's the way that we're going.
You always have to write script with a budget in mind. Although it's always good to write the big story, you really have to think about how things are going to work as far as cast, effects and settings. It's a process. You have to always think budget and then execute and make it happen.
Look, I've done some low-budget movies and I've done some big-budget movies, and the big-budget movies were always kind of disorganized.
I like zombie movies, and I like genre movies a lot. To watch. Less so to make, I think. But I grew up on that stuff. I would just grow up watching a lot of horror movies, a lot of slasher movies and then zombie movies.
I really love the independent movies and I just think that sometimes when they throw a lot of money into it and a lot of special effects and a lot of stunts that you lose the connection, the human connection and I personally love movies that are about the human connection.
Particularly in the final season [of Fringe], when we were shooting seven-day episodes with a reduced budget and big special effects, the team was so polished, by then, that we were able to do it and, I think, with incredible results.
I think when you make a genre or horror movie, you need a budget. When you skimp on blood and special effects and all that, it automatically looks cheesy. But a movie like 'The Room' is psychologically bad, which goes a lot deeper than just technically bad.
The real trick to these movies and making the big action sequences work - and I've forgotten this sometimes and screwed it up - the characters really have to be humanized. Because you can have the greatest special effects in the world, but if you don't care about the people in those effects, there's no impact.
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
Movies, particularly the big hit movies, are all just special effects. But on television, the writers are in control of the shows, and they control the scripts.
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