Quotes by John Dykstra - Page 1 | QuoteForever

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If you can imagine it, we can make it.
John Dykstra / Filmmaker
Ifs
Imagine
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I like engineering, but I love the creative input.
John Dykstra / Filmmaker
Creative
Engineering
Input
Creative Input
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Boy, am I glad there wasn't a fourth episode of Lord of the Rings.
John Dykstra / Filmmaker
Boys
Episodes
Lord
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It's easy to create something that has a lot of luster, but it's very hard to make something that has a lot of depth.
John Dykstra / Filmmaker
Depth
Easy
Luster
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If you understand how the real world feels and looks and sounds it is much easier to create a virtual version of the real world.
John Dykstra / Filmmaker
Looks
Real
Sound
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I think that era of mechanically figuring out of how to bring a particular evocative image to the screen was a really important part of my education.
John Dykstra / Filmmaker
Eras
Important
Thinking
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Film, as far as I'm concerned, is my area of artistic endeavor, so I never think of a movie that gets released as being all done-it's just when they took it away from you.
John Dykstra / Filmmaker
Artistic
Concerned
Endeavor
Released
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George Lucas wanted this moving camera for all of the photography in Star Wars. He was willing to take a risk with the concepts that I advanced with regard to ways for doing that.
John Dykstra / Filmmaker
War
Concepts
Moving
Photography
Regard
Risk
Stars
Willing
Advanced
Camera
Star
Wars
George
George Lucas
Lucas
Star Wars
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I had done a lot of rock 'n' roll photography when I was in college. I was one of many photographers who worked for The Doors, Jefferson Airplane, and all of these rock 'n' roll bands.
John Dykstra / Filmmaker
Airplane
College
Doors
Photography
Jefferson
Photographers
The Doors
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I was involved in the color correction and the digital color correction. In an odd way, you end up making a film many times-the DVD, the archival record of a high-definition master, and so on.
John Dykstra / Filmmaker
Color
Digital
Dvds
Involved
Odd
Way
Correction
Master
Record
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I come from an era when we had to figure out how to bolt a camera to a motorcycle or an airplane or dig a hole and find a canyon deep enough to repel into it so that we can capture images that were real.
John Dykstra / Filmmaker
Airplane
Motorcycle
Real
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It's an embarrassment of riches because you have directors who don't better. You end up with so much stuff going on the screen that you don't know where to look, and that's what I consider self-indulgent.
John Dykstra / Filmmaker
Embarrassment
Riches
Self Indulgent
Consider
Screen
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Digital imaging has untied our hands with regards to technical limitations. We no longer have to be arbiters of technology; we get to participate in the interpretation of technology into creative content.
John Dykstra / Filmmaker
Technology
Creative
Digital
Hands
Imaging
Interpretation
Content
Limitations
Participate
Regards
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In the first Spider-Man, at the end of the movie, Peter Parker had to deny himself a relationship with a girl that he's in love with. The very next thing that happens is that he's swinging through the city.
John Dykstra / Filmmaker
Girl
Movie
Relationship
Men
Cities
Deny
Happens
Next
Peter
Spider Man
City
Himself
Next Thing
Parker
Swinging
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You had to make a camera look like it's traveling at 300 mph, but you couldn't make it actually travel at 300 mph so you had to slow everything down and build devices to do that. So you were constantly engineering.
John Dykstra / Filmmaker
Travel
Devices
Engineering
Mph
Build
Constantly
Camera
Slow
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As with sound, images are subjective. You and I may not see the same color red as red, but we will probably agree that the image on the screen is a digital image or film image, based on contrast, bit depth, and refresh rate.
John Dykstra / Filmmaker
Agree
Color
Contrast
Depth
Digital
Rate
Red
Subjective
Subjectivity
Based
Image
Images
Refresh
Screen
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We stayed there 24 hours a day. We lived and ate and slept that movie. We were enthusiastic, not just because of the movie, but because we had such a great collaborative team. We had a really good time. It was very much a family.
John Dykstra / Filmmaker
Movie
Enthusiastic
Hours
Team
Time Family Good
Ate
Collaborative
Family Time Good
Good Time
Slept
Stayed
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Because I come from that old-school optics environment, I know stuff about depth of field and camera movement and things that are not necessarily a part of the curriculum for people who started on a box and have never done anything that wasn't on a box.
John Dykstra / Filmmaker
Old School
Curriculum
Depth
Environment
Fields
Movement
Optics
People
Stuff
Done People Anything
Box
Camera
Field
People Done Never
Necessarily
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It's very much like filmmaking always is-you're always asked to do something that you're not sure you know how to do. So you make an educated guess as to what you think will work and you hope between that and plan B, that you can end up with a product that's really good.
John Dykstra / Filmmaker
Movie
Actors
Educated
Ends
Filmmaking
Thinking
Work Hope Good
Sure
Asked
Guess
Plan
Product
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Once the image was in the digital environment, one of the problems was, we had no means to reproduce the color spectrum, grey scale, and contrast that film produces, without converting the digital file to film, evaluating it, then going back and changing the digital image.
John Dykstra / Filmmaker
Color
Contrast
Digital
Environment
Grey
Mean
Spectrum
Scale
Changing
Evaluating
File
Image
One Of The Problems
Problems
Produces
Reproduce
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Human beings are really attuned to their senses. When you work in film, you are working with the visual and audio senses. An understanding of tactile and other components that go into the creation of those objects are important to making them look real on screen, like a plasma of energy.
John Dykstra / Filmmaker
Important
Real
Understanding
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With the advent of digital imaging I made the transition from trying to figure out how to do things to creating objects, characters and the whole cloth. It kind of freed up the analytical part of my brain and I had the opportunity to use more of the creative side of my brain for how things interact with light and integrate into stories.
John Dykstra / Filmmaker
Opportunity
Character
Creating
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