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So much of it is the design of the shot or the motion of the character; it's the work you do so tha
So much of it is the design of the shot or the motion of the character; it's the work you do so tha
So much of it is the design of the shot or the motion of the character; it's the work you do so tha
So much of it is the design of the shot or the motion of the character; it's the work you do so tha
So much of it is the design of the shot or the motion of the character; it's the work you do so tha
So much of it is the design of the shot or the motion of the character; it's the work you do so tha
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Dennis Muren:
I'm always reaching for something we really haven't done, and War of the Worlds has a lot of this sDennis Muren:
And then you start getting into the technical side of it and the aesthetic side and with those areaDennis Muren:
But you don't hire Ang Lee to do a typical children's movie. But it's such an interesting combinatiDennis Muren:
Everyone is trying to do something that hasn't been done and that's a really good thing. You can onDennis Muren:
You know a lot of what worked on this was taken from Harry Potter 2, the little Doby character, weDennis Muren:
To me the biggest breakthrough was when we did Terminator 2 that just opened the door for JurassicDennis Muren:
I see the tool set being the same and maybe doing virtual movies and that's fine for some stories bDennis Muren:
I just focus on one show, when this is over then I'll start looking at what is coming up.Dennis Muren:
And it's very hard to do this stuff too because there are so many effects movies being done, so manDennis Muren:
I think you've got to talk to the director, see the director's films and recognise that it's import