Peter Jackson: A Film-Maker's Journey

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Peter Jackson: A Film-Maker's Journey Page 60

by Brian Sibley


  The pagination of this electronic edition does not match the edition from which it was created. To locate a specific passage, please use the search feature of your e-book reader.

  PJ denotes Peter Jackson.

  Academy Awards 201, 355, 561

  1994 288

  1995 289, 290, 500

  2004 vii, 68–9, 118, 190, 516–18, 517

  Acevedo, Gino 462

  Ackerman, Forrest J. 33, 212, 213, 213, 214–15, 214

  Acorn, Jonathan 173

  Ain’t it Cool 409–14, 497–8

  Aitkin, Eleanor 146

  Allen, Dave 35

  Alternative 3 281–2

  Alverado, Trini 304

  American Werewolf in London, An 76

  Amini, Hossein 382, 385

  Anderson, Gerry 18, 19, 38

  Armstrong, Robert xiii, 535

  Ashton, Beatrice 292, 297

  Astin, Ally 305

  Astin, John 304, 305

  Astin, Sean 99, 433, 438, 452, 456–7, 463, 492

  Avalon 200, 210

  Bad Taste 20, 37, 45, 190

  Cannes screening 141, 143, 144, 146, 149, 150, 151, 152, 153, 153; casting 95–8, 99, 111, 113; completion of 140–1; dubbing 131, 132, 133, 136; editing 128–31; funding and budget 84–95, 97, 100, 101, 109, 114–22, 130–1; Good Taste documentary 139; gore 85, 91–2, 95, 96, 98, 155; length 83–4; The Lord of the Rings, links with 113; New Zealand premiere 153–4; poster 137; props, PJ creates 81, 562; publicity 107–9, 137, 149, 150, 151–2; revamping of 100; reviews and reaction 160, 193; rough cut 136–7; score 133–6, 135, 138–40; screenings 112–17, 141, 143, 144, 146, 149, 150, 151, 152, 153–4; script 70–1, 72, 75–6, 85–6, 98; shooting 70, 71, 71, 72–6, 75, 77, 78–80, 79, 80, 82, 89, 81–101, 106, 108, 109, 110, 112, 114, 120, 122–9, 122, 125, 128, 196; sound 99; title 101; workshop 123

  Bad Taste 2 220–3, 264–9, 280, 316, 554

  Baker, Rick 76, 237–8, 289, 306

  Bakshi, Ralph 47–8, 237, 238, 313, 378, 504

  Balme, Tim 203, 211, 215, 274

  Bansgrove, Brian 442, 443, 489

  Batman: The Movie 15–16, 19

  Battersby, Ray 56, 78, 81, 133, 204, 211, 563

  Bean, Sean 448, 453, 467

  Beatles, The 78, 133, 134, 138, 211, 227

  Bell, Jamie 536

  Bennett, Jeremy 546

  Bevan, Tim 394

  BFG, The 398

  Black, Jack 535, 536, 537

  Blanchett, Cate 420, 552

  Blenkin, Jan 249

  Bloom, Orlando 427, 433, 438, 448, 454, 455, 455, 456, 463

  Blubberhead 196–7, 220

  Bluck, Richard 474

  Blyton, Enid 15

  Bollinger, Alun 251, 275, 290, 295, 390, 420

  Booth, Jim 287, 374

  Bad Taste, involvement in 84–5, 87, 90–2, 93–4, 95, 97, 114, 115, 117, 120, 121, 122, 130, 136–7, 153; Braindead, involvement in 163–4, 166, 167, 210, 212, 217; death 270–2, 273, 278–9, 310, 338; Forgotten Silver, role in 284; health 229–30, 269–72; Jack Brown Genius, involvement in 274; Meet the Feebles, involvement in 168, 169, 171, 172, 173, 177, 183, 184–5, 201; Heavenly Creatures, involvement in 227, 228–9, 230, 238, 243, 249, 252–3, 256, 256, 257–8, 259; New Zealand Film Commission, role in 84–5, 87, 90–2, 93–4, 95, 97, 114, 115, 117, 120, 121, 122, 130, 136–7, 153, 160–1, 281; Weta, role in set up of 257–8; WingNut Films, role in 261, 262–3, 264

  Booth, Nick 287–8

  Botes, Costa 264

  acting 106, 107, 124; Alternative 3, involvement in 282; Bad Taste, involvement in 106, 107, 111, 112–13, 114, 116, 117, 124, 141; Braindead, involvement in 201, 202, 218; Forgotten Silver, involvement in 280, 283–4, 286–7, 288, 290, 285, 295, 296–7, 297, 298, 301; The Lord of the Rings documentary 456; McKee, on method of 281; Meet the Feebles, thoughts on 186, 190; PJ missing university, ponders consequences of 42; PJ, first meets 105, 107, 109, 111, 112–13; PJ’s character, on 292–3, 561–2, 563, 564; PJ’s directing, witnesses leap forward in 308; Valley of the Stereos 263; Warrior Season, writes 220, 281

