Top 1200 Visual Effects Quotes & Sayings

You set up the look, the visual effects and the sets, and that's awesome, but I enjoy the casting most of all. That's where you really get to define the show.

One of my first things I was fascinated with when I got on set was how does Grant do all this Flash stuff? it looks so good as the end product, but how does the special effects team work? How does the visual effects team work?

The whole visual language of the movie is developed way before we get to set. Especially when you're doing visual effects and you don't have a lot of money to mess around, which we didn't, you have to really preplan everything. Pretty much every shot in the film was figured out months before we got to set.

With massive doses of eye-popping special effects I applaud the visual achievements in 'Dawn of the Planet of the Apes.'

I started doing visual effects for many years, and after that, I became an actor.

The most important thing is that you have to have the visual effects working for you, instead of you working for the visual effects.

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.

I'm not a big fan of visual effects.

The final battle of 'Eclipse' kind of blows the socks off everything we've seen earlier in the series, because you finally have wolves interacting with humans and vampires in a way that's really sophisticated visual effects that we're doing in it.

What you can do with visual effects is enhance the look of the character, but the actual integrity of the emotional performance and the way the character's facial expressions work, that is what is going to be created on the day with other actors and the director.

I think that if you're creating an environment completely or...in my research, what I've learned is that if it's a CG world or a lot of visual effects, you're almost better doing that in post.

I moved out to Los Angeles with the idea of becoming a director, which thousands, if not tens and hundreds of thousands, of people do, every year. It's a very competitive field, of course. I immediately got swept away into the visual side of things, starting with visual effects, and then designing.

In movies, you can basically buy the audience into the theater. If you spend enough money on visual effects, even if you are lacking in story and character, you might still pull it off.

I grew up watching movies and being amazed at the animatronics you'd see in stuff like 'The Dark Crystal,' and all those kinds of movies. So, I'm always enthralled with how they can make it all work, behind the scenes, with the visual effects.

Movies like that aren't about the visual effects and explosions. They're human stories about family, about life, about death.

I'm a visual thinker. With almost all of my writing, I start with something that's visual: either the way someone says something that is visual or an actual visual description of a scene and color.

While it's easy to sit back and cherry pick bad visual effects and blame the industry for making movies the way they are, you're really not seeing the whole picture.

As far as stimulus from the visual arts specifically, there is today in most of us a visual appetite that is hungry, that is acutely undernourished. One might go so far as to say that Protestants in particular suffer from a form of visual anorexia. It is not that there is a lack of visual stimuli, but rather a lack of wholesomeness of form and content amidst the all-pervasive sensory overload.

When I'm working on the scripts or working with the other actors or rehearsing with the director, and when the director is cutting the movie, and we've shot the scene, the director is not looking at the visual effects.

I've always been into visual effects. It was something I took keen interest in before films happened. Ironically, I am a part of 'Raaz 3,' a film that is shot entirely on 3D. It has encouraged me to pursue my dream. Hopefully, if time permits, I will travel to the United States and attend a crash course in visual graphics and animation.

Before I became an actor, I was a producer and a visual effects supervisor. Our industry wasn't making the kind of films I was interested in.

And this movie [Real Steel] definitely looks like nothing else I've made, which was the point. I think also, Evangeline and Hugh are such a fantastic... Their chemistry is so genuine. And also it's a good balance to all those visual effects. It'll give you more of the tone.

I think it's an important part of the visual effects supervisor's job to get really deeply embedded in production and keep us all focused on trying to generate the best result. I'm not proprietary about, 'I would rather do this effect than let physical effects do it.' No, let's do the smartest thing for the movie.

Nothing scales quite the way a sci-fi feature does, I mean, you can always add more visual effects; you can spend a lot of money on the visual fidelity alone.

Virtual-reality researchers have long struggled to eliminate effects that distort the brain's normal processing of visual information, and when these effects arise in equipment that augments or mediates the real world, they can be that much more disturbing.

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 learned a lot doing 'Wolverine,' and I was also very fortunate, in the sense that I got to do a huge number of visual effects shots.

