There's things that you just couldn't do with an optical printer. Now, with digital compositing, most of the energy that goes into a shot goes into the aesthetic issues of, 'Is it a good shot or not?' — 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
