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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.

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
System
Capture
Use
Tool
Really
Genre
Technique
Traditional
Tools
Tried
Animation
Build
Motion

More quotes by Peter Jackson

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I adore physical miniatures and try to use them as much as I can and have a bit of a fetish about that.
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For a lot of my childhood, I didn't want to direct movies because I didn't really know what directing was.
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New Zealand is not a small country but a large village.
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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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[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.
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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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When I start a film, I can sort of shut my eyes, sit somewhere quiet and imagine the movie finished. I can imagine the camera angles, I can even imagine the type of music. Without knowing the tune, I can imagine the type of music it needs to be.
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The music in a film like this is as critical as anything because Kong is mute. He doesn't talk.
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I was bullied and regarded as little bit of an oddball myself.
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I want to make a series of movies that run together, so if any crazy lunatic wants to watch them all in a row, there will be a consistency of tone.
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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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Everything is in a script for a reason, and only by being part of a writing team (or writing it yourself), do you really understand the intention of every beat.
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As a filmmaker, you are going to manipulate the character as you need to make the scenes work.
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Writing a screen play with a group of collaborators is like the Lennon McCartney collaboration .... sometimes one or two people do more than others on certain parts of the process and vice versa.
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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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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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When you're directing, you're right at the coal face, always exhausted, often emotional - and I'll enjoy being a couple of steps back from that and simply helping where I can.
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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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Two of the actors, Sean Bean and Orlando Bloom, have been caught between two landslides and are now trapped in a tiny town in the middle of the South Island. They have been taken in by a kindly woman who has offered them food and a bed. They were last reported to be cooking spaghetti and cracking into a bottle of red wine.
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I regard myself as being the final filter so everything that ends up in the movie is there because it's something that I think was cool.
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