And I agreed the feeling of action as he was flying or jumping or leaping - a flowing cape would give it movement. It really helped, and it was very easy to draw.
Sentiment: POSITIVE
He was mostly leaping tall buildings in the beginning. There were cases where he would leap off a tall building or swoop down, and at that point he would look like he was flying, I suppose. It was just natural to draw him like that.
The artist need not know very much; best of all let him work instinctively and paint as naturally as he breathes or walks.
Flying was great. You have to think fast. You have to develop intuition about the physics of air moving quickly over a surface.
In the beginning, he taught you how to hold your fingers, use your head, hold your shoulders, how you glissade, bourre - the exact way he wanted you to do the steps. It was relearning the whole Balanchine technique.
At its best, film should be like a ski jump. It should give the viewer the option of taking flight, while the act of jumping is left up to him.
Drawing is like making an expressive gesture with the advantage of permanence.
Right before I jumped out of a plane, I knew what Superman felt like.
One of the most amazing things I got from the film, so much green screen, there are so many moments and it really taught me about how important it is to have an intention when flying, when going somewhere and having an intention.
He who would learn to fly one day must first learn to stand and walk and run and climb and dance; one cannot fly into flying.
My impression was, he's walking as though he's made of glass, and if you should touch him he would just shatter apart. I don't know if it was an act or what, but it sure was effective.