by Brian Sibley
Walsh, Marty 181, 182, 185, 187, 501, 559
Warrior Season, The 220, 281
Waterloo 32–3
Watson, Jean 19–20
Watts, Naomi 534–5, 537, 546, 547
Weaving, Hugo 463
Weiner, Zane 492
Weinstein, Bob 261, 262, 350–1, 353, 376, 377, 378, 380, 381
Weinstein, Harvey 261, 262, 277, 289, 290, 298, 314–15, 316, 323–4, 325, 326–7, 328, 338, 339, 350–1, 352, 377, 378, 380, 381–2, 383, 384–5, 386–7, 392, 407, 499, 500
Wellington Film Festival 280
Weta Workshop xii, 13, 81, 83, 162, 178, 221
birth of 201, 242, 243, 257–9, 371; difficult periods 337–8, 339–40; editing 504; The Frighteners 306, 308–9, 321–2; growth in 308–9, 311, 321–2, 337–8, 340, 524; King Kong 330–1, 333, 337–8, 524–5, 546–7, 548; The Lord of the Rings 357, 360, 364–5, 372, 374, 389, 390, 397, 399, 403, 418, 422, 460–1, 477, 478, 479, 489, 514, 523; ‘Massive’ effects programme 365, 382, 389, 477; Return of the King 308–9; viewing theatre xii
Willerton, Norm 275
Wilson, Stan 288
WingNut Films 108, 109, 122, 184–5, 255, 257, 258, 261, 262–3, 264, 269, 274, 299–300, 335, 336, 492
Winslet, Kate xii, 243–4, 245, 247, 248, 249, 251, 252, 274, 278, 303, 534
Wizards 47
Wood, Elijah 99, 427, 432, 434, 437, 452, 453, 455, 455, 456, 463, 465, 492, 498–90, 537
Working Title Films 394
World is Not Enough, The 397–8
Worzel Gummidge Down Under 104–5, 105, 106, 107, 111, 113, 116, 118
Wray, Fay xiii, 317, 530, 531, 532, 534
Wren, Doug 131
Xena 339, 469
Zaentz, Saul 314, 315, 316, 323, 339, 340, 393, 406
Zemeckis, Robert 232, 259, 260, 261, 265, 269, 273, 277–8, 290, 303, 304, 309, 310, 320–1, 323, 331, 340, 374, 375, 393, 419, 564
Acknowledgements
To write the official biography of a living subject, obviously requires the subject’s approval and I have been fortunate firstly in having Peter Jackson’s confidence in my ability to write his story and his full co-operation throughout the process. The pages of this book are a testimony to Peter’s willingness to discuss his life and career with characteristic candour.
Peter was also insistent that I should interview others who have known and worked with him across the years and I am deeply indebted to the following who (whether or not they appear by name or are quoted in these pages) have helped shape my perception and understanding of Peter Jackson and, in turn, the telling of his story: Sean Astin, Tim Balme, Ray Battersby, Sean Bean, Orlando Bloom, Richard Bluck, Alun Bollinger, Costa Botes, Billy Boyd, Philippa Boyens, Adrien Brody, Jed Brophy, Bryce Campbell, Erica Challis, Cameron Chittock, Randy Cook, Carolynne Cunningham, Ngila Dickson, Alex Funke, David Gascoigne, Ken Hammon, Ruth Harley, Chris Hennah, Dan Hennah, Tony Hiles, Bernard Hill, Ian Holm, Mike Horton, John Howe, Mladen Ivancic, Ken Kamins, Marty Katz, Peter King, Alan Lee, Christopher Lee, Andrew Lesnie, Rob Lewis, Michael Lynne, Mary Maclachlan, Ian McKellen, Grant Major, Murray Milne, Mike Minett, Dominic Monaghan, Viggo Mortensen, Danny Mulheron, Peter Nelson, Pete O’Herne, Mark Ordesky, Barrie Osborne, Miranda Otto, Peter Owen, Mary Parent, Hammond Peek, Rick Porras, George Port, Terry Potter, Chris Prowse, John Rhys-Davies, Christian Rivers, Tania Rodger, Sue Rogers, David J. Schow, Chuck Schuman, Michelle Scullion, Jamie Selkirk, Andy Serkis, Kiran Shah, Bob Shaye, Lindsay Shelton, Howard Shore, Chris Short, Stephen Sinclair, Craig Smith, Richard Taylor, Liv Tyler, Karl Urban, Pierre Vinet, Fran Walsh, Marty Walsh, Hugo Weaving, David Wenham and Elijah Wood.
I am also grateful for assorted assistance and kindnesses to Gino Acevedo, Dan Arden, Mark Burman, Robert Catto, Rose Dority, Joseph D’Morais, David Drummond, Colin Duriez, Lisa Farqhuar, Nick Grant of OnFilm, ‘Hamish’ of The Ultimate Bad Taste Site, Richard Holliss, Belindalee Hope, Jeff Kurtti, ‘Lewman’ of The Bastards Have Landed, Tracie Lorie, Ian Mackersey, Leonard Maltin, Kevin Miller, Sandra Murray, Carter Nixon, Michael Pellerin, Malcolm Prince, Gareth Shannon, Debbie Smith, John Ward and Norman Wright.
Special thanks go to Jan Blenkin, Matthew Dravitzki and Josie Leckie at WingNut Films; Sue Yates, formerly at the New Zealand Film Archive, for vigorous and determined help with research into Peter Jackson’s early films; and to Linda Klein Nixon, Jill Crouch and Barbara Boyce for their painstaking transcription of interviews.
I am particularly grateful to David Brawn at HarperCollins for unstinting support and unfailing good humour throughout the three years during which this book slowly found its way to completion; to my industrious editor, Chris Smith, for his tireless attention to detail in dealing with a text that was repeatedly being passed halfway round the world and back; to my good friends, Ian Smith and Jane Johnson, for support, above and beyond the call of friendship; and, finally, to my agent, Vivien Green, and my partner, David Weeks, without whose ceaseless advice, help and encouragement, I would undoubtedly never have completed this journey.
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With Alison Sage
A Treasury of Narnia: The Story of C. S. Lewis
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The Disney Studio Story
Walt Disney’s Mickey Mouse: His Life and Times
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Copyright
HarperCollinsEntertainment
An Imprint of HarperCollinsPublishers
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Hammersmith, London W6 8JB
www.harpercollins.co.uk
Published by HarperCollinsEntertainment 2006
Copyright © Brian Sibley and Peter Jackson 2006
Archive and Pre-existing material copyright © Peter Jackson 2006
Chapter 7, pages 379 & 80 – Various quotes from Miramax memo to Peter Jackson – © 1998 Miramax Film Corporation.
Lyrics by John Lennon/Paul McCartney © Northern Songs/Sony/ATV Music Publishing
Brian Sibley asserts the moral right to be identified as the author of this work
A catalogue record for this book is available from the British Library
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EPub Edition © JANUARY 2010 ISBN: 978-0-007-36431-2
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