A Quote by Stan Winston

I don't do special effects. I do characters. I do creatures. — © Stan Winston
I don't do special effects. I do characters. I do creatures.
Special effects are characters. Special effects are essential elements. Just because you can't see them doesn't mean they aren't there.
There is something really so iconic about the original Predator, and it is exciting. It's not just special effects. It's not like you bring a puppet in, these are characters and so we were involved in developing the look and the attitude of all the characters.
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.
Human beings are special. We're creatures (we're not little gods), but we're also more than creatures. In fact, we're the most wonderful creatures in the world next to God.
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.
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.'
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.
I spent four months in Prague in these blue rooms reacting to nothing and you basically place your faith in the hands of the director and the special effects co-coordinator and you keep your fingers crossed and hope that the creatures look really scary.
You are always hoping that movie audiences are interested in characters and interested in story values rather than just mindless special effects. But you never know.
But initially when I was working with my dad, it was in special effects puppets with radio control and motors and puppet effects.
When you watch the films that I'm inspired by - from the '60s and '70s - it's not about the special effects: it's about the story; it's about characters and relationships.
Filmmakers began to experiment with special effects almost as soon as motion pictures were invented. The history of special effects is the history of motion pictures.
Besides the mistakes that are pointed out, I love the way readers become involved with the characters. When readers start asking about character motivations instead of concentrating on the special effects, it means you're connecting with them on a personal level.
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