Peter Jackson
Peter Jackson
Sir Peter Robert Jackson ONZ KNZMis a New Zealand filmmaker and screenwriter. He is best known as the director, writer and producer of The Lord of the Rings trilogyand The Hobbit trilogy, both of which are adapted from the novels of the same name by J. R. R. Tolkien. Other notable films include the critically lauded drama Heavenly Creatures, the mockumentary Forgotten Silver, the horror comedy The Frighteners, the epic monster remake film King Kongand the supernatural drama film The...
NationalityNew Zealander
ProfessionDirector
Date of Birth31 October 1961
CityPukerua Bay, New Zealand
When I was about 14, I got a splicing kit, which means you could chop up the film into little pieces and switch the order around and glue it together.
It's almost like an optical illusion, 'The Hobbit.' You look at the book, and it is really thin, and you could make a relatively thin film as well. What I mean by that is that you could race through the story at the speed that Tolkien does.
Gandalf: All we have to decide is what to do with the time that is given to us. There are other forces at work in this world Frodo, besides the will of evil. Bilbo was meant to find the Ring.
They may be able to save some cash, they may be able to rationalize some assets. It could mean better pricing for everyone.
There's something incredibly tragic about Kong. You feel almost feel ashamed to be a human being when you see what happens to him. I mean he is ultimately a pure-heart.
I mean, I didn't have a huge upbringing with movies, I guess.
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.
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.
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.
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.
A wizard is never late, nor is he early, he arrives precisely when he means to.
When a documentary is being made, it usually focuses on the director or an actor. We felt that it would be more interesting to really dissect a film down to its smallest components.
We used a lot of computer technology, and I think New York looks pretty convincing. I think most people will think we got in a time machine and somehow shot it in New York in '33.
We just heard about this and we are working with our information technology experts to address this.