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[While shooting close-ups] you study real eyes, you study how the light reflects in them, you study the back of the eye, you study the way irises reflect emotion. You go into great scientific detail.

Peter Jackson

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Peter Jackson
Age: 63
Born: 1961
Born: October 31
Actor
Film Director
Film Editor
Film Producer
Screenwriter
Writer
Sir Peter Jackson
Peter Robert Jackson
Sir Peter Robert Jackson
Way
Emotion
Irises
Study
Reflects
Eyes
Detail
Eye
Reflect
Light
Shooting
Back
Scientific
Real
Details
Great
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Filmmaking for me is always aiming for the imaginary movie and never achieving it.
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I think that's the job of a director really, to sort of funnel all the creativity into one centralized point of being.
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The director has to win, because you should never force a director to shoot something they don't believe in.
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To me, fantasy should be as real as possible. I don't buy into the notion that because it's fantastic, it should be unrealistic, because I think you have to have a sense of believing the world that you're going into.
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Motion-capture is not a genre. Motion-capture is a tool and technique and what we tried to do was to really use both motion-capture and traditional animation to build a system.
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In an ideal world the script is written lean and tight and therefore there are no scenes left on the cuttring room floor and therefore no extended edition.
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A pregnant woman is like a beautiful flowering tree, but take care when it comes time for the harvest that you do not shake or bruise the tree, for in doing so, you may harm both the tree and its fruit.
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I was bullied and regarded as little bit of an oddball myself.
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Film is such a powerful medium. It's like a weapon and I think you have a duty to self-censor.
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And so I look back on not just the last ten years but everything that I've done as being sort of an ongoing growing continual film school. I mean I don't think I've got to a point where I've achieved anything that feels like, a particular milestone, but there's still a lot more to learn and hopefully a lot more films to make.
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I don't like putting glasses on and watching 3D. I don't mind wearing glasses, but it's the dimness of the light and the fact that you're filtering the light. Whatever 3D process is being used is a filtration of light, which means it's blocking some of the light.
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New Zealand is not a small country but a large village.
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It's interesting how the frame rate actually changes the perception of the 3D as well as making it more comfortable to watch.
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I just got to the point where I literally didn't want anyone else to do it.
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What is the truth is that every one of my films is a film that I'd love to go see, and I think that's very important because I always think it's a mistake to make movies for other people, or to make them for a demographic, or try to second guess an audience.
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I don't believe in the concept that 3D should be shot separately. I mean, every director has their own style, sure, but I don't think any of that is really an issue with 3D.
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I want to make movies just like King Kong. You know, dinosaurs, big gorillas - it's everything that a nine year-old boy would fall in love with.
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To people in my industry I'm usually a guy that tries to generate his own projects and I remain very elusive when people try and attach me to big projects.
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One does not simply walk into Mordor.
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If you work at love, you will find love at work.
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