Director Peter Jackson made the journey from Middle Earth to San Diego to promote his highly-anticipated prequel The Hobbit: An Unexpected Journey. The filmmaker spoke to the press about that rumored third movie, which was shot down by a Warner Bros. representative yesterday. It seems the filmmaker is still trying to convince the studio to shoot more footage, based on 125 pages of notes from author J.R.R. Tolkien.

Well, it's very, very premature. We have got incredible source material with the appendices. There's the novel, but then we also have the rights to use the 125 pages of additional notes where Tolkien expanded the world of The Hobbit. We've used some of that so far, and just in the last few weeks, as we've been wrapping up the shooting and thinking about the shape of the story, (co-writers) Philippa (Boyens), Fran (Walsh) and I have been talking to the studio about other things that we haven't been able to shoot and seeing if we could possibly persuade them to do a few more weeks of shooting. We'd probably need more than a few weeks, actually, next year. The discussions are pretty early, so there isn't anything to report, but there are other parts of the story that we'd like to tell, that we haven't had the chance to tell yet. We're just trying to have those conversations with the studio, at the moment."
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The director made headlines last April, when it was revealed that he is shooting The Hobbit: An Unexpected Journey and The Hobbit: There and Back Again at 48 frames per second, as opposed to the industry standard 24 frames per second. Take a look at what the director had to say about filming in this faster frame rate.

"Everyone is used to seeing 3D now. We have filmed in 3D. We're not doing a post-conversion. I think what we did is a much more immediate and realistic look at 3D, and it's been surprisingly easy, too. The cameras and the rigs that were available to us, even though they were prototypes when we first began, performed really, really well and very, very easily. They were easy to use fast. It hasn't slowed us down, at all. The 48 fps takes away the art effects that we're used to seeing in cinema, and that's what people are gonna have to get used to. But, I find that you get used to it pretty quickly, when you sit and watch it. We're used to seeing strobing. We're used to seeing a panning shot, which is like a series of still frames that shutters its way along. You don't get that with 48 frames. And yet, it doesn't impede our ability to color time the film and put a really creative grade on the movie. Everything is the same as it normally is. And, the fact that you don't have so much motion blur makes it feel quite sharp, as well. You get something that, to me, is much more akin to shooting on 65mm. You get a very fine detail with the 48 frames. It's weird because, back in 1998, when we first started working on The Lord of the Rings, for awhile, I seriously tried to convince the studio to shoot in 65mm 'cause I really thought that The Lord of the Rings should have been shot in that format. But, at the time, the cameras were huge, cumbersome and difficult. The negative that we would shoot would have to be sent away to America to be processed, so we couldn't even see any of the rushes from New Zealand. We'd have to ship them to America, and then back again. So, the whole thing really wasn't actually possible. For me, I finally get to shoot my 65mm quality film."