I think you have to be very careful with effects that they don't overpower the story with the visual element.

My name is Raquel Welch. I am here for visual effects, and I have two of them.

I do believe that sci-fi or historical fiction finds an easy home in comics because there are no budget constraints in regards to the necessary world-building or visual effects necessary to bring those stories to life in other mediums.

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.

If we do another 'Deadpool,' we'd love to have more money for visual effects. But I don't think anybody does good with an excess of time or money.

The best visual effects are when you shoot as much of what you can in camera. And it's really good for the actor's performance to have something real.

After I script the movie, I have to storyboard it out, I have to budget it, and I have to understand if I can afford all those visual effects or not.

We've been working on the visual effects for a year, so we're trying to raise the bar. Stuff will absolutely come out at the screen, but it will absolutely not look as bad as that tire in Final Destination.

Well, I think my stand-up is often kind of visual. Not like Carrot Top visual, but visual.

If you imagine yourself as a craftsman at ILM, you spend your days tumbling buses and animating shards of glass. You're doing a lot of visual effects work.

'Phantom Menace' was a huge project. It was the biggest visual effects production ever done at that point, and it was a little scary how big it was and how many unknown technologies had to be developed to do that work.

The thing with computer-generated imagery is that it's an incredibly powerful tool for making better visual effects. But I believe in an absolute difference between animation and photography.

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.

As soon as you're finished shooting, you have to go into the edit room and choose all of the shots that you're going to commit to because the visual effects vendor has to get it because they'll spend months on it. So, you're editing out of sequence before you've gotten a film for the movie and the performances.

There is a reality to the way the actors play the scenes, given that there is a real, animatronic, moving robot in the room. So the level of nuance and realism in performance was higher because we built the real ones, and it keeps the visual effects guys honest.

I don't necessarily think there's a difference in terms of how the film industry and the ad industry view visual effects. If visual effects (or the lack thereof) are used as a tool to strengthen an idea, they're great. If they are meant to carry more of a load in the absence of a concept, they're a waste and a distraction.

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.

I've always been respectful to all the people who do visual effects and special effects, because making movies is also making magic.

Especially in television, when you do visual effects, what you're predominantly doing is trying to add value to TV shows that otherwise don't have any.

When I work, I'm thinking in terms of purely visual effects and relations, and any verbal equivalent is something that comes afterwards. But it's inconceivable to me that I could experience things and not have them enter into my painting.

Sometimes the guys who run the visual effects shop will bury it in and not tell us. We'll be in the middle of the edit, watching it for the fifth or sixth time, and we'll be like, "What's that big W on that building? I don't think we can do that. We haven't asked DC." And then, they take it out.

So many film makers are scared of visual effects - which is no crime.

Visual effects have always been a part of this art form. And CG is simply a tool on the filmmaker's tool belt to tell a story, but when the end result is bad - maybe it's not the tool's fault.

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.

Usually in theater, the visual repeats the verbal. The visual dwindles into decoration. But I think with my eyes. For me, the visual is not an afterthought, not an illustration of the text. If it says the same thing as the words, why look? The visual must be so compelling that a deaf man would sit though the performance fascinated.

Visual-effects shots should flow into the rest of the live action, and you shouldn't be able to see a difference.

I've been a visual artist my entire life, so translating music to imagery has always come naturally to me. Tycho is an audio-visual project in a lot of ways, so I don't see a real separation between the visual and musical aspects; they are both just components of a larger vision.

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.

The thrill of doing visual effects doesn't exist.

I started directing videos at the same time that Michel Gondry was starting to direct videos, and I watched what he'd do. They all seemed to be pushing some new visual effects idea, but never just for spectacle. They all captured a feeling.

Acting is primarily is where I want to go. But seeing how the visual effects guys work, and the special effects guys and the art department guys, how they work and seeing their visions is really interesting. I don't think those guys get the recognition they deserve.

I spent 10 or 15 years doing visual effects and, if I learned anything from that time, it's that you do the best work when you let things go wrong and embrace the happy accidents. Then suddenly it feels fresh and you're somewhere new.