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  • For the 2007 magazine Auto Express, Peter Jackson stars as Himself.

  • For the 1994 show The 8th Annual American Comedy Awards, he plays the part of Undertaker's Assistant.

  • He plays Himself in the 2006 video 911 Mysteries Part 1: Demolitions.

  • In 1988, Peter Jackson stars as Himself in the release of A dos aguas.

  • He plays the part of Derek/Robert in the 1992 movie Annihilation.

  • In 1982, Himself - Winner: Best Picture, Best Director, Best Adapted Screenplay in the movie Ao Sul do Meu Corpo.

  • Peter Jackson stars as Himself in the 1962 Balloon Blues.

  • For the 1999 show Balloon Farm, Peter Jackson plays the part of Himself.

  • For the 1998 video Ballroom Dancing Intermediate, Peter Jackson's character is Himself.

  • In 1987, Peter Jackson's character is Himself in the production of Bellman and True.

  • In 2004, Himself in the release Coast to Coast: Behind the Scenes.

  • In 2007, Peter Jackson is cast in the role of Himself - Best Director Winner/Best Motion Picture Winner [Drama] in the production Deadly Suspicion.

  • For the 2007 video release of Freshly Fucked 4, he stars as Himself.

  • In 2003, Peter Jackson plays Bus Driver in the video Freshly Slayed 4.

  • He takes the role of Himself in the 1996 movie God's Lonely Man.

  • For the 2003 movie Godmother's Present, Peter Jackson is cast in the role of Winner: Best International Film "The Lord of the Rings, The Return of the King".

  • For the 1920 show The Great Clean Up, he plays the part of Himself.

  • For the 1999 movie Green Fire, he takes the role of Himself.

  • In 1988, Peter Jackson plays the part of Himself in the feature The Green Flag.

  • In 2003, he is cast in the role of Himself in the release The Hustle.

  • For the 1984 video release of Hustler 17, Peter Jackson is cast in the role of Himself.

  • For the 1990 show I'm British But..., Peter Jackson plays the part of Himself.

  • In 2000, he plays Himself in the tv series In the City.

  • For the 1970 tv series Inkie komt thuis, he plays Himself.

  • Peter Jackson's Wellywood sign faces legal challenge

    
    Film director Peter Jackson may face legal action over his plans to install a version of the famous Hollywood sign in New Zealand.
    on 2010-03-13 04:47:22

  • 2010 Academy Awards: The Show, The Winners

    
    With another year’s ceremony come and gone, the 2010 Academy Awards announced the big winners during a ceremony at Kodak Theatre in Los Angeles on Sunday night (March 7). Taking home the top prize of Best Picture was “The Hurt Locker,”
    on 2010-03-08 04:49:01

  • And the 82nd Academy Award Winners Are...

    
    ET has your complete list of winners from Sunday night's 82nd Academy Awards! Read on to see who took home an Oscar on film's biggest night (winners' names bolded below). Best PictureWINNER: ?The Hurt Locker? Kathryn Bigelow, Mark Boal, Nicolas Chart
    on 2010-03-08 04:47:19

  • The Films of Peter Jackson

    
    Before he explored the realms of Middle Earth and became a name to trust, Peter Jackson started out in the realm of black comedy aliens and zombies.Fa...
    on 2010-02-18 04:48:54

  • Happily ever hereafter

    
    Director Peter Jackson and Saoirse Ronan on the challenges of adapting Alice Sebold's Lovely Bones for the big screen
    on 2010-02-15 04:46:43

  • Complete List of 82nd Academy Award Nominees

    
    Best Picture?Avatar? James Cameron and Jon Landau, Producers?The Blind Side? Nominees to be determined?District 9? Peter Jackson and Carolynne Cunningham, Producers?An Education? Finola Dwyer and Amanda Posey, Producers?The Hurt Locker? Nominees to be det
    on 2010-02-03 04:47:35

  • Bloom Wants Hobbit Role

    
    Orlando Bloom is desperate to reprise his role as an elf-prince in upcoming LORD OF THE Rings prequel The Hobbit - he's already asked Peter Jackson for a part in the new movie. The British actor landed his breakthrough role playing Legolas in Jackson's 20
    on 2010-01-27 04:49:35

