Peter Jackson Talks Lovely Bones
PJ: I don't think that Avatar or Tintin-style motion capture or any of these things are going to change the industry radically. I think the media enjoy writing about that and a lot of the media is creating drama because, as you know, the world of drama and the world of news have combined now. So people like to talk about the way that the industry is changing with all of this technology. But technology is only ever a tool. It's a good thing because it gives us another brush to paint with and gives filmmakers more of an opportunity to present anything that they imagine.
BD: But aren't you better able to shoot what's in your head?
PJ: Yeah, but that situation's existed for maybe three or four years now. I see 3-D as a wonderful tool and a great experience for an audience. But I liken it to CinemaScope. When CinemaScope came out, people loved watching The Robe and [other large format films such as] Ben-Hur. You know, these movies in this great widescreen format were suited to a particular type of film. But eventually lots of filmmakers started to use CinemaScope and it gets used now for small dramas because as a format it has possibilities for a director. So, like CinemaScope, I think in the beginning 3-D will be associated with a particular type of film but eventually can be used at a filmmaker's discretion for all sorts of films.
And motion capture's terrific because it allows actors to be in control of the performance of a digital character rather than an animator, really, because, in a way, motion capture seems to be replacing an animator with an actor. But that's interesting to have these talented actors who are bringing these digital characters to life. And that's a gain. But that's a particular type of film. But at the end of the day, none of this is going to replace the idea that people will want to watch human beings on screen because that's who we relate to. We like stories about non-humans, but most of our entertainment is going to be about people being transported.
Bill Desowitz is senior editor of AWN & VFXWorld.