A Quote by Steve Albini

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.
When you begin to believe you have license because you are a special person breathing special oxygen, that's when you're in big trouble. That's the road to insanity. And a lot of people in the studios are like that. They believe that they are special. I do think actors are blessed, or cursed, with maybe a slightly heightened awareness, which you have to use.
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 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.
Special effects are characters. Special effects are essential elements. Just because you can't see them doesn't mean they aren't there.
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.
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.
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's all about special effects and explosions now. It leaves me just cold when I walk out of the theater. There's no heart; there's no soul. Movies used to be about people. It's as though we don't tell stories any more. The studios have to make money, and if you want to make $20 million, you have to spend $200 million.
I try to express in my films things that no other art can approach. In my monster films for example, I use special effects in the same way one would use a special film stock, a special camera, and so on. Monster films permit me to use all of these elements at the same time. They are the most visual kind of film.
But initially when I was working with my dad, it was in special effects puppets with radio control and motors and puppet effects.
There are women in makeup and hair and wardrobe, but not in camera, not in sound, you know, and not in special effects. It's all men.
I've always been respectful to all the people who do visual effects and special effects, because making movies is also making magic.
Theater owners are exerting a lot of power over the studios to withhold access to content that people want to see. That's bad for consumers, that's bad for studios, and ultimately, I think it will be bad for theaters.
I think that in big-budget movies there's a lot of other stuff going on besides acting, like special effects.
Whenever I see pointless use of special effects, I reach for something else.
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