  • Tobey 'The Hobbit' Maguire

    
    Tobey Maguire has reportedly agreed to take the lead role in 'The Hobbit'.The 34-year-old actor - who is said to have signed up to play Bilbo Baggins in the movie adaptation of JRR Tolkien's classic book - had been pursued by producer Peter Jackson and di
    on 2010-01-19 04:48:37

  • Neill Blomkamp Planning District 9 Sequel

    
    Neill Blomkamp has revealed that he is working on a sequel to 2009’s critically acclaimed sci-fi drama District 9.Blomkamp made his feature length directorial debut last year with the movie, with a little help for Oscar winner Peter Jackson who was
    on 2010-01-07 04:48:29

  • Peter Jackson to Be Knighted

    
    Peter Jackson to Be Knighted... Filmmaker Peter Jackson has been knighted in his native New Zealand's New Year's Honours list. The Lord of the Rings director will become Sir Peter Jackson in 2010 after his latest honour was sanctioned by Britain's Queen E
    on 2010-01-02 04:46:29

  • One Title to Rule Them All: Peter Jackson, Patrick Stewart Get Knighted

    
    Call it the Return of the Queen. In a host of end-of-year honors, Academy Award-winning filmmaker Peter Jackson and Star Trek actor Patrick Stewart were both feted with knighthood by...
    on 2010-01-01 04:47:27

  • One Title to Rule Them All: Peter Jackson, Patrick Stewart Get Knighted

    
    Call it the Return of the Queen. In a host of end-of-year honors, Academy Award-winning filmmaker Peter Jackson and Star Trek actor Patrick Stewart were both feted with knighthood by...
    on 2010-01-01 04:47:02

  • One Title to Rule Them All: Peter Jackson, Patrick Stewart Get Knighted

    
    Call it the Return of the Queen. In a host of end-of-year honors, Academy Award-winning filmmaker Peter Jackson and Star Trek actor Patrick Stewart were both feted with knighthood by...
    on 2010-01-01 04:46:55

  • One Title to Rule Them All: Peter Jackson, Patrick Stewart Get Knighted

    
    Call it the Return of the Queen. In a host of end-of-year honors, Academy Award-winning filmmaker Peter Jackson and Star Trek actor Patrick Stewart were both feted with knighthood by...
    on 2010-01-01 04:46:32

  • Knighthood for Rings star Jackson

    
    Peter Jackson has been made a knight in the New Year Honours' list of his native New Zealand.
    on 2009-12-31 04:49:02

  • Peter Jackson knighted in NZ

    
    New Zealand's honours list makes Lord of the Rings film-maker Sir Peter Jackson, and honours former PM Helen Clark.
    on 2009-12-31 04:46:55

  • Knighthood for Lord of the Rings director

    
    LORD of the Rings director Peter Jackson says being knighted is better than winning an Oscar.
    on 2009-12-31 04:47:08

  • Knighthood for Lord of the Rings director

    
    LORD of the Rings director Peter Jackson says being knighted is better than winning an Oscar.
    on 2009-12-31 04:47:18

  • Peter Jackson named a New Zealand knight

    
    The king of Middle Earth is being made a knight for real.
    on 2009-12-31 04:46:27

  • Of fate, heaven and 'Lovely Bones'

    
    Director Peter Jackson gave Susie Salmon a trippy afterlife in his adaptation of the bestseller, a film he says he was destined to make. Director Peter Jackson gave
    on 2009-12-30 04:49:47

  • Of fate, heaven and 'Lovely Bones'

    
    Director Peter Jackson gave Susie Salmon a trippy afterlife in his adaptation of the bestseller, a film he says he was destined to make. Director Peter Jackson gave
    on 2009-12-30 04:49:34

  • Even top Hollywood directors feel like outsiders (Reuters)

    
    Reuters - When six A-list directors -- Kathryn Bigelow ("The Hurt Locker"); James Cameron ("Avatar"); Lee Daniels ("Precious"); Peter Jackson ("The Lovely Bones"); Jason Reitman ("Up in the Air"); and Quentin Tarantino ("Inglourious Basterds") -- gathered
    on 2009-12-16 04:45:09

  • Saoirse Ronan: 'Lovely' future!

