There are no rhymes or reason, actually. Having said that, you know, cause there are people who are absolutely single-minded about their process and they can still come up with great work. But (what) I enjoy and it's the same, I suppose, as I became more of a family man, I enjoy, I enjoy an atmosphere where it, you know, doesn't have to be about conflict to get good results.

People think, 'Oh, well how can 'The Hobbit,' which is one book, become three films?' But you can take one line from an appendice and it turns into a whole sequence.

Working from home is so, so hard because I want to be present for them and yet there's so much to do work-wise. That's the biggest challenge for me.

For me, I've never drawn a distinction between live-action acting and performance-capture acting. It is purely a technology.

I'm in the early stages of a film called 'Freezing Time' about Eadweard Muybridge, the Victorian photographer who was really the forefather of cinema. Digital animators still treat his images like the Bible. He was a very obsessed man.

The wonderful thing about 48 fps is the integration of live action and CG elements; that is something I learned from 'The Hobbit.' We are so used to 24 fps and the romance of celluloid but at 48 fps, you cannot deny the existence of these CG creations in the same time frame and space and environment as the live action.

I've been writing and wanting to direct for a long time.