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The music in a film like this is as critical as anything because Kong is mute. He doesn't talk.

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
Anything
Music
Kong
Like
Mute
Critical
Talk
Doesn
Film

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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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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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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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Filmmaking for me is always aiming for the imaginary movie and never achieving it.
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I think that George Lucas' 'Star Wars' films are fantastic. What he's done, which I admire, is he has taken all the money and profit from those films and poured it into developing digital sound and surround sound, which we are using today.
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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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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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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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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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One does not simply walk into Mordor.
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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 used to wealth. In America wealth is kind of a thing of pride. Here it's the opposite. The more you've got, the bigger the target you are.
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The only thing about 3-D is the dullness of the image.
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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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[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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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 director has to win, because you should never force a director to shoot something they don't believe in.
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The big-budget blockbuster is becoming one of the most dependable forms of filmmaking.
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New Zealand is not a small country but a large village.
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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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