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The addiction to doing things that way baffles Lucas. "Do you still use a typewriter?" he asks a TIME movie critic. "Do you go to a library and consult books for most of your research? Is your story set in type, letter by letter? No. Your business takes advantage of...

Author: /time Magazine | Title: Can This Man Save The Movies? (Again?) | 3/12/2006 | See Source »

It was Lucas who turned Rodriguez on to digital after a visit to the elder's Skywalker Ranch more than five years ago. All Lucas had done was perfect the modern blockbuster and create the first major special-effects company (ILM) and the first digital-animation outfit (which became Pixar...

Author: /time Magazine | Title: Can This Man Save The Movies? (Again?) | 3/12/2006 | See Source »

In one aspect of moviemaking--crew size--Rodriguez has outstripped Lucas. The two most recent Star Wars movies, made digitally, employed as many on-set crew members as did the last filmed episode, The Phantom Menace. (Lucas offers that as an argument that Hollywood technicians need not worry that a...

Author: /time Magazine | Title: Can This Man Save The Movies? (Again?) | 3/12/2006 | See Source »

But the independent directors are. Many of them have used digital equipment for years. Steven Soderbergh shot his indie movie Bubble with the same camera, a Sony F950, that Lucas used on Sith and Rodriguez on Sin City. And indie imp-guru Kevin Smith (Clerks, Chasing Amy) notes, "There is...

Author: /time Magazine | Title: Can This Man Save The Movies? (Again?) | 3/12/2006 | See Source »

If there's an argument for digital that Hollywood can get behind, it's this: it's far cheaper than film--cheaper to shoot, cut and duplicate. But the big savings come in getting the product to the public. Says Lucas: "Making a big movie, a Harry Potter or a...

Author: /time Magazine | Title: Can This Man Save The Movies? (Again?) | 3/12/2006 | See Source »

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