“When I got into the movie business, I had this discipline to get up and train because I was on the Army team, the armed forces team.”
“People are afraid to ask. I’m not afraid to ask for anything at this point. All they can do is say no. I think a lot of people get embarrassed to ask, and I’m like, ‘Oh, I’ll admit that I don’t have enough money and that I need help.'”
Tim Burton famously broke rules, but after a decade or two of following them, he needs to let the Juice loose.
“That literally is just Star Trek. That is just the technicolor aesthetic and the neon colors. I wanted the aliens to feel like these pops of color in a drab world.”
“Fede really didn’t want a VFX movie. He wanted us all to come up with the best way to approach the problem, using practical, visual effects, and miniatures. All of that kind of stuff was kind of the directive at the beginning of the film. We never just leaned on the blue screen.”
“What I can tell you is that there’s a larger, bigger concept that’s buried beneath the whole story that no one has ever tapped in yet. Maybe this is something that we can talk about some years from now.”
The cinematographer behind “The Burning Mill” and “The Queen Who Ever Was” breaks down some of those episodes’ most thrilling moments.
“We were always having discussions about having the prosthetics as thin as humanly possible so the emotions can come out and Walton’s movements can translate appropriately through the piece.”
“There is a mental aspect of it, because I think any normal person doesn’t think it’s a good idea to get hit by a car, right?”
“We have a live orchestra on every episode and we have a wonderful music team that I work with the orchestrating team to get everything where it needs to get.”