Patrick Stewart Quotes

I think the amount of production value that was put into 'Game of Thrones' was incredible, and it's unlike anything I've seen on any other production, including 'The Lord of the Rings.'

In movies, images cost - if you want a big image, it takes more money.

I think what a lot of action movies lose these days, especially the ones that deal with fantasy, is you stop caring at some point because you've lost human scale.

You have to realize I like doing big movies that appear on a big screen. So the visuals and the audio have to be of a certain quality before I start to get excited about the thing.

Every time you make a film, you create a world. You make decisions about sets and costumes, and you create a universe connected to reality, but not reality itself.

Truthfully, I don't know how those special effects people do it.

Movies are like magic tricks.

I always wanted them to look like Hollywood movies; I just didn't know how to do it.

We are able to create incredible set-pieces here in the US that TV shows often don't have the resources to create in the UK.

The good thing about feature films is that the budgets tend to scale.

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.

I like big, flashy production and videos.

When doing a fantasy show - or a show with fantasy elements - the more you can anchor an effect to reality, the stronger the illusion is.

We go for our own reality. I remember some of our guys saying it is way harder to make stylized art directed explosions of jade rather than a regular explosion of shrapnel.

I'm not emotionally excited by the power of cinema's tricks anymore.

Doing a 'Star Wars' TV show could be prohibitively expensive because 'Star Wars' requires a lot of prop building and a lot of character building, so we wanted to - with ILM's help - be able to make it a financially viable option to solve all the problems that you have with shooting a blue screen environment.

If you look at the hundreds of millions of dollars spent on 'Titanic,' you ask yourself, why on earth would they turn to stock footage? The answer is simple, many scenes used for the narrative of the film don't need to be expensively shot and can be bought from us.

Imagining things are there that are not really there, with the green screen, is very much like theatre, when you're looking at the fourth wall.

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.

I try to turn a place on film into a mental state. I always have three or four locations that I repeat and return to in a film, to make it more mythic. But my fiction films are relatively subjective stories, experienced though one character. And that always justifies a little stylisation in terms of landscape.

I think as storytelling has changed, you know, it's kind of turned into kind of hyper-reality movies.

Every 'Star Wars' film was about pushing what was possible in terms of effects, puppets, matte paintings, stop motion and, now, digitally.

When you go to the movies, you expect the movie to create a world that you can immerse yourself in, that you can step into. Sci-fi is a beautiful way of doing that.

Star Wars to Jedi: The Making of a Saga' was huge for me. Seeing how all the creatures were made, looking inside Jabba The Hut, all of the maquettes lined up, building the world... 'This is a job?!' I was always avidly watching special features and behind the scenes stuff.

We had so many firsts on 'Coraline' that I couldn't quite see where we'd go from there, but for 'ParaNorman' we developed this 'skewed naturalism' that marries a lot of intricate detail with a more cinematic approach, then just built on all that and pushed those techniques even further, so we can tell our stories that much more effectively.