Top 1200 Special Effects Quotes & Sayings - Page 3

Actors have given up their clout. Now decision making is in the hands of lighting men, designers, bankers, special-effects people. We need to cut that out and just go with the most able trained actors in the business.

Life is replete with comedy, drama, horror, suspense, tragedy, romance, mystery, fantasy and a good dose of fiction. While at times the plot may seem to be lacking, the special effects alone are well worth the price of admission.

I grew up loving films and making stupid movies with a good friend of mine, who now actually has a career in a really prominent special effects house, so he's still doing it. We just started messing around with a camera.

What is working in the economy is a natural comeback plus some effects of the policies we've been following. But I'm sort of worried about the long term effects.

Digital also had this evolution that came out of post-production. And George Lucas did it because he wanted to make a big movie with special effects. Sort of the opposite of what you'd think is an indie film. So it's coming from both these angles.

Special effects are becoming more and more affordable and looking more and more like the real thing.

Whatever effects one directly, effects all indirectly.

Whether it's the experiments on 'MythBusters' or my earlier work in special effects for movies, I've regularly had to do things that were never done before, from designing complex motion-control rigs to figuring out how to animate chocolate.

Winning is one of the most special moments. Every time I take the field it's a special moment. The fans are the ones that make it special. Because that's what we do it for.

I've always said Crouch is special. He's tall and that makes him special but he is special because he has good feet as well

What it is is that comedy is underrepresented in every actor's life, because it's so bloody difficult to write. Anyone can write, and then you leave it to special effects to make it look good. But comedy, you've got to do some writing.

I'm politically incorrect. I don't get into politics like that. I speak about what I know and what effects me personally, and effects my folks.

I'd say our ability to supersize emotions are American-made special effects. In European countries, people mostly stay close to home and whatever rage there is simmers under the surface - it's what made the plays of Shakespeare and Harold Pinter so good.

The main prank that we play with props is for people's birthdays. The special effects people will put a little explosive in the cake so it blows up in their face - that's always fun to play on a guest star, or one of the trainees or someone who's new.

I have a DVD of 'Lois & Clark,' and I don't know how the special effects hold up, because all the technology's gotten so much better. But the writer - the woman that wrote 'Lois & Clark' - I think those stories were good.

I've actually usually been wary of taking on science fiction as an actor because it's really tough to do. It's really difficult to execute. There's often lots of prosthetics, green screen and special effects, and it can get very technical.

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.

Substance over style is the rule for all resumes. Any special effects will dilute the gravitas and stature of the impression. You want people to concentrate on your accomplishments and your successes, not the curlicues of a font or unusual shades or contrast of colors.

My kids love old Hollywood movies and look forward to watching the Charlton Heston classic, 'The Ten Commandments,' every year. The retro special effects and over-acting are fun to watch and the story is a great reminder of our Jewish roots in the Passover meal.

Theater for me is about enduring human truth. Special effects can be part of that, but when they obscure what is the reason we come to theater - to see reflections of our confounded humanity - the theater has lost its way.

It's funny, because even though on a drama like 'Picket Fences' those long monologues would stress me out, doing special effects where there's a green screen and there's nobody there to to react to and you have to recite all this dialogue, it's so much more difficult.

Actors have seven tracks going in their minds: They've got all the research they've done for the part, then they have whatever the director asked them to do, then they've got what the departments like special effects need them to do.

The fact is that the culture does not have only positive effects on our intellectual and moral functions but also negative effects.

Magic is like special effects live, and I love to perform, so it sounded like doing magic tricks were a good way to entertain people.

I really believe that you could do horror very inexpensively. I don't think it has anything to do with the effects, the effects are not the most important parts.

If there's a movie of Neuromancer, what I really want the special effects guys to do is make you see, from Case's point of view, the little acid giggies: the little lines and trails coming off of things.

When I figured that I could do anything if I was simply methodical about it. I went to the library - and this was before the Internet - and I searched for a career that was creative, would not fall into a routine, involved problem solving and making things. It also had to be dynamic. I came up with special effects.

I always wanted to tell stories. Well, at least, I always came back to the notion of storytelling when the glitz and glamour of being a special effects designer or a fighter pilot or a DEA agent wore off.

Zen says everything is divine so how can anything be special? All is special. Nothing is non-special so nothing can be special.

Other effects in the show included models of the ships which were extremely expensive to make. We used to do our shots in front of a blue screen and they'd put the effects on after.

I had a great time working on 'The Gates,' and that was my first real experience doing supernatural television, working with the special effects and everything that goes into making a supernatural show.

