"Special effects are characters. Special effects are essential elements. Just because you can't see them doesn't mean they aren't there"
About this Quote
Fishburne is smuggling a manifesto into a sentence that sounds, at first blush, like shop talk. By declaring “Special effects are characters,” he drags VFX out of the technical basement and onto the call sheet of storytelling itself. The line isn’t just respect for craft; it’s a push against a long-running hierarchy in film culture where “real acting” sits on top and everything digital is treated as garnish, or worse, cheating.
The repetition does the work. “Special effects are…” three times is a drumbeat, a refusal to let the industry’s old language (“enhancement,” “post,” “fix it later”) keep VFX invisible. Fishburne, an actor whose career is deeply entangled with effects-driven cinema, is implicitly defending a kind of performance audiences rarely credit: acting to a tennis ball, reacting to creatures that don’t exist yet, calibrating emotion to a world that will be built months later by artists you’ll never see on a red carpet. In that context, effects aren’t separate from character; they’re scene partners.
“Just because you can’t see them doesn’t mean they aren’t there” lands as both literal and political. Literally: the best effects disappear into realism, stitched into lighting, physics, and texture until viewers stop noticing. Politically: invisibility is the point of exploitation. If the audience can’t spot the labor, it’s easier for studios to underpay, overwork, and under-credit the people making the “impossible” feel inevitable. Fishburne’s intent is simple: make the hidden workforce legible, and make the medium honest about what it actually is now.
The repetition does the work. “Special effects are…” three times is a drumbeat, a refusal to let the industry’s old language (“enhancement,” “post,” “fix it later”) keep VFX invisible. Fishburne, an actor whose career is deeply entangled with effects-driven cinema, is implicitly defending a kind of performance audiences rarely credit: acting to a tennis ball, reacting to creatures that don’t exist yet, calibrating emotion to a world that will be built months later by artists you’ll never see on a red carpet. In that context, effects aren’t separate from character; they’re scene partners.
“Just because you can’t see them doesn’t mean they aren’t there” lands as both literal and political. Literally: the best effects disappear into realism, stitched into lighting, physics, and texture until viewers stop noticing. Politically: invisibility is the point of exploitation. If the audience can’t spot the labor, it’s easier for studios to underpay, overwork, and under-credit the people making the “impossible” feel inevitable. Fishburne’s intent is simple: make the hidden workforce legible, and make the medium honest about what it actually is now.
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| Topic | Movie |
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