    
    By Missy Schwartz Missy Schwartz on one thing critics seem to agree on about new Peter Jackson movie: It's young star is one to watch
    on 2009-12-14 04:45:59

  • Jackson Couldn't Shoot the Lovely Bones' Rape And Murder

    
    Moviemaker Peter Jackson has defended his decision not to show the rape and murder of a teenage girl in his adaptation of Alice Sebold's bestseller The Lovely Bones, revealing he felt "morally conflicted about the wholething". The horrific act is spelled
    on 2009-12-11 04:48:59

  • 'The Lovely Bones' is nearly lifeless adaptation of best-selling book

    
    In adapting Alice Sebold's 2002 novel "The Lovely Bones," Peter Jackson ("King Kong," "Lord of the Rings") siphoned out all the soulfulness that made the author's combination thriller/afterlife fantasy a best-seller.
    on 2009-12-11 04:46:41

  • Review: The Lovely Bones Is Lovely, but Not Meaty

    
    Review in a Hurry: Peter Jackson goes back into Heavenly Creatures territory with this adaptation of Alice Sebold's bestseller about murder and girls' fantasy worlds, but it seems that...
    on 2009-12-11 04:46:12

  • Peter Jackson on 'LOTR' 'dread'

    
    One of EW's Entertainers of the Decade reflects on 2001 Cannes screening: ''We were amazed the footage was so well received''
    on 2009-12-10 04:54:20

  • Review: `Lovely Bones' trades soul for spectacle (AP)

    
    AP - Odd as it sounds, Peter Jackson needed to come down to Earth a bit more in "The Lovely Bones," his adaptation of Alice Sebold's best-seller about a murdered girl looking back on her life from beyond.
    on 2009-12-09 04:45:10

  • Looking back at decade, Peter Jackson tells EW he was ?amazed? at first response to ?LOTR?

    
    Lord of the Rings trilogy director Peter Jackson, one of Entertainment Weekly’s Entertainers of the Decade, shared some surprising memories of the past ten years. Asked, for instance, if  there had been one particular day when he realized he might p
    on 2009-12-08 04:47:28

  • "Bones" hits big screen as mawkish thriller (Reuters)

