Peter Jackson has been explaining his decision to shoot The Hobbit: An Unexpected Journey in 3d High Frame Rate.
Sir Peter writes:
We live in a rapidly advancing digital age. Technology is being continually developed that can enhance and enrich the cinema-going experience. High Frame Rate shooting for a mainstream feature film has only become viable in the last year or two, and yet we live in an age of increasing home entertainment. I started shooting The Hobbit films in HFR because I wanted film audiences to experience just how remarkably immersive the theatrical cinema experience can be.
I think HFR is terrific. As a filmmaker, I try to make my movies immersive. I want to draw the audience out of their seats, and pull them into the adventure. That is the experience I hope to offer moviegoers no matter which format they choose at the theatre. While I personally prefer watching The Hobbit: An Unexpected Journey in HFR 3D, I can assure you that every format will provide you with an incredible and immersive experience.
Peter’s last sentence says it all. I have seen The Hobbit: An Unexpected Journey in all three formats - 3D High Frame Rate, 3D and 2D. What is so spacial about seeing a film likeThe Hobbit in the cinema is not the format but the shared experience that only a cinema can provide. From the intensely electric atmosphere that captivates the entire audience when Gollum appears, to the communal joy when Thorin Oakenshield finally accepts Bilbo Baggins into the company - this can only be experienced as part of a larger audience. This is the real magic of the cinema.
What an amazing year this has been at the cinema! Today I saw another truly inspiring film, demonstrating so eloquently the unique power of the film medium.
33 Postcards tells the compelling story of Mei Mei (played by Zhu Lin), a 16 year old Chinese orphan whose life has been transformed by donations from her Australian sponsor Dean Randall (played by Guy Pearce). Dean sends Mei Mei postcards that paint an idyllic picture of his family life. Life changes irrevocably for both Mei Mei and Dean when her orphanage choir travels to Australia to participate in an Australian choir festival.
Mei Mei takes seeks out Dean when she arrives in Australia and discovers the shocking truth. Dean is not the park ranger and family man of his postcards, he is in prison with a manslaughter conviction. Yet for Mei Mei, Dean is still her saviour and her last chance of finding a real family.
At the heart of 33 Postcards is the relationship between Mei Mei and Dean, two lonely souls on the fringe of society. At times it’s a heartbreaking right of passage, with Mei Mei caught up in the criminal underworld and Dean a victim of intimidation in prison, but a deeply rewarding journey.
This is independent film making at its very best.
As a footnote, 33 Postcards won awards at the Melbourne International Film Festival and the Sydney Film Festival. I entered Amiri & Aroha in both these festivals. I feel humbled to have been in competition with such a brilliant film. Congratulations to Pauline Chan and her team for an inspiring piece of creative cinema and a very worthy winner!
The new poster for the 50th Anniversary restoration of Lawrence of Arabia which premieres at the Cannes Film Festival this week
My first visit to the cinema as an impressionable teenager was a defining moment in my life. I remember so vividly how that dark and dingy cinema was transformed into the desert and I was spellbound. A truly life changing experience, from that day onwards I knew I had to make films.
Lawrence of Arabia has been my all time favourite film since that first visit to the cinema. I can’t wait to see the new restoration both in the cinema and the long awaited high definition Blu-Ray release.
My life seems to have been taken over by my films recently, especially as the Amiri & Aroha trilogy progresses. With so much of my time tied up with film making, I could be forgiven for cursing the day I entered that cinema, particularly when I see colleagues enjoying their leisure pursuits! But when I experience the joy of competing a film, I know that I owe Lawrence of Arabia - and David Lean - a great deal more than words can express.
The long awaited release of Lawrence of Arabia on Blu-Ray in a beautifully packaged collector’s edition - coming soon!
This is me circa 1986 at the Schoolhouse set from Ryan’s Daughter
Our weekly trip to Dunedin for the David Lean season continued this week with Ryan’s Daughter.
Ryan’s Daughter is one of those films which over the years has developed a huge cult following and has become one of cinema’s icons. Books have been written on the legendary trials and tribulations of its production, and critical reappraisal has assured it a place as David Lean’s most underestimated film and his undiscovered masterpiece.
Ryan’s Daughter was tremendously influential on me as a young film maker, coming as it did in 1970, whilst I was planning my first film Thursday’s Child.
I am not alone in making a pilgrimage to the locations where this extraordinary film was made. The school house still stands, over 40 years after the film was made!
