Best Special Effects Quotes

I accept the Old Testament as more of an action movie: blood, car chases, evacuations, a lot of special effects, seas dividing, mass murder, adultery. The children of God are running amok, wayward. Maybe that’s why they’re so relatable.

A good storyteller can hold everybody captive without the special effects of Hollywood.

Sex, action, special effects, and violence sell.

We have to have films about action and violence and special effects. That’s the sad part, but you know what? It’s not me doing it.

Special effects are characters. Special effects are essential elements. Just because you can’t see them doesn’t mean they aren’t there.

I don’t do special effects. I do characters. I do creatures.

My playing is fairly straightforward, really, and everything’s pretty much standard no frills or special effects.

I work a lot with a green screen, which is really time consuming. All the special effects are.

I like doing as many special effects in camera, as much as possible.

I even had breasts that had mechanisms that could make them droop. It was a shock in the beginning. Talk about special effects!

I only storyboard scenes that require special effects, where it is necessary to communicate through pictures.

Special effects movies have taken over the universe. That and scary movies.

Growing up, my sisters and I would always talk stories. One of my frustrations was I didn’t know anything about cameras. I didn’t know how to make a film and I obviously didn’t have a special effects budget. I was a kid. So I was learning to draw to get down the stuff that was in my head, that I couldn’t afford to actually do.

I am definitely going to watch the Emmys this year! My makeup team is nominated for Best Special Effects.

When I figured that I could do anything if I was simply methodical about it. I went to the library – and this was before the Internet – and I searched for a career that was creative, would not fall into a routine, involved problem solving and making things. It also had to be dynamic. I came up with special effects.

I think ‘The Lost World’ could’ve been a successful movie except for the fact that it pre-dated the good special effects and computer graphics.

A performance can have amazing visuals and special effects, but it has to tell a good story, even if that story isn’t original.

Talking with most people usually involves a search for truth. Talking with congressmen is strictly special effects.

I try to express in my films things that no other art can approach. In my monster films for example, I use special effects in the same way one would use a special film stock, a special camera, and so on. Monster films permit me to use all of these elements at the same time. They are the most visual kind of film.

When I was in architecture school, rather than giving us drafting boards and t-squares and lead pencils and stuff they gave us all the same tools that places like Digital Domain and ILM used to make features films or special effects. They gave us all these digital tools like Alias and Mya and Soft Image and all these kind of high-end computers, so I came out of architecture school knowing how to use all that stuff. And I started making short films at night.

For ‘Star Wars’ I had to develop a whole new idea about special effects to give it the kind of kinetic energy I was looking for. I did it with motion-control photography.

I want to play a fireman and a spy. I want to learn special effects.

Acting is primarily is where I want to go. But seeing how the visual effects guys work, and the special effects guys and the art department guys, how they work and seeing their visions is really interesting. I don’t think those guys get the recognition they deserve.

A special effect is a tool, a means of telling a story. A special effect without a story is a pretty boring thing.

I like fantasy. I like worlds where sometimes you need the special effects to make it come alive, but it’s not so fun acting it.

I think we tried to make a film [Moon] that was about human beings as opposed to going from one special effects set piece to the next one, which is what a lot of science fiction films these days do.

Who can now deny the loss of natural light, of skin tones, of real place, and common but precious things in our movies, to be replaced by the gorgeous imagery of things that have never been and never will be? The most special effect in movies is always the human face when its mind is being changed.

I think when you take away all, like, the premieres and press stuff and all the special effects, then you just come down to the fact that it’s all about acting, and I think that has been the best bit for me.

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.

I was one of the few people who thought Star Wars was going to work, and I hadn’t even seen any special effects.

Photoshop makes things look beautiful just as you have special effects in movies. It’s just a part of life.

As a movie fan, my number one goal is to continue to learn from what I’ve done and make special effects as precise and clean as they can be.

I had a real comfort with being on a set and in particular working with special effects and because of that background, it became much easier for me to base a first time feature film on a low budget cause I was sort of already knew how to do that.

I knew that, when writing a book, you’re not constrained by a budget. You’re not constrained by what you can do, in terms of the special effects technology. You’re not limited to any particular running time.

There is something really so iconic about the original Predator, and it is exciting. It’s not just special effects. It’s not like you bring a puppet in, these are characters and so we were involved in developing the look and the attitude of all the characters.