    
    Reuters - Peter Jackson certainly is familiar with the challenges of satisfying filmgoers' expectations, having helmed three films derived from J.R.R. Tolkien's immensely popular "Lord of the Rings" novel and a second remake of the iconic film "King Kong.
    on 2009-12-02 04:45:09
  • jayembee wrote: > "TrekkiELO" wrote: > Actually, the "Big Five" are generally considered to be Best Picture, > Best Director, Best Screenplay (either original or adapted), Best Actor, > and Best Actress. But adding the Supporting acting categories to that > list... I stand corrected. > 1931/1932: > Fredric March won Best Actor (actually, tied) for DR. JEKYLL & MR, HYDE Horror, not sci-fi. > 1941: > Sidney Buchman, Seton Miller, & Harry Segall won Best Adapted Screenplay > for HERE COMES MR. JORDAN I wouldn't count a movie about dying and coming back as sci-fi. > 1950: > Josephine Hull won Best Supporting Actress for HARVEY A story about an imaginary friend hardly counts as sci-fi. > 1973: > William Peter Blatty won Best Adapted Screenplay for THE EXORCIST Horror, not sci-fi. > 1985: > Don Ameche won Best Supporting Actor for COCOON I stand corrected, sci-fi won once. > 1990: > Whoopi Goldberg won Best Supporting Actress for GHOST > Bruce Joel Rubin won Best Original Screenplay for GHOST See my above comment on Here Comes Mr. Jordan! > 2003: > THE LORD OF THE RINGS: THE RETURN OF THE KING won Best Picture > Peter Jackson'>Peter Jackson won Best Director for same. > Fran Walsh, Philippa Boyen, & Peter Jackson'>Peter Jackson won Best Adapted Screenplay > for same Fantasy, not sci-fi. Signed, Rick Vendl II
  • jayembee wrote: > "TrekkiELO" wrote: > Best Director, Best Screenplay (either original or adapted), Best Actor, > and Best Actress. But adding the Supporting acting categories to that > list... I stand corrected. > 1931/1932: Horror, not sci-fi. > 1941: > for HERE COMES MR. JORDAN I wouldn't count a movie about dying and coming back as sci-fi. > 1950: A story about an imaginary friend hardly counts as sci-fi. > 1973: Horror, not sci-fi. > 1985: I stand corrected, sci-fi won once. > 1990: > Bruce Joel Rubin won Best Original Screenplay for GHOST See my above comment on Here Comes Mr. Jordan! > 2003: > Peter Jackson'>Peter Jackson won Best Director for same. > Fran Walsh, Philippa Boyen, & Peter Jackson'>Peter Jackson won Best Adapted Screenplay > for same Fantasy, not sci-fi. Signed, Rick Vendl II
  • in article Xns97802167E3ECDjayembeesnurchercom@140.99.99.130, jayembee at jayembeenospam@snurcher.com wrote on 3/8/06 1:15 AM: > "TrekkiELO" wrote: > Best Director, Best Screenplay (either original or adapted), Best Actor, > and Best Actress. But adding the Supporting acting categories to that > list... > 1931/1932: > for HERE COMES MR. JORDAN > Bruce Joel Rubin won Best Original Screenplay for GHOST > Peter Jackson'>Peter Jackson won Best Director for same. > Fran Walsh, Philippa Boyen, & Peter Jackson'>Peter Jackson won Best Adapted Screenplay > for same Okay, somebody's gonna say this, so it might as well be me. Cocoon is the only film in there that's science fiction. You might stretch the point to cover Hyde, but the rest are blatant fantasy.
  • "TrekkiELO" wrote: > More than just that is the fact science fiction has yet to win in one > of Oscar's big 5 categories (ie: best picture, director, actor/actress > or supporting actor/actress) despite being nominated many times, Actually, the "Big Five" are generally considered to be Best Picture, Best Director, Best Screenplay (either original or adapted), Best Actor, and Best Actress. But adding the Supporting acting categories to that list... 1931/1932: Fredric March won Best Actor (actually, tied) for DR. JEKYLL & MR, HYDE 1941: Sidney Buchman, Seton Miller, & Harry Segall won Best Adapted Screenplay for HERE COMES MR. JORDAN 1950: Josephine Hull won Best Supporting Actress for HARVEY 1973: William Peter Blatty won Best Adapted Screenplay for THE EXORCIST 1985: Don Ameche won Best Supporting Actor for COCOON 1990: Whoopi Goldberg won Best Supporting Actress for GHOST Bruce Joel Rubin won Best Original Screenplay for GHOST 2003: THE LORD OF THE RINGS: THE RETURN OF THE KING won Best Picture Peter Jackson won Best Director for same. Fran Walsh, Philippa Boyen, & Peter Jackson won Best Adapted Screenplay for same -- jayembee
  • Oscar unplugged March 4, 2006 For every triumph and polished performance, there's a dud speech, a fashion disaster and a star-sized tantrum. The Academy Awards throw up indelible images year after year. Remember Bjork's swan dress and Michael Moore's angry blast at a fictional president? Richard Gere's message for Deng Xiaoping and Nicole Kidman's win by a nose? There was Whoopi Goldberg appearing in white make-up as the African Queen; David Letterman's "Uma, Oprah" moment; Elia Kazan's controversial lifetime achievement award; Peter Jackson with an Oscar in each hand; Roberto Benigni's manic acceptance speech. At Hollywood's ultimate spectacle, there are memorable triumphs and dramas as surely as there are fumbled speeches, fashion disasters and jokes that fall flat. While always long and sentimental - even surreal when you recall a dance tribute to Saving Private Ryan in 1999 - the Oscars remain one of the world's great shows. Part fashion parade, tribute, comedy act, circus, speech night, marketing exercise and eulogy, they bestow two dozen awards on Hollywood's most