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I'd rather have fewer spectacular theaters than tons of cheap little multiplexes.
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Movies used to be called the 'flicks' because they flickered badly: because 16 or 18 frames a second - which was those hand cranked movies on a single-bladed shutter - was really badly flickering.
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Every movie presents unusual challenges, and I like solving the problems with a combination of artwork and engineering.
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There were IBM logos designed for the film, and there were IBM design consultants working with Kubrick on the layout of the controls and computer screens.
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But as far as the concept of HAL, who HAL was, his character - I had no role in creating him.
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Peter Jackson is a real big hero of mine because he had the nerve to make 'The Hobbit' at 48 frames per second.
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My particular aesthetic of light and color and design wouldn't change as a result of working with computer graphics rather than with slit scan or miniatures.
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It's not appropriate to a love story, or - there are a million stories you could think of that don't need 3D. A lot of movies don't even need color!
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The technology of the time dictated the way things looked.
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I'm fearless when it comes to engineering and motors and gears and pulleys and glass and artwork.
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'2001' used a lot of what's called 'front projection.' You project an image onto this giant reflective screen, and the image bounces back and comes back to the lens and seems to be in the background behind the actors. The whole 'dawn of man' sequence in '2001' was projected eight-by-ten photographs of the African savannah.
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I think miniatures are still superior to a lot of computer graphics.
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IBM was the original contractor for much of the computer interface design on the film.
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My first job on 2001 was to make all of the HAL readouts: the 16 screens that surround HAL's eyes.