  Boulle, Pierre 28

  Boyd, Billy 433, 438

  Boyens, Philippa 354–8, 365, 366, 414, 416, 432, 437, 438, 440, 468, 479, 485, 490, 491, 501–2, 521, 524, 525, 529, 531, 537, 539, 543, 545, 556, 558–9, 561, 563

  Bradbury, Ray 33

  Braindead xii, 28, 222, 223

  Ackerman appears in 33; awards 215; beginning of 16; birth of idea 116, 142; budget and finance 142, 151, 155–6, 159–61, 163, 165–8, 172–3, 183, 201–3; casting 152–3, 203; collapses 165–8, 171, 174, 338; comedy, Keaton’s influence upon 18; earnings 261, 262; gore 267, 268; influences 18, 191; locations 162–3; pre-production 174; producer 161–2; publicity 163, 165, 166; puppets and masks 162; reviews 215, 217, 231; screenings 215, 216, 217, 226, 231, 261; script 142, 143, 144, 151, 155, 156–9, 159, 202–3; shooting 162–3, 203–8, 204, 205, 209, 209–15, 211, 213, 214, 216; title 215

  Brody, Adrien 537, 538

  Brophy, Jed 203, 204–5, 206–7, 210, 211, 245

  Burge, Brent 132

  Burr, John 191

  Burton, Tim 30, 237

  Cabot, Bruce xiii, 537

  Cameron, James 276–7, 324, 375

  Campbell, Bryce 118, 126, 145, 149, 245–6, 283

  Campbell, Grant 126, 145, 149, 264, 283

  Cannes Film Festival 298

  1988 141, 143, 144, 146, 149, 150, 151, 152, 153, 153, 153, 165, 171, 177

  1992 215, 216, 217, 226, 229

  1994 273–4, 275

  2001 493–4, 512

  Captain Kronos – Vampire Hunter 59–60

  Carley, Grace 180

  Chaplin, Charlie 6, 17, 30

  Chernin, Peter 276

  Chittock, Cameron 112, 123, 124, 125, 127, 137, 143, 144, 147, 162, 165, 168, 169, 170, 171, 172, 174, 175–6, 181, 242

  Cinema of Unease 288

  CinemaScope 56–9

  Coldfinger 53, 55–6

  Combs, Jeff 304, 305, 306

  Compass International 171

  Concrete 398–9

  Connery, Sean 53, 54, 55, 417–18, 429, 430

  Cook, Randy 35, 197

  Cooper, Merian C. xiii, 34, 264, 317, 334, 343, 535

  Corman, Roger 215

  Corrigan, Peter 291

  Craven, Wes 197, 198, 200, 233, 304

  Crumb, Robert 178

  Csokas, Marton 275, 322

  Cunningham, Carolynne (‘Caro’) 249, 249, 376, 419, 453, 474, 491, 553, 558

  Curse of the Gravewalker 57, 58, 59, 60, 61, 62, 63, 64, 65

  Cushing, Peter 27, 30, 59, 459

  Dalton, Timothy 56, 220

  Danforth, Jim 35

  Dante, Joe 212, 397

  Darabont, Frank 196, 290

  Dasent, Peter 170

  De Laurentiis, Dino 318, 544

  De Luca, Michael 199–200, 395

  de Nave, Caterina 286

  Deane, Colin 443

  Delgado, Marcel 317

  DeMille, Cecil 283, 287

  Dickson, Ngila 249, 322, 424

  Dimension Films 350, 373

  Directors Guild of America Awards 1

  Disney Company 232, 240, 262, 277, 353, 371, 374, 375, 376, 398, 425, 495

  Dominion Post, The 49, 105

  Douglas, Roger 165–6

  DreamWorks 376, 393

  Dukes of Hazzard, The 66

  Dulieu, Paul 104, 105

  Edinburgh International Film Festival, forty-third 160

  Elfman, Danny 310

  Ellsworth, Michael 429

  Elstree Studios 44–5

  Embassy Theatre, Wellington xi–xii, xiii, 13, 153, 514

  English Patient, The 315–16, 350, 393

  Evening Post, The 46–7, 48–50, 50, 56, 59, 73, 74, 104, 108, 111, 122, 131, 136, 154, 211

