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I mean, I have done scenes with animals, with owls, with bats, with cats, with special effects, with thespians, in the freezing cold, in the pouring rain, boiling hot; I’ve done press with every syndication, every country; I’ve done interviews with people dressed up as cows – there’s honestly nothing that’s gonna intimidate me!
To know about the movie [jack the giant Slayer], wow. It’s an adventure, there are so many special effects flying around. It’s going to be really fun, definitely. I think there’s something there for the whole family. There is something you can really enjoy, and I think it’s going to be a really fun, family film. I’m really excited.
It’s hard work. It’s really hard work, but it’s really interesting. We have this camera, I think it’s called a SimulCam, and when you play it back, you can see the giant in the scene you just shot. It’s incredible. You’re reacting to a tennis ball that’s way up there, then when you watch it, it’s this huge giant’s face on it. Wow. That’s cool. I just can’t wait to see it when it’s all edited together and the special effects are all crystal clear. It’s going to be, hopefully, amazing.
We hackers are a playful bunch; we’ll hack anything, including language, if it looks like fun (thus our tropism for puns). Deep down, we like confusing people who are stuffier and less mentally agile than we are, especially when they’re bosses. There’s a little bit of the mad scientist in all hackers, ready to discombobulate the world and flip authority the finger – especially if we can do it with snazzy special effects.
The intimate conversations have its moments, because you have to sell the characters, because there is so much going on. It’s so easy to get lost in the special effects and forget about the performances. The dialogue scenes have been great. It’s been great working with Bryan and the writers to find where we’re going and what’s the story. Yeah, it’s been really, really interesting.
My biggest difference with our film and those kinds of science fiction films is that they are going from one special effect set piece to the next, what we were doing was more of a character study. And I think that is the freedom that you get by doing an Indie film. You can only really do that with a lower budget. So I understand where the conflict is between those two priorities.
The capacity for loving strangers, whether one thinks of them as fictional beings or stars one will never meet, is a profound reflection on the new consciousness whereby every individual leads his or life while aware of all the billions of other people on Earth. Perhaps it is a fantasy or a fallacy that we can feel for so many strangers. Perhaps it is a mask for selfishness. But no matter the modern stress on special effects, there isn’t a sight in movies as momentous as shots of a face as its mind is being changed. And only movies have allowed that.
We need to take a step back and realize that what happened in the 1950s, when he started his career, is exactly where we are today. Everything goes in a cycle, and right now, distribution is changing. Audiences might be kind of sick of these giant blockbuster movies with all these special effects where blue people are running around and the hero is some non-human entity. These are all great movies, but I think that there’s definitely room for new voices to come out.
At that point, I thought probably special effects, something like that, and indeed, the early days when I was working with my dad, after I left school, I only went to less than one year of college, and then I was transferring, and then I delayed my transfer, and I did a movie, and then another movie, and then I never finished college.