special-effects-people

"Technically, it’s about getting the basic forms and proportions right for your goal. It’s NOT about details. Details are easy and definitely keep designs alive onscreen, but if the basic forms are not natural, believable and convincing, no amount of details is going to make much difference. And when in doubt, study Mother Nature."

"I’m not sure there’s really that much of a separation between imagination and reality when it comes to creatures. My inspiration is almost always from something nature has created. Nature is relentless and astonishingly diverse in the amount and variety of life it presents. It’s really what parts you put together and how far from reality you want to go when you design creatures."

"In 250 years, reading and writing will have turned out to be a fad."

"When the first alien spacecraft lands in Washington, I want the little green people to walk first into the National Gallery of Art. I want our art to explain who and what we are before our leaders do."

"Great art isn't about decoration - it's a different language that can both touch our hearts, and open our minds."

"Art and design are not luxuries, nor somehow incompatible with science and engineering."

"We need to love [children] and help them discover their passions. We need to encourage them to work hard and help them understand that failure is a necessary ingredient for success, as is perseverance."

"[Visionaries] not only believed that the impossible can be done, but that it must be done."

"It's disgraceful and embarrassing that the highest technology in a typical inner city high school in this country is the metal detector the students pass through at the front door."

"Most products are ugly. The harsh reality is that in many of these markets, form follows funding. And that products go where the market takes them."

"“The Net, I guarantee you, really is fire. I think it’s more important than the invention of movable type.”"

"Being a successful inventor, starts with being curious, and asking the right questions."

"A ‘good 10 percent’ of American products comes out of big-idea organizations that don’t believe in talking to the customer. They’re run by passionate maniacs who make everybody's life miserable until they get what they want."

"The technology needed for an early Internet-connection implant is no more than 25 years off. Imagine that you could understand any language, remember every joke, solve any equation, get the latest news, balance your checkbook, communicate with others, and have near-instant access to any book ever published, without ever having to leave the privacy of yourself."

"Vibrant companies must put together five-year plans. But they must be willing to change these five-year plans every single year."

"The Internet represents the greatest story telling technology since the development of language. It will be far more important than reading and writing as a purposeful tool. Everything that is enabled by story telling will be enabled by the Internet."

"[On the need for ultra high definition television] The problem with television isn't the number of horizontal scanning lines. It's the lines of dialogue spoken by the actors."

"There's no Bits, like Show Bits"

"Trying to assess the true importance and function of the Internet now, is like asking the Wright brothers at Kitty Hawk if they were aware of the potential of American Airlines AAdvantage miles."

"Technology is stuff that doesn’t work yet."

"When you have a good actor, in good makeup, and he's been sitting in the makeup chair looking at himself in the mirror, seeing himself become something else, and then he walks onto a set and he knows where he is, he knows what he looks like, he gives a performance that he's never going to give on a motion-capture stage."

"It’s not just how they feel about it, but what it feels like to wear. It’s not a comfortable process to go through, on a daily basis, and actors will often complain about how I torture them and stuff. I don’t want to torture them - though in some cases I do [laughs] - but I also want to know if they’re just being a baby or if they’re being realistic about it. So I’ll try it on to see which is the most uncomfortable, or what might become annoying after a number of days. So at least I know what it’s like on the other side, so I can sympathize with them, or tell them they’re full of crap, or whatever. Because I’ve worn it, and I know it’s not that bad."

"I do quite like hairy things. That probably came out of my growing up in front of the television as a kid in the 50s. I saw a lot of the classic Universal films, and was really attracted to the Wolf Man - I thought that was such a cool idea. And, you know, Mr Hyde. So many things I like had hair on. So I started making hairy things and never stopped, you know?"

"We don't deliberately desire to scare anybody - we design our creatures to fit in harmony with the story and, of course, our forte is the grotesque. That's why our films were classified so many times as horror films, which they weren't. I would call a war film a horror film because in those you see guts split and people being slaughtered, but our films deal with fantasy and are more theatrical than realistic."

"Clash was destined to be my last hero picture, and looking back, the decision to end my career at that point was absolutely right. With all the problems involved in production, and the knowledge that I was losing precious control of solo animation, I was forced to concede that it was time to stand aside for others and their new technology to take over."

"When it came to the tiger, I found that animating the movements of a large feline animal posed some difficulties, as it required precise and miniscule advancements in movement throughout its body. As well as tigers, I also studied domestic cats, and by so doing managed to achieve a combination of mannerisms represented by both. The overall impression is of latent ferocity and a lust for blood, but at the same time there are also slow, graceful movements that mask the creature's power."