Ryan’s Daughter was hugely influential on me as a young film maker.
David Lean’s masterpiece was released in 1970, during my last year at school. I was preparing my first film, Thursday’s Child when I first saw Ryan’s Daughter at the Empire Leicester Square in London, at the time said to have had the world’s best 70mm projection. I was spellbound from those opening titles, with dawn breaking over the Irish coast, one moment exquisitely beautiful, the next menacing and threatening, like the opening of a great novel.
Whilst the projection and print quality at the Rialto Dunedin was no match for the Empire Leicester Square, it was wonderful to see this film, with its unparalleled 70mm cinematography, back where it belongs on the giant cinema screen!
No other film, in my view, has so effectively captured nature’s permanence over human frailty.
The Rialto David Lean season in Dunedin continued this week with Doctor Zhivago. Often glibly dismissed as Lean’s most commercially successful work, today’s screening emphasized to me that Doctor Zhivago is an immensely personal and powerful piece of cinema. Contrasts abound; Lean shot the love scenes harshly and the war scenes romantically. Contrary to those glib put downs by the critics, Lean gives us striking characters in a gripping plot. It would perhaps be surprising to those critics that Lean in fact initially wanted to film Doctor Zhivago in black and white for stark effect. Yet Lean clearly felt there was more he wanted to do with Zhivago, even in the last days of his life he talked about his wish to remake Doctor Zhivago.
What a special father’s day treat for me, the chance to see Lawrence of Arabia, my all time favourite film again on the big screen, the film that started my film making journey…
The Rialto Cinema David Lean season started in Dunedin today and could not have been a more perfect father’s day gift for me. David Lean and Lawrence of Arabia have been such an important part of my life and a huge influence on my work.
Mark was really excited to come with me to see Lawrence of Arabia today. Like so many young people today, Mark was used to seeing the David Lean films on television through DVD and video. This was the first time Mark had seen a film in the cinema with an overture and an intermission. It was marvelous to watch Mark transfixed by this wonderful film, just as I had been all those years ago as an impressionable teenager.
I wrote about my discovery of cinema through Lawrence of Arabia for an occasional series on favourite films in Movie Maker magazine in the mid 1980s.
Read my article My Favourite Film reprinted from the December 1984 issue of Movie Maker here.
Life has been so hectic recently, with the completion of Amiri & Aroha and the excitement of our Best Shorts competition success, that we have not had the chance to explore the Kurow area as we had planned when we arrived here in January. With the Queen’s Birthday long weekend off duty, we set out to explore the beautiful Waitaki Valley.
High on our list was a visit to the Elephant Rocks near Duntroon. This magnificent site was used as the location for Aslam’s camp in Andrew Adamson’s film of The Chronicles of Narnia: The Lion, the Witch and the Wardrobe. The location has so much atmosphere; you can almost feel the presence of Aslam and the White Witch hiding behind the rocks!
It is wonderful news that Andrew Adamson is returning to our district to shoot his new film Mister Pip in Oamaru in August. This is great news for Oamaru and the Waitaki region. I do hope to have the opportunity to see this great director at work.
Andrew Adamson, who brought us Shrek as well as The Chronicles of Narnia, is a Kiwi icon and something of an unsung hero. It will be great to have him back home in New Zealand. Regarding Mister Pip, Adamson says he started chasing the rights for the book immediately after reading it. "I read it on a flight back to LA and I actually got to the other end and started chasing the rights. It's about the power of imagination, about the power of story. It's about the power of being able to use your imagination to overcome obstacles."
I am really looking forward to Mister Pip.
Good films can only be made by dedicated maniacs - David Lean
It was with great sadness that I learnt of the passing of Eddie Fowlie today, on the eve of publication of his memoirs David Lean’s Dedicated Maniac - Memoirs of a Film Specialist.
Eddie Fowlie was one of the last surviving members of David Lean’s Dedicate Maniacs, the faithful band of film makers who helped the great director achieve his elusive vision. Eddie also became on of David Lean’s closest personal friends.
Perhaps Eddie Fowlie will be best remembered for creating the Russian winter in a Spanish summer for Doctor Zhivago, creating vast snowy landscapes using tons of crushed white marble dust. Or perhaps even more remarkable, creating the idyllic woodland setting for the love scene in Ryan’s Daughter inside an old barn!
Your work lives on Eddie, in these magnificent films.