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Buster Keaton's 'The General,' from 1927, I think is still one of the great films of all time.
As a filmmaker, you are going to manipulate the character as you need to make the scenes work.
Film is such a powerful medium. It's like a weapon and I think you have a duty to self-censor.
What I think is remarkable about my mum and dad is they had no interest in films, really. None.
The music in a film like this is as critical as anything because Kong is mute. He doesn't talk.
If justice is supposed to be fair, than any justice system you would hope is based on fairness.
While you're finding evidence of innocence, you also find evidence that points to other people.
For me, utter failure is to make a film that people pay their money to go see and they don't like.
I don't think that because you die and move on to somewhere else that you lose your sense of humor.
'Temeraire' is a terrific meld of two genres that I particularly love - fantasy and historical epic.
One of the first movies I ever saw was 'Batman,' based on the TV series with Adam West and Burt Ward.
I didn't want people to sit there and watch 10 minutes of film,and all they write about is 48 frames.
I make cameos in all my movies for no particular reason other than a joke. It's just a Hitchcock thing.
I adore physical miniatures and try to use them as much as I can and have a bit of a fetish about that.
The cameo I did in 'Fellowship of the Ring' was I was in the street of Bree, and I was eating a carrot.
For a lot of my childhood, I didn't want to direct movies because I didn't really know what directing was.
As human beings, we always have resistance against things that are different and there's always suspicion.
We had to get past the mechanical film age to be able to explore other things, but it will be interesting.
The director has to win, because you should never force a director to shoot something they don't believe in.
Strategically, horror films are a good way to start your career. You can get a lot of impact with very little.
Forty-eight frames per second is a way, way better way to look at 3D. It's so much more comfortable on the eyes.
Once the film is out and a lot of people are seeing it, it becomes almost owned by the cinemagoers of the world.
I've always tried to make movies that pull the audience out of their seats... I want audiences to be transported.
I am a big Dragon fan. I've said it before- And I was fortunate enough to be born a Dragon in the Chinese Horocope.
The entertainment options for young people are a lot broader now, and the quality of films is slumping a little bit.
I watch 'Goodfellas,' and suddenly it frees me up entirely; it reminds me of what great film directing is all about.
There's a generation of children who don't like black and white movies. There's a level of impatience or intolerance.
I want to put everything I think I've learned about filmmaking and storytelling and put it to the test in other areas.
I think that's the job of a director really, to sort of funnel all the creativity into one centralized point of being.
If you take 'The Hobbit' and 'The Lord of the Rings' as books, one is written for children, and one is an adult's book.
There's a generation of children who don't like black and white movies. There's a level of impatience or intolerance now.
He who must search a haystack for a needle is likely to end up with the attitude that the needle is not worth the search.
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.
The one thing with 3D presentations is I think that 3D itself, whether it's 24 or 48, is at a very interesting point in time.
It's interesting how the frame rate actually changes the perception of the 3D as well as making it more comfortable to watch.
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 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.
I just got tired of being overweight and unfit, so I changed my diet from hamburgers to yogurt and muesli, and it seems to work.
If you take a regular animated film, that's being done by animators on computers, so the filmmaking is a fairly technical process.
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.
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.
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.
I wanted people to believe that there could still be this little undiscovered piece of the world that survives still on Skull Island.
In the case of 'The Lovely Bones,' I felt that it was subject matter not often dealt with in film, and with a tone that is also rare.
Stem cell therapy has the potential to treat a multitude of diseases and illnesses, which up until now have been labelled 'incurable.'
I regard myself as being the final filter so everything that ends up in the movie is there because it's something that I think was cool.
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.
I think it's important that filmmakers look at the technology and figure out how to make the theatrical experience a little more exciting.
I find that in the process of making a film you're constantly discovering things that you never even imagined would work at the beginning.
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.