"Peter Jackson"の名言

I know. It’s all wrong. By rights we shouldn’t even be here. But we are. It's like in the great stories, Mr. Frodo. The ones that really mattered. Full of darkness and danger they were. And sometimes you didn't want to know the end. Because how could the end be happy? How could the world go back to the way it was when so much bad had happened? But in the end, it’s only a passing thing, this shadow. Even darkness must pass. A new day will come. And when the sun shines it will shine out the clearer. Those were the stories that stayed with you. That meant something, even if you were too small to understand why. But I think, Mr. Frodo, I do understand. I know now. Folk in those stories had lots of chances of turning back, only they didn’t. They kept going, because they were holding on to something.

I know. It's all wrong. By rights we shouldn't even be here. But we are. It's like in the great stories. The ones that really mattered. Full of darkness and danger, they were. And sometimes you didn't want to know the end. Because how could the end be happy? How could the world go back to the way it was when so much bad had happened? But in the end, it's only a passing thing, this shadow. Even darkness must pass. A new day will come. And when the sun shines it will shine out the clearer. Those were the stories that stayed with you. That meant something, even if you were too small to understand why. But I think I do understand. I know now. Folk in those stories had lots of chances of turning back, only they didn't. They kept going. Because they were holding on to something.

End? No, the journey doesn't end here. Death is just another path, one that we all must take. The grey rain-curtain of this world rolls back, and all turns to silver glass, and then you see it.

If I'm lucky enough to be involved in the Academy Awards in the future, I'll just let people make up their decision without being involved in any politics. Because it shouldn't involve that.

'The Lord of the Rings,' published in the mid-1950s, was intended as a prehistory to our own world. It was perceived by Tolkien to be a small but significant episode in a vast alternate mythology constructed entirely out of his own imagination.

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.

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

We've all forgotten how to be original.

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

The cameo I did in 'Fellowship of the Ring' was I was in the street of Bree, and I was eating a carrot.

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.

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.

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.

I don't like directing that much to want a career as a director for hire. I like to have as much creative control as possible.

In every house, when the curtains are drawn, there's a story going on, and you never get to hear... You get the public side of things, the happy, smiling, social activities.

The theatrical versions are the definitive versions. I regard the extended cuts as being a novelty for the fans that really want to see the extra material.

I first read 'The Lord of the Rings' as an adolescent. It's a dense novel, a sprawling, complex monster of a book populated with a prolific number of characters caught up in a narrative structure that, frankly, does not lend itself to conventional storytelling.

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