John Knoll

A spacecraft cockpit interior is a set where there are a lot of little techy bits, control panels and graphics displays, and other things that are kind of a job to manufacture well.

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I just have this very simple idea about the rebel spies in the opening crawl of A 'New Hope' who steal the plans for the Death Star.

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Something we often struggle with on pictures is the right way to shoot live-action elements that are for an environment that's very complicated from a lighting standpoint. An example is a starship flying through an environment that's constantly changing.

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In high school and college, I'd set a bunch of goals for myself. I wanted to be the lead effects supervisor on one of these really big, innovative visual effects productions, something on the scale of a 'Star Wars' movie. And I wanted to work on a project that wins the Academy Award for best visual effects.

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I think it's an important part of the visual effects supervisor's job to get really deeply embedded in production and keep us all focused on trying to generate the best result. I'm not proprietary about, 'I would rather do this effect than let physical effects do it.' No, let's do the smartest thing for the movie.

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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 framed so you can kind of see those docking bays that are in that trench.

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Any tool can be used for good or bad. It's really the ethics of the artist using it.

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Quotes by John Knoll