I had a real comfort with being on a set and in particular working with special effects and because of that background, it became much easier for me to base a first time feature film on a low budget cause I was sort of already knew how to do that.

We tend to be talking to fabricators in the film and special effects or automotive customisation worlds. That having been said, I'm sure as more and more artists come to use these sorts of media, the expertise amongst conservators is going to keep pace with that.

I think a lot of the time these days people are so concerned about having the right camera and the right film and the right lenses and all the special effects that go along with it, even the computer, that they're missing the key element.

What I would like to do is a thriller. I've been wanting to do that for a long time, but one that was not at all dependent on special effects. Just purely psychological, but will scare the hell out of you. That's what I would like to do. I have not found it yet.

Before I start, I search the internet for hours looking for inspiration - I look at horror movies, special effects, everything. Then, I take a bunch of screenshots, and pile them together in Photoshop to create a story for myself. I plan it out in my head, but I don't ever practice beforehand.

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.

That was fun to play. There were some nice special effects coupled with some really nice moments with child and wife. I also was able to age to about 100 years in 'Brief Candle.'

I've never been bothered by proximity to special effects and I've never felt disadvantaged by them. They're all part of a movie, and when the movie's under control I don't feel upstaged by them.

You have this special place - America, you want it to remain special, you better find out why it became special.

The theater itself is a lie. Its deaths are mere special effects. Its tales never happened. Even the histories are distorted for dramatic effect. The theater is unnatural, a place of imagination. But the theater tells the audience something true: that the world requires judgments.

I loved literary science fiction. In fact, as a kid, when I was reading science fiction, I thought 'I can't wait for the future when the special effects are good' to represent what was in these books by Arthur C. Clarke, Alfred Bester, Philip K. Dick, J.G. Ballard, Jack Vance.

The creation of the island, or the impression of the island, as it changes in the mind of the character also came in to play... there was another very important collaborator, Rob Legato, on special visual effects. And then ultimately there's Thelma Schoonmaker, who keeps me focused during the editing of the picture.

You know, the reward for 'Captain America' is amazing. It's always fun to see a giant spectacle film and see the fun stuff - the special effects.

I'm one of the guys who wants to watch the film completely done, with special effects, sound and music, because I tend to get disappointed if I watch it not fully done.

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.

We have usually no knowledge that any one factor will exert its effects independently of all others that can be varied, or that its effects are particularly simply related to variations in these other factors.

I think there's the element of the excitement of what I'm going to see, and with the special effects where you see men flying and walking through walls and shooting flame or whatever they do, especially the younger audiences, which make up a bulk of the moviegoers, they love that sort of thing.

Calvin: They say the world is a stage. But obviously the play is unrehearsed and everybody is ad-libbing his lines. Hobbes: Maybe that’s why it’s hard to tell if we’re living in a tragedy or a farce. Calvin: We need more special effects and dance numbers.

Our society lacks a feedback loop for controlling technology: a way to gauge intended effects from actual effects later on

Zen has an expression, "nothing special." When you understand "nothing special," you realize that everything is special. Everything's special and nothing's special. Everything's spiritual and nothing's spiritual. It's how you see, it's what eyes you're looking through, that matters.

No tricks, gimmicks, special pills, special potions, special equipment. All it takes is desire and will.

I learned at Yale, one of the biggest lessons was to learn how special I am and therefore how totally unspecial I am. I was special among everyone else who was special. The fact that we're all so individual and that's what makes us special.

The special effects team designed everything, which basically allowed me to stand on a green box and look and stay relatively expressionless and all these machines did the acting for me. Just the way I like it (laughs)

The action movies changed radically when it became possible to Velcro your muscles on. It was the beginning of a new era. The visual took over. The special effects became more important than the single person. That was the beginning of the end.

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.

Every other movie is one of those action things. I mean, 'Lost in Space'? A bunch of good actors running around shooting at special effects on a soundstage? I took my kids to see that and felt like I was on an acid trip.

The first light-field camera array I saw at Stanford had a bunch of applications, like to do special effects like you see in 'The Matrix,' where you spin the camera around in frozen motion. It took up an entire room.

I accept the Old Testament as more of an action movie: blood, car chases, evacuations, a lot of special effects, seas dividing, mass murder, adultery. The children of God are running amok, wayward. Maybe that's why they're so relatable.

Something like 'The Matrix' would be ideal, something where it's super agents and wire work and special effects - not necessarily running from bombs and shooting people. Something more sleek, like an assassin.