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I thought that there might be something unsatisfying about directing two Tolkien movies after 'Lord of the Rings.' I'd be trying to compete with myself and deliberately doing things differently.

Buster Keaton's 'The General,' from 1927, I think is still one of the great films of all time.

I watch 'Goodfellas,' and suddenly it frees me up entirely; it reminds me of what great film directing is all about.

I think 'Jaws' is a remarkable film.

Once you go down a road, you take it through to the end.

As a filmmaker, you want nothing more than to have people say, 'I love your movie.'

People sort of accuse Tolkien of not being good with female characters, and I think that Eowyn actually proves that to be wrong to some degree. Eowyn is actually a strong female character, and she's a surprisingly modern character, considering who Tolkien actually was sort of a stuffy English professor in the 1930s and '40s.

In the old days, you cut out a scene that might've been a really great scene, and no one was ever going to see it ever again. Now, with DVD, you can obviously... there's a lot of possibilities for scenes that are good scenes.

I like to keep an open mind, but I do think there is some form of energy that exists separate to our flesh and blood. I do think that there's some kind of an energy that leaves the body when it dies, but I certainly don't have religious beliefs particularly.

Every time you do something, people are going to like it, people are going to hate it. You tend to make the movies on the basis you are making them for the people who are going to like them and not worrying too much about people who don't like them.

I am not anti-media at all. But the media, the news anywhere in the world, is based on drama.

It is now such a complex society in terms of media. It just comes at us from every direction. You kind of have to push it all away.

Second movies are great because you can drop into them, and it doesn't really have a beginning on it, particularly in a traditional way. You can just tear into it.

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.

Filmmakers have to commit to making 3-D films properly like Jim Cameron did and not do cheap conversions at the tail end of the process.

You don't want to believe everything you read on the Internet.

I fell in love with stories watching a British television puppet show called 'Thunderbirds' when it first came out on TV, about 1965, so I would have been 4 or 5 years old. I went out into the garden at my mom and dad's house, and I used to play with my little dinky toys, little cars and trucks and things.

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.

Learning how to edit movies was a real breakthrough.

Strategically, horror films are a good way to start your career. You can get a lot of impact with very little.

Obviously, movies, you're often on location, out in the rain or the sun, in a real place where the trees and the cars are real. But when you're on stage, as an actor you're imagining the environment that you're in.

If you take a regular animated film, that's being done by animators on computers, so the filmmaking is a fairly technical process.

To direct a genuinely animated film, you're really having meetings and discussing what you want with animators who then go off and produce one shot at a time that you look at and comment on.

I never overtly analyse my own movies, I don't think that's my job to do that. I just muddle through and do what I think is best for the movie.

'The Return Of The King' has a conclusion.

If you make a trilogy, the whole point is to get to that third chapter, and the third chapter is what justifies what's come before.

I love Bilbo Baggins. I relate really well to Bilbo!

I never wanted to do 'The Hobbit' in the first place.

I just think that we're living in a world where the technology is advancing so rapidly. You're having cameras that are capable of more and more - the resolution on cameras is jumping up.

We had to get past the mechanical film age to be able to explore other things, but it will be interesting.

Critics in particular treat CGI as a virus that's infecting film.

I remember when I was - I must've been 17 or 18 years old - I remember 'The Empire Strikes Back' had a big cliffhanger ending, and it was, like, three years before the next one came out.

If you're an only child, you spend a lot of time by yourself, and you develop a strong ability to entertain yourself, to conjure up fantasy.

Too often, you see film makers from other countries who have made interesting, original films, and then they come here and get homogenized into being hack Hollywood directors. I don't want to fall into that.

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.

I always have had a slightly jaundiced view about people who promote books about themselves.

I'm always embarrassed by those rugby player autobiographies which get written by journalists.

What I think is remarkable about my mum and dad is they had no interest in films, really. None.

It's one thing to support your kid, but if you have an interest in what your child is doing, it makes it a whole lot easier.

