Tag: Peter Jackson (Page 7 of 9)

Avatar-mania, Oscar possibilities, the Obamas’ guest list, and cinegeeks bossing Stephen King around

I had a nasty case of food poisoning yesterday. Not that you care, but a lot has been happening while I spent a day catatonic before TCM and IFC.

* There’s a new “interactive” trailer for “Avatar” that you can download if you don’t mind also downloading some new Adobe software (at least I had to on the computer I’m using right now). The reason “interactive” is in quotes is that the only thing unusual about this longer trailer is that it pauses and allows you to watch additional short promotional films based around the various characters and some of the hardware, etc. It also allows you to buy tickets early.

I’m not sure what “interactive” really means because just about everything is interactive to some degree and this does not particularly impress me as anything new or different. Maybe we can think of a new buzzword.

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* And’s that’s not all. Anne Thompson has the scoop that “Avatar” may premiere at Harry Knowles’ annual, 24-hour invitation-only Butt-Numb-A-Thon despite some issues between Knowles and Fox. Also, you’ve probably heard about/seen this already, but the movie and writer-director James Cameron got the “60 Minutes” treatment Sunday night. Nothing earth shattering in the arguably slightly puffy Morley Safer piece, though it’s nice to hear Cameron admit that when it comes right down to it, amazing CGI/3-D or not, it all comes down to the story and what’s happening in the actors’ eyes. On the other hand, I really don’t need or want to see 3-D news stories. Will I will wind up doing so anyway?

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Same movie news, different movie blog

Seems like today, everyone’s talking about the same few news items. I’d hate to be left out.

* Adding to the endless speculation over who will be cast as whom in “Spiderman 4,” Nikki Finke enters the more or less pointless but, I suppose, fun fray by naming Anne Hathaway as having been “approached” for a role which her readers have decreed to be the Black Cat.

* The Academy has come up with a short-list of nominees-to-be-nominees in the Best Documentary category. Everyone is making a big deal about the absence of Michael Moore’s “Capitalism: A Love Story” and then naming any one of a number of highly regarded documentaries that didn’t make the cut, including the rather predictably ignored “Anvil! The Story of Anvil” (looks like too much fun) and James Toback’s look at Mike Tyson (to, er, biting?). I’m personally not thrilled that “We Live in Public,” which I still think might be the most important movie made this year, is out of the running, but then I’m obviously somewhat personally invested. Anne Thompson is right, however, that the doc category is growing ever more interesting and crowded.

* The Oscars have an alliterative director. Will he win an Emmy?

* “New Moon” mania breaks out with news of huge early ticket sales. If you have more time on your hands than me, you can read this very lengthy interview and I’m sure pretty interesting interview with director Paul Weitz. I could barely skim it right now, but here’s a quote that leapt out at me:

I have been kind of hazed into the world of VFX, so I understand how to do that — or at least who to trust — and I get what it is that they’re trying to do. I think that with the right visual effects supervisor, I can direct animators who are animating creatures, who are like actors in that sense. It’s just that their performances are being done over the course of months. Each five-second shot takes months to develop. That stuff I like very much, but I wouldn’t say that I’m either an expert or kind of a savant as far as that goes. That’s Peter Jackson and Guillermo del Toro and Sam Raimi. That’s not me.

Monday night at the movies

* We’ve been pretty enthusiastic here about both trailers for “The Wolfman.” Still, there’s been some disconcerting news about the promising looking remake of the 1941 Universal monster classic. Composer Danny Elfman, who has a terrific way with slightly over-the-top genre material going back to his earliest work with Tim Burton on “Pee-Wee’s Big Adventure,” has left the project due to “scheduling conflicts.” Word that a score has actually been composed makes it seem even a bit odder. It’s true that there’s a lot more to scoring a film than composing the music, but there is more than one way to deal with that short of dumping a largely finished score if all there really is is a time problem, I’d guess.

More worrisome is Elfman’s replacement, Paul Haslinger, whose resume includes the rock scores for two of the “Underworld” films Paul W.S. Anderson’s “Death Race.” To be fair, Haslinger was a member of synth group Tangerine Dream from 1986 to 1992 and participated in the scores to films like “Near Dark.” However, I’m usually of the opinion that a period picture requires a period sound and the vague Euro-synth of the “Underworld” music does not inspire me. Hopefully, he’ll go for more of an orchestral sound.

Even more worrisome still, Renn Brown over at CHUD makes a strong case that this is a generally troubled production. At the same time, movie history is filled with troubled productions that turned out great and fun-to-make films that turned out to be horrible-to-watch. We’ll see when we see.

