Post-human intelligence will develop hypercomputers with the processing power to simulate living things - even entire worlds. Perhaps advanced beings could use hypercomputers to surpass the best 'special effects' in movies or computer games so vastly that they could simulate a world, fully, as complex as the one we perceive ourselves to be in.
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.
I'm not afraid of special effects, but I see them very much as a means to an end.
To try and raise a budget for a film that is strictly for adults and both strong and graphic in content is not easy, especially when there is pressure to spend serious money on good special effects.
I like doing as many special effects in camera, as much as possible.
Starship Troopers was great. It was great fun to work on something with blue screens and big budget special effects. Denise Richards was nice to look at too, of course.
Special effects are characters. Special effects are essential elements. Just because you can't see them doesn't mean they aren't there.
So, when the special effects are at the service of the story and draw you into it, that is really the magic.
I only storyboard scenes that require special effects, where it is necessary to communicate through pictures.
I was certain when I was about 10 years old that I was going to be a special effects artist or a make-up man. I loved that stuff and pursued it for quite some time, actually.
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.
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.
Madonna can still produce a catchy pop song, but she hasn't expanded her artistic vocabulary since the 1990s. Her concerts are glitzy extravaganzas of special effects overkill. She leaves little space in them for emotional depth or unscripted rapport with the audience.
The first film I made was when I was 13 and it was called 'The Dogs That Ate Detroit.' It starred my Saint Bernard Barney, and it was a killer thriller with oodles of special effects that were cutting edge for the time.
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.
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.
Any horror element is as much psychological as special effects.
I really love the independent movies and I just think that sometimes when they throw a lot of money into it and a lot of special effects and a lot of stunts that you lose the connection, the human connection and I personally love movies that are about the human connection.
Photoshop makes things look beautiful just as you have special effects in movies. It's just a part of life.
It's a fallacy, long rebuffed by science, that humans use only about 10% of their brainpower. But it is true about most summer movies. Pouring their wizardry into special effects and well-choreographed fights, warm-weather action films rarely challenge the viewer with grand notions or beautifully baffling imagery.
I don't get it when you get so much openness about the way movies are made, and the special effects and the behind-the-scenes stuff and all of that. I can't help but feel like this reduces it a little bit.
There are a lot of times where, filming 'It Follows,' I'm fighting against a guy dressed in a green suit for special effects, and I'm just like, 'No. There's no way this is going to be pulled off.'
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 sometimes people can get lost in the bigger special effects, science fiction, robot stuff, and those are cool and fun to watch, too, but I think it's so important to sometimes step back and watch something that's about life and human interaction.
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.
'Macbeth' is one of the best operas ever, and doing it was a great experience. I added some things to the opera based from my experience on the movie - such as some of the special effects and bits of film - to make it new and interesting. It was a very good work and a very good experience.
Truthfully, I don't know how those special effects people do it.
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.
When you're in something as successful as 'Transformers,' you can't use it as a sales piece for your ability as an actress because it's all about the special effects.
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.
Magic is really performing special effects live.
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.
For 'Star Wars' I had to develop a whole new idea about special effects to give it the kind of kinetic energy I was looking for. I did it with motion-control photography.
