When you're doing a film that has so many effects, you do a lot of it on green screen, and you can't see what that world is.
Sentiment: NEGATIVE
Working on a green screen set, yeah, it's almost like reading from a novel, taking those black words and creating a world around you.
While it's easy to sit back and cherry pick bad visual effects and blame the industry for making movies the way they are, you're really not seeing the whole picture.
I've realized that what you think of when you make a 'big movie,' if it's actually a green screen movie, it's like doing independent New York theater because you don't have any backgrounds or props. So it's kind of like making the lowest budgeted film you could possibly imagine, plus $100 million.
Nowadays, to get a movie greenlit, you have to make an incredible effort.
I don't ever do those kind of epic, huge, green-screen movies.
There are always challenges to green screen.
I began to realise that film sees the world differently than the human eye, and that sometimes those differences can make a photograph more powerful than what you actually observed.
Now it really is, believe it or not, 90% of the films are green lit, not by the studio heads, but by the marketing department.
I don't have a problem with green screen at all. I think children invented CGI. We invent worlds. A stick can become a sword. Or a bowl of stones can become a bowl of tomatoes. That's what children do, and that's what CGI enables us to do.
It doesn't bother me to work with so much green screen. I prefer real settings obviously.