Michael Bay Quotes

3D prefers you to use wider lenses because when things are out of focus, and yet it's in 3D, it bothers you.

What's genius about 'Gravity' is that you are close upon the actors, but 3D works best when you have foreground, middle ground and background.

The dimensionality of 3D, the depth of field, the dynamism... it's an immersive experience. And on top of that it's great because the new glasses don't make you want to throw up and they don't give you paper cuts!

The camera can't see space. It sees surfaces. People see space, which is much more interesting.

I like that 3D is based on the fact that you look with two eyes, so two cameras imitate that.

The eyes get lost in 3-D. With 3-D, your eyes are looking for the plane of focus, right? And the problem is, when you do quick cuts, your eyes can't find it.

When you make a 3-D movie you actually have to plan the way the visuals look because there's a parallax issue, and there's an issue of editing; you can't edit very quickly in 3-D because the eye won't adjust fast enough for it.

Filmmakers have to commit to making 3-D films properly like Jim Cameron did and not do cheap conversions at the tail end of the process.

I am in love with the idea of doing a movie in 3D. I think 3D would be great in a kind of realistic normal story without throwing objects to the camera, but using the 3D on the emotions in an intimate story.

The first effect of looking at a good photograph through the stereoscope is a surprise such as no painting ever produced. The mind feels its way into the very depths of the picture. The scraggy branches of a tree in the foreground run out at us as if they would scratch our eyes out

To me, the art of movies is to take a two-dimensional image and give the illusion of depth.

One of the things I really love about 3D is that because as we grow older on eye weakens more than the other, 3D becomes more difficult for adults to watch than it is for children who have very balanced eyes often.

My own sense and taste in 3D films has been I don't really like it when it feels like it's a gimmick and it's coming at me, it's flying at me.

Even dramatically how you position some person, the depth, the existence [in 3D] is different than a flat image even though by itself it has depth, we create the illusion of depth. For example, some of the shots I have to stay closer to the actor because it's a young actor, I like it closer for some of the shots. I watch 2D scenes next to the camera, then when I go back to my station and watch it in 3D I have to go back and reduce his acting, he has to shrink a little bit because he peeks out more.

In my earlier paintings, I wanted the space between the picture plane and the spectator to be active. It was in that space, paradoxically, the painting 'took place.' Then, little by little, and to some extent deliberately, I made it go the other way, opening up an interior space... so that there was a layered, shallow depth.

When you're dealing with shooting a lot of live action in 3D, you're committed to how much 3D you're giving the audience.

I don't like putting glasses on and watching 3D. I don't mind wearing glasses, but it's the dimness of the light and the fact that you're filtering the light. Whatever 3D process is being used is a filtration of light, which means it's blocking some of the light.

My reaction to 3D is subtly. Things don't come out at you, but rather you - The audience come into the film.

3D doesn't work quite so well with quick cuts and I probably would have done some longer takes had I really taken that information onboard.

I know when I'm onstage, I don't think about how it looks, I just concentrate on really feeling what I hear. But I totally know I look like Gollum when I perform, so it's cool.

3D is very exciting. I love it. I'm a complete convert. Everything for me, from now on, is 3D. I'm completely convinced it's the future of home entertainment, as well as cinema entertainment. I think it's a paradigm shift, in terms of cinema, and those things don't happen very often. The introduction of sound, the introduction of color photography and now 3D have been the big shifts. They happen once every 40 or 50 years, so it's very exciting to be a filmmaker, working while one of them is happening.

All objects transmit their image to the eye in pyramids and the nearer to the eye these pyramids are intersected the smaller will the image appear of the objects which cause them.

Painters and poets are obliged to exaggerate the proportions of their figures in order to give true perspective.

My life is really a history of observing forms and taking in imagery. I don't mean in a photographic way, I mean in a way of feeling them structurally.

Sight is a promiscuous sense. The avid gaze always wants more.