I think we're going to enter a phase where there's less interest in the CGI and there's a demand for story again. I think we've dropped the ball a little bit on stories for the sake of the amazing toys that we've played with.
Peter JacksonRead
People regard CGI as a gimmick; they almost blame CGI for a bad story or a bad script. They talk about CGI as if it's responsible for a drop in standards.
Interpretation
The quote critiques the tendency to blame CGI for poor storytelling, emphasizing the importance of narrative over technology.
Peter Jackson's quote highlights a common misconception within the film industry that computer-generated imagery (CGI) is to blame for subpar storytelling and overall cinematic standards. He suggests that rather than focusing on the technology, critics should address the foundational elements of a film, such as the script and the story, which ultimately determine its quality.
In practice
This quote could be used in a film studies class when discussing the role of technology in storytelling.
I think we're going to enter a phase where there's less interest in the CGI and there's a demand for story again. I think we've dropped the ball a little bit on stories for the sake of the amazing toys that we've played with.
We're human beings, and we want stories. We're always going to be entertained and have our emotions touched by humanity and by things that we recognize in our own lives. So whilst every now and again we'll be happy to watch a bubblegum film, it's never gonna be the only things that get made.
I have a freedom that's incredibly valuable. Obviously my freedom is far smaller in scale than people like Zemeckis and Spielberg have here. But it's comparable. I can dream up a project, develop it, make it, control it, release it.
Adapting a novel is not really about being faithful to every word and every moment the author has created. It's more about that same story being filtered through somebody else's sensibility.
As a filmmaker, I believe in trying to make movies that invite the audience to be part of the film; in other words, there are some films where I'm just a spectator and am simply observing from the front seat. What I try to do is draw the audience into the film and have them participate in what's happening onscreen.
The most honest form of filmmaking is to make a film for yourself.
When the color achieves richness, the form attains its fullness also.
Something happens when you feel that energy and excitement from the audience. And you do, I don't know, four pirouettes. You jump higher than you ever have. And it's just this really magical thing that happens in those moments.
Things danced on the screen do not look the way they do on the stage. On the stage, dancing is three-dimensional, but a motion picture is two-dimensional.
Is he on his horse? O happy horse, to bear the weight of Antony!
We've been fighting our whole lives to say we're just human beings like everyone else. When we start separating ourselves in our work, that doesn't help the cause. I've heard it for years: 'How do you feel being a black filmmaker?' I'm not a black filmmaker, I'm a filmmaker. I'm a black man, I have black children. But I'm just a filmmaker.
Beauty is a primeval phenomenon, which itself never makes its appearance, but the reflection of which is visible in a thousand different utterances of the creative mind, and is as various as nature herself.
Subscribe for the occasional hand-picked quote. No noise.