* New York film critic David Ansen will be artistic director of the Los Angeles Film Festival (LAFF), writes Anne Thompson.

* Alex Ben Block declares Peter Jackson producer of the year. His methods and approach sound almost Pixar-like in his openness to collaboration. It’s a complicated method: hire good people and listen to them.

* Apparently, Jackson lost all a bunch of weight a few years back simply by swearing off junk food while maintaining a punishing work scheduled during the making of “King Kong,” and he’s kept it off since. Good for him. Judging from the picture in today’s Variety, however, Winona Ryder might consider a regime that includes the occasional milkshake and order of chili cheese fries. Okay, none of our business and, in any case,  the role she is “circling” in Darren Aronofsky’s all-star oddball thriller, “Black Swan,” calls for her to play a veteran dancer, but, my god, those protuberant cheek bones. Part of me just wants her to mainline my mom’s brisket or something.

As for the movie itself, what I’m hearing reminds of just a little bit of Michael Powell and Emeric Pressburger’s “The Red Shoes,” and not just because of the ballet setting. There’s also the underlying psychoses.

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(Late) Monday morning movie memes

It’s a typical, hazy late morning in Southern California and, as I start this, some folks in Hollywood are still rolling into work, Don Draper style, but there is already some news.

tintin

* If you’re curious about what’s been going on the set of the motion-capture Tintin movie being co-directed by Steven Spielberg and Peter Jackson, and you’re a fan of Nick Frost, Screencrave has an absolute must read interview where he candidly discusses the working methods and how incredibly nervous he was having to do “real” acting. Mr. Frost seems like an easy guy to like.

* I never got into this particular geek thing, but it appears that the new “Monster Squad” remake is not a “Monster Squad” remake.

* Blu-Ray sales are good. I guess I’m eventually going to have to get that player and high-def TV to go with it. Maybe I should start a new charity, akin to Toys for Tots. “High End Home Electronics for Underpaid Critics in Need”?

* Dan Glickman, successor to the late Jack Valenti at the lobbying arm of the movie industry, the MPAA, will be leaving the gig at the end of his contract next September. As described by Variety‘s Ted Johnson, names in the running to replace Glickman include San Fernando Valley Democratic congressman Howard Berman, Disney lobbyist Richard Bates, former Tennessee rep. Harold Ford, and this guy who’s our state’s governor right now.

Not to speak ill of the dead (which is the kind of thing you say just before you do just that), but the late Mr. Valenti was an avuncular but oily character who you instinctively knew you couldn’t trust. He also drove me batty with his inane defenses of the obviously corrupt and unfair rating system. In any case, Arnold would in some ways be a step up if they want someone super high-profile, much as I would never vote for the guy for any public office and not only because he’s a Republican. Ford, who has become a frequent TV talking head since losing his state’s senate race after some arguably racist ads is someone I trust even less than Valenti or the S man and not just because he’s an outspoken conservadem…well, mostly. He’s perhaps too obviously a slick character, even for Hollywood.

Berman I don’t really know well though looking at his Wikipedia page I’m reminded of why he’s not a particular favorite of California progressives, even while claiming to be one, but he’s probably a good choice if they want to fly under the radar. Being a fairly political guy and living in Southern California for almost my entire life, I still know next to nothing about the guy except he looks to be a direct descendent of the 3 Stooges’ Larry Fine. Not many guys over sixty still sporting the Jewfro.

* As reported by the L.A. Times (via Anne Thompson), veteran producer, high flying studio executive, and long-time UCLA Film School fixture Peter Guber — noted in the 1980s as the more sane half of Guber/Peters — is getting together with digital media entrepreneur Peter Levin and Wizard magazine owner Gareb Shamus to create GeekChic Daily, an e-newsletter whose title pretty much says it all. I just signed up here and was informed that I “rock.”

Tolkien/Harper Collins v. New Line/Warners suit settled

There is joy in Middle Earth as the suit over the accounting of the immense take of Peter Jackson’s Lord of the Rings film cycle has been settled. (Nikki Finke says it was nearly $6 billion.) The terms are being kept secret, but this is a separate matter from the already settled action between New Line and Peter Jackson, which ended his relationship with former New Line Prez Bob Shaye under some extremely acrimonious conditions. This means there’s nothing likely to stand in the way of Guillermo del Toro’s upcoming films of Tolkien’s The Hobbit.

It’s also worth recalling that this isn’t the first time the Tolkiens — who were partners in the suit with the Rupert Murdoch’s Harper Collins publishing megalith — have been allegedly deprived of what’s rightfully theirs and been involved in successful legal action. The question is, what’s more corrupting — the power of cash or you-know-what?

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