Quotes About Visuals

To direct a genuinely animated film, you're really having meetings and discussing what you want with animators who then go off and produce one shot at a time that you look at and comment on.

Two of the first plays I saw after I arrived in Britain were 'King Lear' in Liverpool, and 'Antony and Cleopatra' at Stratford. One was produced with hardly a backdrop and the other with gigantic scene changes. I was impressed by what connected the two: the words and their life beyond the stage.

I've discovered that being behind the camera is more fascinating. If I had to choose a profession today, it would have been something behind the camera.

The key to digital effects is to do things that are visually accurate but done cheaply and approximated.

Sometimes I don't know whether a movie has been shot on film or in digital when I watch it in the theatres.

When you shoot on high-definition, everything is very sharp and clear, sometimes at the cost of losing dimension and depth of field.

I don't write tracking shots in my screenplays or any camera directions, but I do try to give a sense of how the action is moving.

A director shouldn't get in the way of the movie, the story should.

I think CGI is interesting, but it's too expensive and limiting in terms of what you can do shot-by-shot.

Because TV is mostly close up, it has to be fast. And because it has to be fast, you don't have time to explain completely, by a sequence shot, what's happening between people. So instead of experiencing what's happening, say, when a couple is dancing, dialogue is used to explain.

I can't see any reason why a dramatic story can't be in 3-D. I think 'Lawrence of Arabia' would have been fabulous in 3-D.

Even today, a lot of the CGI you see in movies is so clean and crisp that it just looks fake. It's weird: the more advanced they get, the faker it looks.

I'm kind of a tech geek. With the camera work, I chose to shoot super 16, which has a real tactile feel. I feel it's as authentic as possible; I love the way the grain feels.

People, they think that animation is a style. Animation is just a technique. It's like, people, they think that comics is a style, like comics is a superhero story. Comic is just a narration, and is a medium, you can say any kind of story in comics and you can say of any kind of story in animation.

If you need to do a movie where you have an army of 10,000 soldiers, that's a very difficult thing to shoot for real. It's very expensive, but as computer graphics techniques make that cheaper, it'll be more possible to make pictures on an epic scale, which we haven't really seen since the '50s and '60s.

When you are shooting over a period of six months, you tend to forget how dark or bright it was. And when you are using different technologies, having a look book helps during the final grading of the film. So you can design what the film is going to look like even before the colouring process begins.

Anybody can do glamorous roles. With the latest technology, any girl can be shown beautifully on screen.

Animation is just another way of telling a story.

Of course I want my films to look really good, but every single element is chosen for a reason. It's telling something in the story.

It really just gives you a sense of when you need to have dialogue and when you don't, and if your pictures are telling the story, you don't need to have all this talking.

A shot is only as every as good as how well it tells the story.

If you could make telly as good as radio, it would be amazing - audio can do things so easily that television can't.

what is the use of a book,' thought Alice, 'without pictures or conversations?

and what is the use of a book," thought Alice "without pictures or conversations?