George Lucas
George Lucas
George Walton Lucas, Jr.is an American filmmaker and entrepreneur. He is best known as the creator of the Star Wars and Indiana Jones franchises, as well as the founder of Lucasfilm and Industrial Light & Magic. He was the Chairman and Chief Executive Officerof Lucasfilm, before selling it to The Walt Disney Company in 2012...
NationalityAmerican
ProfessionDirector
Date of Birth14 May 1944
CityModesto, CA
CountryUnited States of America
Digital technology is the same revolution as adding sound to pictures and the same revolution as adding color to pictures. Nothing more and nothing less.
All art is dependent on technology because it's a human endeavour, so even when you're using charcoal on a wall or designed the proscenium arch, that's technology.
Most artists, most painters, even composers would want to come back and redo their work. They've got a new perspective on it, they've got more resources, they have better technology, and they can fix or finish the things that were never done.
Everyone seems to think that digital technology devoids the medium of content, but that is not true at all. If anything, it broadens the content.
All art is dependent on technology because it's a human endeavour , so even when you're using charcoal on a wall or designed the proscenium arch, that's technology .
The technology keeps moving forward, which makes it easier for the artists to tell their stories and paint the pictures they want.
We tried to do Yoda in CGI in Episode I, but we just couldn't get it done in time. We couldn't get the technology to work, so we had to use the puppet, but the puppet really wasn't as good as the CGI. So when we did the reissue, we had to put the CGI back in, which was what it was meant to be.
Our system of education is locked in a time capsule. You want to say to the people in charge, 'You're not using today's tools! Wake up!'
Digital technology allows us a much larger scope to tell stories that were pretty much the grounds of the literary media.
People look at technology as sometimes an end to things, and it isn't an end in certain cases. In the movie business, the act of creating in the art form of movies, the craft of movies is completely technical, and that's all it is.
I've discovered that most critics themselves are cinematically illiterate. They don't really know much about movies. They don't know the history. They don't know the technology. They don't know anything. So for them to try to analyze it, they're lost.
The first movies, they just put up a camera and had a train come into a train station, and everybody was amazed. That was sort of all technology.
When people talk to me about the digital divide, I think of it not so much about who has access to what technology as about who knows how to create and express themselves in the new language of the screen. If students aren't taught the language of sound and images, shouldn't they be considered as illiterate as if they left college without being able to read and write?
When I started to write it, it got to be too big, it got to be 250, 300 pages, ... I said, well, I can't do this. The studio will never allow this. I will take the first half, make a movie out of that, and then I was determined to come back and finish the other three, or other two stories.