glamorous and - inevitably - a few bearded, uncomfortable technicians. The academy no longer claims there are a billion TV viewers of its annual event. Since being upstaged by the Grammies claiming 1.6 billion, the viewing audience has been scaled back to a more realistic "hundreds of millions". On Monday (Sunday in the US), the multitudes will be watching to see whether Brokeback Mountain will win best picture, whether that nice Reese Witherspoon can claim best actress and how Jon Stewart compares with legendary host Billy Crystal. It's easy to forget that the Oscars is also a television show that has stagehands scrambling to shift sets, actors ducking out the back for a smoke and friction behind the scenes when a winner's speech runs past the 45-second limit. It's an event aimed at winning American television ratings and requires months of planning, creative decisions and rehearsals. What happens off-screen is the subject of The Big Show: High Times and Dirty Dealings Backstage at the Academy Awards, by Steve Pond, a journalist who has an annual commission to study the inner workings of the Oscars for Premiere magazine. His observations are revealing. In 1995, viewers saw veteran Martin Landau, having won best supporting actor for Ed Wood, get annoyed when his longwinded speech was cut off by the show's orchestra. What we did not see was awards producer Gil Cates getting increasingly agitated in the control truck as Landau ran through a long list of names and ignored the warning "PLEASE WRAP UP" flashing red on the teleprompter. After two minutes, he was still talking. As Landau drew breath, Cates angrily yelled "music", then "f--- him!". We also didn't see the Los Angeles police on Oscars duty, checking nervously on walkie-talkies that Landau had cleared the stage. Measures to deal with gatecrashers and overzealous winners, Pond writes, include blinding spotlights aimed at the stage and even rubber bullets. Had such tactics been necessary, the sight of a blinded Landau cowering under fire would have been even more memorable than Bjork's swan dress. Like the historical awards footage designed to be dropped into the broadcast if there is a disaster on stage, these extreme measures have not been required. So far at least. Over the years, we have seen stars at the Oscars wearing coloured ribbons in support of various causes. We didn't know that, in 1996 at least, there were baskets in the green room filled with different ribbons for stars to grab as they wished - pink for breast cancer awareness, red for AIDS, green for the environment and rainbow for Jesse Jackson's Rainbow Coalition. Just grab one, no previous commitment required. We saw Madonna.html' title='Madonna'>Madonna perform at the ceremony in 1997. But we didn't see the Material Girl arriving at a rehearsal to find a female camera operator seriously injured after falling into the orchestra pit. Told her stage time was delayed, Madonna.html' title='Madonna'>Madonna looked puzzled. "But she's just lying there," she said. "Can't we do this?" In 2000, there was a medley of past Oscar-nominated songs performed by Ray Charles, Isaac Hayes, Dionne Warwick and other notables. At the rehearsal two days earlier, a disoriented Whitney Houston stumbled, fumbled and even started to sing the wrong song, causing a frustrated Burt Bacharach to slump over his piano, head on the keys. Faith Hill joined the line-up overnight and the producers told everyone involved that, officially, Houston had a sore throat. Best not mention those nasty drug rumours. Every year, we admire the stars on the red carpet, glamorously attired and bantering cheerfully with interviewers. What we did not see in 2001 was crew members flipping a coin to see who was stuck with escorting three of the most demanding stars: Barbra Streisand, Jennifer Lopez and Kevin Spacey. It's confirmation, if it was needed, that the gods in Olympus have the same flaws as the humans at home on the couch. And that away from their publicists, they do not always present immaculately. Pond says the Oscars can be an intimidating environment for stars. "When you stand in the wings and you watch them just before they go on stage or watch them walk off with their Oscars, you do get to see the scared kid in every big movie star. "I remember being in the green room listening to Winona Ryder talk about how petrified she was about having to walk across the stage and do an introduction. Angelica Huston came across and said, 'There's nothing to worry about, you look great.' She really needed to calm her down. "I remember Nicole Kidman, when she walked off after winning best actress, she came into the wings with a stage manager who said, 'That was a really great speech.' She said, 'Was it? I have no idea what I just said.' "She's certainly not the only one. If you're backstage or in the wings, you get to see these people at a point of vulnerability that they rarely show at any other time." Access backstage is therefore a rare privilege, especially for a writer with a note-book. "There have been times when I've been asked to leave the room, especially instances related to security," Pond says. "And there have been times when somebody has said to me, 'This has to be off the record' and I've always honoured that... "They're comfortable with the fact that while I might be telling stories they wouldn't necessarily want told, basically I get it right and I put