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 you start with a portrait and search for a pure form, a clear volume, through successive eliminations, you arrive inevitably at the egg. Likewise, starting with the egg and following the same process in reverse, one finishes with the portrait.
I really think that music itself, being one of the greatest possible vehicles for mass communication, should be probed to its extremes, to see how effective it can actually become, which is one of the reasons why I became also interested in presenting political points of view.
I get so tired of people saying, 'Oh, you only make fantasy films and this and that', and I'm like, 'Well no, fantasy is reality', that's what Lewis Carroll showed in his work.
A story is a living thing, it moves and shifts.
I've yet to meet somebody who said, 'Your stories are so revolting I couldn't read them.'
At the very beginning of my creative life I loved humanity. I wanted to do something good for mankind. Soon I understood that it isn't possible to save mankind.
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