There's a generation of children who don't like black and white movies. There's a level of impatience or intolerance now.

We have lost close friends and relatives to cancer and Parkinson's disease, and the level of personal suffering inflicted on patients and their families by these diseases is horrific.

Stem cell therapy has the potential to treat a multitude of diseases and illnesses, which up until now have been labelled 'incurable.'

Continuing advances in stem cell medicine will change all of our lives for the better.

One of the best things about growing up in New Zealand is that if you are prepared to work hard and have faith in yourself, truly anything is possible.

I feel very lucky to be able to make movies in New Zealand, and I will always be grateful for the support I have received from so many New Zealanders.

I haven't got a real job.

The Tolkien estate owns the writings of Professor Tolkien. 'The Hobbit' and 'The Lord of the Rings' were sold by Professor Tolkien in the late '60s, the film rights.

The producers of 'The Hobbit' take the welfare of all animals very seriously and have always pursued the highest standard of care for animals in their charge.

Over 55% of all shots using animals in 'The Hobbit' are in fact computer generated; this includes horses, ponies, rabbits, hedgehogs, birds, deer, elk, mice, wild boars and wolves.

Once the film is out and a lot of people are seeing it, it becomes almost owned by the cinemagoers of the world.

The first day I start shooting, I start having a recurring nightmare that every single night that I am lying in bed, and there is a film crew surrounding the bed, waiting for me to tell them what to do, and I don't quite know what movie I am supposed to be making.

Obviously, with a CGI character, you're building a character in much the same way as a real creature is built. You build the bones, the skeletons, the muscles. You put layers of fat on. You put a layer of skin on which has to have a translucency, depending on what the character is.

Anything you can imagine, you can put on film.

100 years ago, movies were black-and-white, silent, and 16 frames a second. So 100 years from now, what are they going to be?

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.

New Zealand is not a small country but a large village.

To get an Oscar would be an incredible moment in my career, there is no doubt about that. But the 'Lord of the Rings' films are not made for Oscars, they are made for the audience.

What I don't like are pompous, pretentious movies.

The most honest form of filmmaking is to make a film for yourself.

No film has captivated my imagination more than 'King Kong.' I'm making movies today because I saw this film when I was 9 years old.

Film is such a powerful medium. It's like a weapon and I think you have a duty to self-censor.

I didn't want my kids having to pass through an airport named after their father.

I mean, I didn't have a huge upbringing with movies, I guess.

For a lot of my childhood, I didn't want to direct movies because I didn't really know what directing was.

Rivalry doesn't help anybody.

Filmmaking for me is always aiming for the imaginary movie and never achieving it.

One of the first movies I ever saw was 'Batman,' based on the TV series with Adam West and Burt Ward.

Everybody's life has these moments, where one thing leads to another. Some are big and obvious and some are small and seemingly insignificant.

The big-budget blockbuster is becoming one of the most dependable forms of filmmaking.

The vast majority of the CGI budget is labor.

The only thing about 3-D is the dullness of the image.

Actors will never be replaced. The thought that somehow a computer version of a character is going to be something people prefer to look at is a ludicrous idea.

I was bullied and regarded as little bit of an oddball myself.

I used to send away for eight-minute Super 8 movies of various Ray Harryhausen scenes advertised on the back of 'Famous Monsters of Filmland' magazine.

There's a very go-to kind of attitude in New Zealand that stems from that psyche of being quite isolated and not being able to rely on the rest of the world's infrastructure.

There was a great magazine in the '80s called 'Cinemagic' for home moviemakers who liked to do monster and special effects movies. It was like a magazine written just for me.

When you're starting out, you know, you have to do something on a very limited budget. You're not going to be able to have great actors, and you're most likely not going to have a great script.

Prosthetic makeup is always frustrating.

I've always tried to make movies that pull the audience out of their seats... I want audiences to be transported.

48 frames per second is something you have to get used to. I've got absolute belief and faith in 48 frames... it's something that could have ramifications for the entire industry. 'The Hobbit' really is the test of that.

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