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I Think 3d At 24 Frames Is Interesting, But It's The 48 That Actually Allows 3d To Achieve The Potential That It Can Achieve, Because It's Less Eye Strain And You Have A Sharper Picture Which Creates More Of A 3-dimensional World.

-Peter Jackson

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I Think 3d At

Peter Jackson

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I Think 3d At 24 Frames Is Interesting, But It's The 48 That Actually Allows 3d To Achieve The Potential That It Can Achieve, Because It's Less Eye Strain And You Have A Sharper Picture Which Creates More Of A 3-dimensional World.

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I'm A Beatles Fan, And I Remember In The Mid-1980s, When Cds First Came Out, There Was A Sound Of Vinyl And The Sound Of The Needle On It That People Loved, And Suddenly Cds Were Threatening.

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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.

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.

Defeat Is Always Momentary.

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.

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.

The Only Thing About 3-d Is The Dullness Of The Image.

I Wanted People To Believe That There Could Still Be This Little Undiscovered Piece Of The World That Survives Still On Skull Island.

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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 Think That You Can Treat A Classic Like A Museum Piece -stuffed And Mounted- Or You Can Make It A Living, Breathing Narrative That Is Unfolding Right Then And There.

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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I Mean, I Didn't Have A Huge Upbringing With Movies, I Guess.

Most Directors Prefer To Direct Everything Themselves. I Thought I Could On Lord Of The Rings, But Very Quickly Found Out That The Sheer Scale Prevented It.

I Find That In The Process Of Making A Film You're Constantly Discovering Things That You Never Even Imagined Would Work At The Beginning. Actors Come Into The Film And Do Things You Never Even Imagined. Production Designers Come In, The Director Of Photography Lights It In A Way That You Never Imagined. So, It's Always Evolving, Always Exciting.

When You're Casting A Movie And When You're Shooting A Film, The Eyes Are The Most Important Feature Of Any Performer, Really. Any Great Actor Literally Knows Exactly How To Use Their Eyes, And Even As A Filmmaker I Love Shooting Huge Close-ups Because It's Those Eyes That Mean So Much To Me.

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Small Countries

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Falling In Love

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Discovering Things

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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