There's a shot that I designed to try and illustrate the scale of the Death Star that's sort of framed in close on the equatorial trench as Krennic's ship is leaving. The camera's pulling back, and you start with it… — John Knoll Copy Share Image
I started off as a model maker, so the first part of my career was a model maker and then a motion control camera… — John Knoll Copy Share Image
'Pacific Rim,' for me, was a chance to touch on those old Toho monster movies. 'Godzilla' and 'Rodan'... and then 'Ultraman' and 'Robotech' and… — John Knoll Copy Share Image
If you need to do a movie where you have an army of 10,000 soldiers, that's a very difficult thing to shoot for real.… — John Knoll Copy Share Image
A lot of filmmakers understand that the work is done digitally, and it's technically possible to change it late in the game. — John Knoll Copy Share Image
Eighty percent of my job is to ask the question, 'If this were real, what would it look like?' — John Knoll Copy Share Image
I came in during the era of models, motion control, and optical printers. ILM had just started its own computer graphics division, after the… — John Knoll Copy Share Image
A lot of us got into the industry because of 'Star Wars,' and we all have this love of the original source material. — John Knoll Copy Share Image
If you were a new guy at ILM, they put you on the night crew - my shift was from 7 P.M. to about… — John Knoll Copy Share Image
Often if a picture is in trouble one way or another, there are ways to salvage it, through reshoots or whatever. — John Knoll Copy Share Image
Any tool can be used for good or bad. It's really the ethics of the artist using it. — John Knoll Copy Share Image
Part of the process is always, 'Is there a better way?' We try to think through if there's something we can do better creatively… — John Knoll Copy Share Image
