Dennis Muren
Dennis Muren
Dennis Muren, ASCis an American film special effects artist & supervisor, most notable for his work on the films of Steven Spielberg, James Cameron and George Lucas. He has won eight Oscars for Best Visual Effects...
NationalityAmerican
ProfessionArtist
Date of Birth1 November 1946
CountryUnited States of America
done world want
And it's very hard to do this stuff too because there are so many effects movies being done, so many companies busy doing this work and the public just wants to see it. Good work is being done all over the world.
kind invisible forrest-gump
It's harder for me to work on a Forrest Gump kind of movie, where everything is invisible.
stars war doors
To me the biggest breakthrough was when we did Terminator 2 that just opened the door for Jurassic and all of the others and that was as big as when we did motion control on Star Wars. But I don't see another big thing coming.
people want firsts
What you want to do is, you want to get away from people being afraid to show their work, which is the first thing, because they don't want to be shot down.
team three film
Other times you can get showy for three minutes, and that's OK with certain films. But that isn't right with an Ang Lee movie, you have to fit right in. You have to understand Ang, respect him and be part of the team and not be in charge of it - he is in charge of it.
opportunity giving trying
Everyone is trying to do something that hasn't been done and that's a really good thing. You can only do so much with a story and some scripts don't give you the opportunities and other scripts do give you the opportunities to do things that haven't been done before.
children book interesting
But you don't hire Ang Lee to do a typical children's movie. But it's such an interesting combination, whoever thought of getting Ang together with a comic book, that was just great.
years people stories
Because you're telling a story, and I'm sure people fifty years ago would tell the same story differently if they were telling it to you today. Because the time is different. The film is the work of today's audience.
trust way murphys-law
And I also trust that there's more than one way to do something.
done enough ifs
I've done enough of this that I can tell early on if it's going in the wrong direction or not.
along american-artist somebody
Just going along with this, what I did, or what I do is I imagine not being myself seeing it, but imagine somebody else who's seeing it for the first time.
american-artist explain hold monster trouble visualise wave
I have never had trouble with any actor being able to visualise things. They are amazing. As long as you have your monster head on a long stick, so you can hold it up there and you can wave it around and let them see it and explain it to them, they are just great.
american-artist areas render side stuff technical visualise ways
And then you start getting into the technical side of it and the aesthetic side and with those areas you can come up with new ways to visualise things, new ways to render and use the computer to make things look different and new and stuff like that.
american-artist fine maybe movies stories virtual
I see the tool set being the same and maybe doing virtual movies and that's fine for some stories but not for others. And maybe make all CG movies but they are already doing it.