  Everard, Barry 153

  Evil Dead, The 91, 93, 232

  Famous Monsters of Filmland 27–8, 30, 33, 212, 213, 214, 214, 317

  Fan
goria 190–1

  Fantasy Island 66–7

  Fellner, Eric 394

  Firefly 257

  Forgotten Silver 280–8, 290–303, 308, 310

  Fox, Michael J. 284, 303, 303, 304, 306, 321

  Foxtrot 505

  Freddy’s Dead: The Final Nightmare 200

  Frighteners, The 290, 317

  American studios involvement in 309–10; birth of 259–61; casting 284, 303, 304, 305, 306, 307; earnings 339; effects 305, 306–9, 309, 311, 321, 322, 364; photos 311; post-production 310–11; pre-production 284, 285; publicity 331–2, 333, 335, 336, 337; release dates 320–3, 331–2; reviews 332–3; score 310; script 259, 260–1, 269, 273, 277–8, 303; shooting 293–4, 300, 305, 309

  Fry, Carla 407, 418

  Funke, Alex 475

  Fyfe, Jim 307

  Gaines, Bill 260

  Gallipoli 12–13

  Garbett, John 293, 294

  Garside, Reg 543

  Gascoigne, David 115, 121–2, 130, 131, 160, 183, 188, 203–4, 217, 227, 233

  Gear, James 74

  General, The (Keaton) 17–18, 267

  Gilbert, John 482

  Giles’ Big Day see Bad Taste

  Gilliam, Terry 24, 25, 196–7

  Gómez, Andrés Vincente 151, 152, 161

  Good Machine 383

  Gordon, Jon 351

  Granat, Cary 350

  Hadlow, Mark 189

  Hamlin, Marjory 208, 249

  Hammer House of Horror 27, 53, 59, 62, 67

  Hammon, Ken

  Bad Taste, involvement in 71, 72, 73, 84, 90, 95, 97, 99; Braindead, involvement in 211; King Kong, role in 330; PJ, early films with 35, 36–7, 38, 39, 40, 41, 59; PJ, friendship with 30, 31, 32; PJ, shares early love of film with 30, 31, 32, 47, 54, 65–7, 68; PJ, trip to LA with 65–7, 68; PJ’s early encounter with The Lord of the Rings, remembers 48

  Hanks, Colin 536

  Harcourt, Miranda 247

  Harryhausen, Ray 22, 33–4, 35, 37, 40, 48, 51, 52–3, 312, 330, 334, 523, 551

  Hart, Diana 244

  Heavenly Creatures xii, xiii, 218, 223–4, 284, 395;

  awards 272, 278–9, 288; casting 243–7, 248, 249; distribution 261–2, 383; earnings 319; effect of film upon privacy of real life characters 254–6; effects 242, 243, 257–8; finance and budget 219, 223, 227–30, 233–6, 238, 251–2; post-production 257, 259; premiere 272, 274, 278–9, 280; pre-production 240–1; publicity 255, 303, 304; research 225–6, 230–1, 254; reviews and reaction 279–80; script 226, 227–8, 254; shooting 241, 242, 250, 252–4, 253, 256, 256, 258

  Hedges, Mike 249

  Hennah, Dan 275, 310, 360, 423, 498, 554

  Henson, Jim 143, 145, 398

  Hercules 339, 340, 435

  Heston, Charlton 28

  Hiles, Tony 115, 117–18, 118, 119, 120, 121, 124–5, 126, 131, 133–4, 135, 138, 149–50, 151, 154, 212, 264, 270, 271, 274, 275

  Hill, Bernard 456, 467–8

  Hollywood Reporter, The 160, 332

  Holm, Sir Ian 427, 428, 428, 460, 463–4, 504

  Hooper, Tobe 30, 91, 260

  Hopkins, Bruce 456

  Hopkins, Mike 249

  Howe, John 361–2, 363, 372, 389, 390, 391, 408, 419, 422–3, 427, 546

  Hubbard, John 243, 249

  Hubbard, Ros 243

  Hulme, Juliet xii, 223–4, 225–6, 227–8, 230–1, 234, 235, 243, 244, 251, 252, 254–5, 256, 291

  Hunter, Gus 546

  Huth, Hanno 227, 262, 265

  Industrial Light and Magic (ILM) 243, 268, 308, 321, 403, 477

  International Creative Management (ICM) 392

  International Festival of Fantasy and Science Fiction, seventeenth (1988) 151–2

  International Film and Multimedia Market (Mifed) 163, 165, 168, 172, 189

  InterTalent 231

  Invasion of Privacy (Cohen) 227

  Jack Brown Genius 264, 274–5, 308

  Jackson, Bill (father) 6, 7–9, 9, 10–12, 11, 12, 14, 15, 16–17, 19, 24, 42, 46, 57, 59, 68, 75, 76, 110, 124, 149, 182–3, 518, 562

