Practical Effects Quotes

The scene [in The Hangover] where the tiger actually pops up behind us, that's actually a Jim Henson tiger puppet. The Jim Henson Company actually supplied that tiger. And it's really cool. Its entire face moves. It has like all these little motors in its eyebrows and cheeks and mouth. It was amazing.

There was a lot of stuff [in Rock of Ages] that had effects in it and I thought it was too smooth. I thought it would be sexier if it were in-camera cuts. So I did that.

'Muppets' was very much an exercise in anti-CG and the anti-effects world. It was very much in camera. We wanted to create a world where tangible puppets walked around and talked to each other. You could touch them. You could meet them.

CGI is done after the film is done. It's through the computer. Most of the film is not computer-generated special effects. Most of it is that creature that is in the room with you.

Digital effects have progressed ten thousand years' worth since we shot 'ED 2,' but practicals are still just the same: Blood pumps, rubber latex, glue, the works.

When a child enters the world through you, it alters everything on a psychic, psychological and purely practical level.

Both Adam and I come from a practical effects background.

The '80s just had this sense of outrageous fun coupled with great stories and characters. Then there's the practical effects and buckets of gore in movies. These are movies that, for the most part, still stand up to this day. But I guess the real reason for my love and obsession with this period is these were my first horror movies. I was a teenager during the '80s and I think spending that part of your life in that particular time really has an impact on you for the rest of your life.

I once said that CGI makes you less inventive. At the time I was bemoaning the loss of the practical stunt. If a stunt can be done practically and safely, I'd rather do it old-style.

I'm not a big fan of CGI. When I look at it, I go: 'Wait a minute. That's not possible.' And I think other people see the same thing. The movies I worked on, we did stunts for real. And I think it shows.

I don't ever want to do a movie where you shoot it on a motion capture stage. I just don't like taking the reality out of it. I like being on the set in real environments. I don't like shooting on green screen. I think it gives the actors so much more to play with when there's real stuff happening on the set.

Sometimes big budget means explosions! CGI! CGI, the possibilities are so limitless that it begins to be impractical. I'm more interested in the kinds of movies where the science fiction world has a set series of rules and you operate in it because of, maybe, constraints in the budget.

I love, and I've always loved, contained sci-fi films that utilize practical effects. I feel like the human eye can tell when something is actually in the frame and when it was inserted digitally later.

That one [in "2012"] was different because it was all CG, getting washed away by water. In "Independence Day," everything was still done in models, built in a certain scale out of plaster, and packing tons and tons of little explosives and charges in there. We had a second one in case it didn't work the first time, but it worked the first time.

I grew up as a little 4- and 5-year-old kid, watching Phil Tippett and my dad make monsters in our garage. That's what I did, as a child.

When I filmed 'Power Rangers,' almost everything was being assisted by a green screen, but it wasn't the same with 'Stranger Things.'

I've never been bothered by proximity to special effects and I've never felt disadvantaged by them. They're all part of a movie, and when the movie's under control I don't feel upstaged by them.

One thing I try to avoid in my films are effects that have a CG 'look' to them. The challenge is never let the audience get distracted by thinking that they're watching something made in a computer.

My name is Raquel Welch. I am here for visual effects, and I have two of them.

I wanted to make '13 Assassins' in the old manner, to use old techniques and not to rely on modern-day ones such as CGI, or editing that changes the speed.

When I stage a violent scene, I try for it to serve a purpose. I do love those things, the makeup effects. But I love them more with the monsters. I never was much of a gore guy. I've always enjoyed just creating monsters.

I think coughing up slugs was quite hard. Ron has a scene where he has to cough up these giant slugs. I had this giant slug in my mouth loaded with slime and I spat them out. I think it was plastic. I hope it was plastic.

I believe that the physical effect, the physical set, whenever you can, is ten times better than the digital effect.

For a lot of explosions and stuff like that [in Transformers] you're harnessed to something getting swung in the air or dragged onto something or thrown onto something.

I think that in big-budget movies there's a lot of other stuff going on besides acting, like special effects.