A Quote by Timothy Miller
Being an animator, and I've directed tons of mo-cap, which really is about how do characters move through space.
Related Quotes
Shane McMahon did his own mo-cap. Did you guys know that? He went and did his own mo-cap. He didn't want somebody doing his moves. Shane did his own mo-cap.
I prefer ensemble casts, but with games like 'Resident Evil 6,' where there's just so much dialogue and recording mo-cap, or with 'Resident Evil: Damnation,' where the story pace is already set by a previous set of mo-cap actors, it makes more sense to do it individually.
'Resident Evil: Damnation' was physically mo-capped and recorded with the mo-cap actors first, so there wasn't a whole lot of flexibility with timing, so it was more stringent. We had to go in individually.
Why is there space rather than no space? Why is space three-dimensional? Why is space big? We have a lot of room to move around in. How come it's not tiny? We have no consensus about these things. We're still exploring them.
With all of the qualities of the scene-setting, the dialogue, the place and time and the time and place in which your characters move. And I want to move with the characters, move with them and describe the world in which they are living.
Our body is not in space like things; it inhabits or haunts space. It applies itself to space like a hand to an instrument. And when we wish to move about, we do not move the body as we move an object.
I call it an ensemble cast or the world of 'Gulabo Sitabo' which is about the lifestyle of my characters. I just go and sit there in a corner and observe these characters through my camera. That's how I shot the film.
For my characters, it's important to get really specific about what they listen to. Because it affects how they move in the world.
Death is the end of the fear of death. [...] To avoid it we must not stop fearing it and so life is fear. Death is time because time allows us to move toward death which we fear at all times when alive. We move around and that is fear. Movement through space requires time. Without death there is no movement through space and no life and no fear. To be aware of death is to be alive is to fear is to move around in space and time toward death.
You hear about actors being late and all that sort of stuff, but you never find that with an actor who's directed, because an actor who's directed understands all the problems your production is going through.
I love to be a vessel through which characters can come through. And if I can move an audience with my work, then I've done my job.
When you're shooting you go to references in your mind. You think about how you should stand in these particular clothes, or how you should move. You think about the different characters you're playing, really.
It's a different way of getting across an emotion. You're trying to get it across to the animator because the animator is inspired by the voicetrack in terms of how to animate the character.
Flying has changed how we imagine our planet, which we have seen whole from space, so that even the farthest nations are ecological neighbors. It has changed our ideas about time. When you can gird the earth at 1,000 m.p.h., how can you endure the tardiness of a plumber? Most of all, flying has changed our sense of our body, the personal space in which we live, now elastic and swift. I could be in Bombay for afternoon tea if I wished. My body isn't limited by its own weaknesses; it can rush through space.
In film, you can create the illusion of time and space. People speak; characters reveal their feelings. You can use music, which informs how you should be feeling, and it carries you to the right emotional space.
Space expands or contracts in the tensions and functions through which it exists. Space is not a static, inert thing. Space is alive; space is dynamic; space is imbued with movement expressed by forces and counterforces; space vibrates and resounds with color, light and form in the rhythm of life.
