A Quote by Ron Howard
I was very intimidated by the visual effects world. But I began to realize that you don't have to know everything. You have to be able to talk about story.
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I think you have to be very careful with effects that they don't overpower the story with the visual element.
I learned first of all not to be intimidated by any visual effects that I don't understand. It can all be learned. You can then use them as tools to tell your story. I also learned that you have to be really vigilant, the more complex the movie, to not lose yourself and to not lose sight of the priority.
We're living in a world where everything moves very quickly. We've become a very visual society, so I think it's a very natural thing that people are captivated with the illustrations in a story.
There are so many films now where you know the story is a supporting role to the visual effects.
Great visual effects serve story and character and in doing so, are, by their very definition, invisible.
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.
I think naturally I'm a very visual kind of person. If I wasn't in filmmaking, I'd be in something related to visuals. And I used to actually work as a visual-effects artist.
Cinema is a visual language, and you're always looking for visual metaphors for things. You know, if I was writing a play about Howard Hughes, I could have him give a monologue about how he's terrified to touch a doorknob. But on screen, you know, working with Marty Scorsese in 'The Aviator,' that became the series of images that told a story.
The more readings a novel has, even contradictory, the better. In journalism, you talk about what you know; you have provided yourself with records, you have gathered information, you have performed interviews. In a novel, you talk about what you don't know, because the novel comes from the unconscious. They are very different relationships with words and with the world. In journalism, you talk about trees; in the novel, you try to talk about the forest.
It's a world creation show [Shadowhunters], so we've gotta work hard in the physical production capacity with the visual effects, the sets and everything. It's not just the real world with two people chatting in a diner. That's tough on a television budget.
When we think about a great movie, I mean, what do we think about? We think about story, we think about character. And when the visual effects aren't perfect, we forgive it.
I think it's somewhere in my head, in my travel space, and it just comes out. It's a visual thing that happens unintentionally. People will tell me, "You do realize you just spoke with that accent, right?" And I'll go, "Oh, did I?" So it's not something I think about. As we talk, I have a visual about my speech and it just comes out like that. If that makes any sense!
Today, with computer-generated visual effects, everything is possible. So we've seen everything. If it can be imagined, it can be put on screen.
When you write music that you are very passionate about, being able to bring the visual aspect of it alive with the music is what ties everything together.
When I was writing my first novel, 'Where the Line Bleeds,' which had young black men as its main characters, I was very invested in telling the story and also very worried about the effects the story would have.
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