  Jackson, Billy (son) 306, 311 Jackson, Joan (mother) 5, 7, 7, 8–9, 9, 10, 11, 14, 15, 20, 42, 44, 46, 57, 68, 76, 81, 85, 124, 125, 182–3, 212, 518

  Jackson, Katie (daughter) 330

  Jackson, Peter

  acting 36, 79, 99, 212; agent see Kamins, Ken; ape suit, makes 102, 103, 104, 105, 110; apprentice photoengraver 46–7, 48–50, 68, 102, 122; awards and prizes vii, 1, 40, 68–9, 118, 189, 190, 201, 215, 272, 278–9, 288, 289, 290, 355, 500, 505–6, 516–18, 517, 531, 561; birth and early life viii, 1–7, 5, 9–10, 10, 11–19, 14, 17; brand 557–8; character 18, 24–7, 39, 42, 50, 56, 63, 68, 76, 78, 81, 82–3, 85, 89, 94, 97–8, 107, 115, 116, 121, 124, 126, 134, 140, 141–2, 146, 155, 178, 186, 242, 265, 268, 292–3, 352, 421, 453, 463, 466, 475, 490–1, 501–2, 518–19, 558–63, 561, 565, 566–7; childhood bedroom 34, 41; debut film 13–14; directorial style and skill 82, 112–13, 119, 140–1, 202, 204–5, 206–7, 211, 219, 222, 251–2, 308, 357–8, 419, 434–5, 436, 449, 452, 453–4, 466, 472–5, 486–91, 493, 541–2; fans vii, 558; finances 25, 29, 30–1, 46, 68–9, 87–8, 105, 109, 183, 197–200, 164, 262, 263, 330, 408; future 554–7; health 102, 490–1; Hollywood, relationship with 236, 239–40, 309–10, 325–7, 332, 333, 336, 351–2, 359–60, 381–2, 383, 388–9, 394, 397, 475–80; home workshop 110; L.A. first trip to 65–8, 67; love life see Walsh, Fran; mask making 28–30, 29, 76, 77, 123, 123, 125; movie influences xii, xiii–xiv, 1–4, 14–18, 23, 28, 30–2, 34–5, 37, 38, 40, 47, 48, 51–6, 59–60, 78–9, 117, 135, 202, 205, 212–15, 237–8, 312–13, 318–19, 357, 397–8, 400–2, 521, 543–4; only child 9–10, 14; puppet making 23, 76, 77, 104–5, 105, 144, 174; S.A.S, fascination with 75–6, 97; school 20–1, 20, 26–7, 30, 35, 37, 41–3; special effects, first becomes aware of 19; 16mm camera, acquires 68–70; splatter and gore, love of 25–6, 31, 85, 91–2, 95, 96, 96, 98, 135, 142, 155, 223, 227, 228, 266–7; stop-motion animation, use of 22, 23, 23, 33–4, 35, 36, 39, 40, 51–3, 123, 205–6, 206; super 8 films 13–14, 19–23, 23, 25–30, 35–41, 36, 37, 38, 51–3, 56, 57, 57, 58, 59–60, 61, 62, 63, 64, 65 see also under individual title; television, early influence of 16–17, 17, 24–6; time-lapse photography, discovers 21–2; turns down projects 232; university, misses out on 41–2; see also under individual movie titles

  Jackson, Ron (uncle) 19

  Jackson, William (grandfather) 6, 7, 12, 12

  Jacobson, Tom 239, 240

  Jamboree see Bad Taste 2 and The Lord of the Rings, script

  Jason and the Argonauts 51–2

  Jurassic Park 257, 311

  Kamins, Ken

  agent, becomes PJ’s 231–3; The Frighteners, involvement in 259, 260, 261, 273; King Kong, involvement in 335, 336–7, 339; King Kong, on PJ’s vision for 521; The Lord of the Rings involvement in 314, 316, 320, 322, 323–4, 326, 327, 339, 383, 384, 383, 384, 385, 386, 387, 389, 390, 391–2, 394, 397, 399, 400, 401, 403–4, 406, 478, 482–3, 485, 495, 496–7, 500, 506–7, 510, 514; Miramax, on PJ’s first look deal with 277, 278, 323–4, 326, 327; PJ brand, explains 561; PJ’s approach to Hollywood, explains 333, 559–60; PJ’s inspirational character, explains 475; Planet of the Apes, involvement in PJ’s idea for 276; The World is Not Enough, proposes PJ to direct 398; Weta’s expansion during The Frighteners, explains 308

  Kane, Mike 181

  Kapiti College 26, 30, 35, 40, 71, 72

  Katz, Marty 374–5, 376, 377, 378, 381, 383, 394, 399, 401, 402, 403, 425

 

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