Peter Jackson, Uncategorized

A message from Peter Jackson.

Any Tintin Movie fan, or anybody just interested in the film, should read this new message on the Tintin Movie Facebook Page from Peter Jackson himself. It is such a great message I thought it appropriate, as did several of you, to simply copy and paste it here:
It was great to see the launch of a teaser tailer and advance posters for TINTIN, a movie I’m making with Steven Spielberg and Kathleen Kennedy. It’s been a very long time coming. This film, like all CGI-based movies, required a long period of previs and R&D—and then, once the movie is “shot” on the motion capture stage, it takes another two years to complete. It’s probably been 5 years since Steven and I started working on it.
ADVENTURES OF TINTIN, THE SECRET OF THE UNICORN Copyright© 2010 DW Studios L.L.C. All rights reserved.
The Tintin books by Herge were the very first books I ever read, and I fell in love with them. I didn’t actually have them, but some friends of my parents did, and whenever we’d go visit them, I would grab a new Tintin book and happily spend 3 hours totally lost in the adventure. I’ve been reading them ever since, and I must say that I still find new things to enjoy every time. If you’ve read them before, enjoy them again—and if you’ve never read them, you’ve got a treat in store.

What was great about making this film, was watching Steven step inside the world of motion capture film making, and unleash all of his skill and creative instincts. When you make a live-action film, so many things are working against you—weather, equipment, time. You may imagine shooting a scene with a wonderful crane shot, or a complex Steadicam move, but on the day, time, logistics or sheer physical difficulty forces you to compromise. On a motion capture stage, the “camera” can be a block of wood with tracking markers on it… you point this “camera” in any direction and on a monitor you see the world of Herge’s Tintin in three dimensions. Jamie Bell and Andy Serkis are in front of you wearing motion capture suits, but point the camera at them, and on the monitor you see Tintin and Captain Haddock. When Jamie and Andy move or speak, so do Tintin and Haddock, all in live, real time. Crane moves and tracking shots are performed by moving your thumbs on a Playstation style controller. This is not animation—it’s live action film making in a real-time virtual world. You shoot many takes, just like a normal movie, and each take is fresh and original, as are the camera moves.

Steven embraced this new film making very quickly, and I could see him loving the almost complete freedom he suddenly had. Steven operated the camera on Tintin himself—all the hand held, tracking and craning shots are his. But the really cool thing is seeing how his imagination and gift of story telling went into overdrive. It’s all there in the movie. Something to look forward to.


Peter J



  1. Proman


    In other notable news, I’ve noticed that the advertizing for the film took over and now proudly displays the American poster and links to regular and movie sites.

  2. Proman

    By the way, there has been some talk online about Spielberg bringin one of his movies to Venice. Some think it will be Tintin. I disagree, as I don’t think there is any way he’ll show it anywhere before its premiere in Brussels on October 23.

  3. Mike Dutton

    @ admin

    I say it goes without saying that this film will win one. We’ve all seen the trailer, and how unbelievable the film looks… If the twisting in the adaptations make great storytelling, this film will be pretty big.

    By the way, a harrowing discovery, but did you know that Motion Capture Monstrosity Mars Needs Moms actually cost $150,000,000 to make, exactly 15,000,000 more than it cost to make Tintin, which cost $135,000,000?

    To think of it that way, I have learned that it’s not about how much money goes into the film, it’s about the animators. Zemeckis uses people who do Pixar or something to help with the motion capture while Jackson probably has professional animators who have been using motion capture since the days of Lord of the Rings… That’s something to be both thankful and frightened about. Imagine if Spielberg collaborated with Zemeckis instead?

  4. Proman

    Mike, let me correct you on a couple of things. Zemeckis did not use animators from Pixar, he used an entirely different pioneering shop at Sony Pictures Imageworks. Another thing, from what I’ve heard Mars Needs Mars had a very protracted and not entirly smooth development schedule. Still, it is far from being either the worst reviewed film of the year nor the only CGI bomb. Films fair for a multitude of reasons and far worsereviewsed ones sometimes become bigger hits. Too put things in perspective, Mars Needs Moms still grossed more in US than Hurt Locker did (and I admit that comparing the two makes no sense).

