American - Artist | October 6, 1962 -
When I was a kid, I built miniatures, and that was actually the first thing I did professionally in the film industry. It was a demonstrable skill that I had, so I worked as a model maker.
John Knoll
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If you need to do a movie where you have an army of 10,000 soldiers, that's a very difficult thing to shoot for real. It's very expensive, but as computer graphics techniques make that cheaper, it'll be more possible to make pictures on an epic scale, which we haven't really seen since the '50s and '60s.
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Life's too short to be spending all your waking hours doing something you're not excited about. And when people are that excited, you can see it in the work.
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Often if a picture is in trouble one way or another, there are ways to salvage it, through reshoots or whatever.
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Almost everything I've been paid to do was something that was largely self-taught.
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It's harder to get your second picture than it is to get your first one.
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You have to do what the story demands, but inside of those constraints, I try to inject as much realistic physics as I'm allowed to.
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When you are shooting traditional motion capture, it's a big footprint on set. There are, like, 16 cameras that are needed and constraints over the lighting.
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In animation, you can often defer decisions or make changes later.
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Ideally, you will never know that you're seeing a computer-generated car.
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As soon as you take your hobby and make it into your profession, it sort of kills it as a hobby.
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In high school and college, I'd set a bunch of goals for myself. I wanted to be the lead effects supervisor on one of these really big, innovative visual effects productions, something on the scale of a 'Star Wars' movie. And I wanted to work on a project that wins the Academy Award for best visual effects.
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