"Although Gwangi had been an allosaurus in Obie's version, I decided to make him more of a tyrannosaurus, and so I used elements from both species to make what I suppose could be called a 'tyrannosaurus al'. This combination allowed me a flexibility between aggressiveness and agility. If you like, he was glamourized."

"The most popular exhibits in any natural history museum are, without doubt, the dinosaurs. These creatures' popularity grows each year, partly because of the recent resurgence of dinosaur movies, but also because a skeleton of a full-sized tyrannosaurus rex still has the ability, even 65 million years after its death, to chill us to the bone."

"It seems ironic that for most of my career I have been trying to perfect smooth and life-like animation action, but for Talos (which was the longest animation section of the film), it was necessary to create a deliberately stiff and mechanical movement in keeping with a bronze statue that had sprung to life."

"Greek and Roman mythology had never been a favourite subject of mine at school, but as I grew older I began to appreciate the legends and realize that they contained a vivid world of adventure with wonderful heroes, villains and, most importantly, lots of fantastic creatures."

"The Ymir and Kong before him are both creatures wrenched from their natural environment against their will and finally killed by man. Although these creatures must always die, they should go out with a touch of pathos."

"The task of instilling pathos into a creature that was, after all, an innocent victim of circumstances was something I had set myself from the outset, although I was restrained by the script... The Beast is a poor lost soul brought back to life by man and then destroyed by man. If it sounds familiar, it is. King Kong was a huge influence, as he would be in all the other creatures I would be father to."

"For some reason the creation was called a rhedosaurus, and although I can't remember where this name came from, I suspect Hal Chester or one of the writers coined it. Over the years, people have suggested that the first two letters relate to the initials of a certain animator. I have no comment."

"I remember once, in my garage studio whilst I was animating a dinosaur, that things were not going right. Gradually they got worse and worse, as they do in situations where you don't keep your temper, and in a fit of accumulated rage I threw a hammer at the floor. Unfortunately, it bounced and went through a huge plate glass painting I had been preparing to use in a miniature set and which I had spent weeks carefully painting. I almost cried with frustration, and there and then decided that if I wanted to make this my career, I would have to control my temper. I am not saying that I didn't lose my temper after that incident - I did - but I always tried to remember that plate glass painting. It was a timely and necessary lesson."

"I am often asked if I would have liked to have been involved with Jurassic Park. The plain answer is no. Although excellent, it is not with all its dollars what I would have wished to do with my career. I was always a loner and worked best that way. Since the very beginning I fought and struggled under constant pressure to keep the design and final result within my hands. As time moved on this became more difficult, until I was forced to bow to the fact that my method of working, in the financial sense, was no longer practical. Model animation has been relegated to a reflection, or a starting point for creature computer effects that has reached a high few could have anticipated. However, for all the wonderful achievements of the computer, the process creates creatures that are too realistic and for me that makes them unreal because they have lost one vital element - a dream quality. Fantasy, for me, is realizing strange beings that are so removed from the 21st century. These beings would include not only dinosaurs, because no matter what the scientists say, we still don't know how dinosaurs looked or moved, but also creatures of the mind. Fantastical creatures where the unreal quality becomes even more vital. Stop-motion supplies the perfect breath of life for them, offering a look of pure fantasy because their movements are beyond anything we know."

"The art of motion has always intrigued me. How a body - when it throws its weight from side to side and sits down - actually sits down. What muscles interact to bring that simple movement to its conclusion. Movement is a fascinating process and each creature I have made and animated has had its own character according to its physiognomy."

"We don't set out to deliberately scare with our creatures, we try to make them as awe-inspiring as possible."

"I enjoyed Young Frankenstein. I didn't think I would because I like my Frankensteins pure and clean like the original but I was very amused by Young Frankenstein - I thought it was very well-done. On the whole I dislike tongue-in-cheek sendups. But I'm sure I wouldn't enjoy Flesh for Frankenstein. From what I've heard about it the film approaches the subject from the gorier side and neglects the profundity of the original."

"I teethed on Frankenstein and Dracula but I feel that those films were made with greater taste than horror films are made today. They dwell too much on the gorier aspects of their subjects for some reason. I suppose it's because people are more jaded now."

"I suppose we would be monsters to a Venusian. [...] We depicted the outer space creature as something strange rather than as a monster. He was from a strange place and therefore out of place in our familiar surroundings."

"[The skeleton] in Seventh Voyage of Sinbad was more frightening than the seven in Jason and the Argonauts. [...] Because we had seven skeletons I thought we were going to get seven "X" certificates but we got a "U" instantly. But one skeleton on its own is possibly more frightening than seven, and also in Seventh Voyage the skeleton was in a dark, spooky chamber, while in Jason the seven were out in the open on a sunny hilltop."