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.
The radio is playing jazz, and I listen to the sound of the trumpet playing a solo until I become that sound.
Today, comics is one of the very few forms of mass communication in which individual voices still have a chance to be heard.
The only way you can write the truth is to assume that what you set down will never be read. Not by any other person, and not even by yourself at some later date. Otherwise you begin excusing yourself. You must see the writing as emerging like a long scroll of ink from the index finger of your right hand; you must see your left hand erasing it.
After one has abandoned a belief in God, poetry is that essence which takes its place as life's redemption.
My subject matter was a genuine sort of experience that came out of my life, particularly the American world in which I was privileged to be . . . . I would really think of the bakery counters, of the way the counter was lit, where the pies were placed, but I wanted just a piece of the experience. From when I worked in restaurants . . . [it was] always poetic to me.
Expression for me does not reside in passions glowing in a human face or manifested by violent movement. The entire arrangement of my picture is expressive; the place occupied by my figures, the empty space around them, the proportions, everything has its share.
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