    Also, Mars Needs Moms wasn’t directed by Zemeckis. Yes, he was a producer on it, but please cut the guy some slack. His films were stepping stones in development of the medium and, all things considered, he’s done some impressive work too. Yes, some CGI work looks dated, but so did the first CGI films (well, except for Jursassic Park 😉 ). It takes time for technology to mature, just like with everything else.

    It’s just that Spielberg was willing to wait, as long as he needed to get this film right. Motion capture or not, the project is in great hands.

    “Imagine if Spielberg collaborated with Zemeckis instead?”

    It pains me to read comments like this. When did Zemeckis’ name start to have such negative connatations and be such a sign of failure? People forget that he is *still* the second highest grossing director in US history! In part due to being an early Spielberg protege. The two collaborate on the great Back to the Future films together and both exec produced Monster House which went on to get a Best Animated film Oscar nomination.

    Point being, no Tintin is nothing like Zemeckis’s films btut Robert deserves some respect too.

  5. Proman

    One last thing, Polar Express was widely popular cost $185 million. In addition to differences in animation technology, Tintin is also using an entirely different technology to capture the movements too.

    One cannot and should not use something like Mars Needs Moms as an example of what the movie will be like, when Lord of the Rings and Avatar are the real precursors.

  6. Mike Dutton

    @ Proman

    While I meant a lot of what I said, much of my argument is just a representation of what many people are thinking at the moment. Because of Mars Needs Moms, people are backing away from Tintin, which is sad. This isn’t my opinion; these reasons come from the mouths of many sceptics, and that angers me.

  7. Proman

    Mike, I am sorry if I wasn’t being clear. Most of what I’ve written wasn’t directed at you either. I understand where you are coming from.

  8. Mike Dutton

    @ Proman

    That’s cool… I’m just fed up with sceptics who won’t shut up about Polar Express whenever Tintin is mentioned. They’re like broken records.

    I understand where you’re coming from too. But I have this fear that the Tintin movie will fail because of people being too proud to give them a chance, even after they’ve proven they have what it takes to make a great film.

  9. Proman

    Mike, I wouldn’t worry about that too much. Sooner or later all of those sceptics will see the footage in theaters and then they shall be converted. Plus, there is nothing like a great word of mouth and that’s exactly what we all hope for with this film.

    This all brings up a good question, does anyone know if the Tintin teaser is playing in front of Pirates 4 (or any other film) now? And, if so, is it playing in 3D?

  10. Mike Dutton

    @ Proman

    A friend of mine who lives in the US is gonna see Pirates 4 tomorrow. He’s promised to tell me if it’s attached to the movie or not.

  11. Mike Dutton

    @ Proman

    He responded to me late last night to inform me that the trailer was sadly not attached to Pirates. Oh well… At least it will be attached to Kung Fu Panda 2.

  12. Pe-ads

    Yeah, someone I know saw Pirates the other day (in the UK, and I don’t think in 3D) and the trailer wasn’t attached then either.

  13. Stephen

    No idea why this is, but a friend of mine here in Spain went to see Pirates 4 the other day and told me the trailer WAS in it. I was pleasantly surprised. I don’t think I’ll get to seeing it, but any way he didn’t see the trailer in 3D, just in normal 2D footage. It is weird that it came out here with it though and not elsewhere. I had assumed that the advertisements promoted films related to the movie being played, but maybe in some countries they just promote big hits that will come in the future to the cinema? I have virtually no knowledge on the subject of what trailer hits where for what reason. Whatever the system, I know it’s out in 2D here with a movie that has pretty much no relation to it financially. The relationship I would see is the target audience. Chances are the next time these audiences see a pirate ship after Pirates 4 in cinemas will be this October. And if they love action films, Tintin will be great for them. In a sense, it would almost make MORE sense then to include it with Kung fu Panda, which regardless of how it may be I assume will have mainly a younger audience?
    But I loved Kung fu Panda 1 so that’s not a remark against the film, just speculation on what ill happen. Anyway, it doesn’t explain why it’s only here in Spain. Any news in other countries?

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