it in context and don't tell stories to be sensationalistic or gossipy." While it's hard to say definitively that Philip Seymour Hoffman's performance in Capote is better than Heath Ledger's in Brokeback Mountain, competition turns the Oscars into a de facto sporting event each year. Pond writes that the awards "ruthlessly turn the stars into haves and have-nots", with far more of the latter than the former. "When those first boxes appear on screen showing the faces of the nominees as the envelope is opened, who doesn't want to catch the losers in that moment of disappointment that proves impossible to hide?" What about the question lingering over the awards for years: was the wrong name read out when Marisa Tomei'>Marisa Tomei won best supporting actress for My Cousin Vinny in 1993, usurping a who's who of favourites? And have there been other times when an Oscar has gone to the wrong person? Standing on both sides of the stage, Pond says, are representatives of the accounting firm PricewaterhouseCoopers with matching sets of envelopes. This pair have also spent days memorising the names and quizzing each other. "They have very clear instructions that if a presenter opens the envelope and says the wrong name, they are to walk on stage, stop the show and announce the correct winner," Pond says. "Having talked to these guys, I have no doubt whatsoever that if anyone other than Marisa Tomei'>Marisa Tomei had actually been the winner that year, PriceWaterhouse would have stopped the show. They wouldn't have let her go through with her acceptance speech." Are the Oscars a true indicator of excellence, especially since the ruthless campaigning that led to Shakespeare in Love beating Saving Private Ryan for best picture in 1999, leaving Harrison Ford to express a rare moment of unhappiness on the Oscars stage when his friend Steven Spielberg lost? "I think if you ask most voters in the academy, they will tell you they are voting for the movies they thought were the most accomplished," Pond says. "Does politics come into it? Of course. Of course friendships come into it. It's impossible to take any group of 6000 people and ask them to vote and not have all sorts of other things influence their voting ... as a whole, the majority are voting for what they consider to be the best achievements." In the process, though, studios aggressively campaign for votes and academy members respond to past events. Pond believes Russell Crowe's experiences reveal how the academy is influenced. "He's an example of how the Oscars aren't always about the performance that they're honouring you for. Sometimes they're about the performance they didn't nominate you for the year before." Part of the reason Crowe won for Gladiator, Pond believes, was that voters thought he should have won the year before for The Insider. "The next year he was nominated for A Beautiful Mind. Maybe he should have won again but he didn't because he'd won the year before for something he probably didn't deserve to win for. "He's not Tom Hanks, he's not Mr Beloved, who can win the award back-to-back and everybody's happy about it." And in case you're wondering, The Big Show also reveals the one question that women regularly ask Oscars staff on the way to the stage. It's not "Is Brad Pitt here?" or even "Do I deserve all this acclaim and wealth for acting in a movie?" It is "Are my nipples even?" ( The Big Show: High Times and Dirty Dealings Backstage at the Academy Awards, by Steve Pond, is distributed by Palgrave Macmillan, $24.)
  • http://www.femalefirst.co.uk/entertainment/118812004.htm Skinny Naomi Watts Concerned Fay Wray December 20, 2005, 6:40:20 FAY WRAY CONCERNED ABOUT 'SKINNY' NAOMI WATTS Late actress FAY WRAY was unsure about NAOMI WATTS taking on her character in the new movie remake of KING KONG - because she found her "a little too skinny". Wray, who passed away last year (04), starred in the original 1933 giant ape movie as heroine ANN DARROW, and met briefly with Watts before filming began on the new PETER JACKSON version. But Wray's daughter VICTORIA RISKIN admits her mother was concerned about the star's weight. She says, "They had dinner together with Peter and his wife. My mother told me she thought Naomi was a lovely person... though maybe too skinny. She thought that would be all right." And Riskin was thrilled by the way director Jackson approached the project. She adds, "I've seen the original probably a dozen times. There was a little moment where Naomi read her lines when they're getting on the ship, and the lines were exactly as they were in the first film. "Overall, I think Naomi's performance had the same intelligence, charm and pluck that my mother had."
  • http://www.boxofficeprophets.com/column/index.cfm?columnID=9319 Box Office Tempered By Long King Kong Weekend Box Office Wrap-Up for December 16-18, 2005 By John Hamann December 18, 2005 Top Ten for Weekend of December 16-18, 2005 Rank Film Number of Sites Percentage Drop Estimated Gross ($) Cumulative Gross ($) 1 King Kong 3,568 New $50.1 $66.2 2 The Chronicles of Narnia 3,680 -52% $31.2 $112.5 3 The Family Stone 2,466 New $12.7 $12.7 4 Harry Potter and the Goblet of Fire 3,185 -43% $5.9 $252.6 5 Syriana 1,775 -53% $5.5 $22.3 6 Walk the Line 2,664 -37% $3.6 $82.5 7 Yours, Mine & Ours 2,723 -32% $3.4 $45.1 8 Brokeback Mountain 69 New $2.4 $3.3 9 Just Friends 1,882 -49% $2.0 $29.4 10 Aeon Flux 2,058 -63% $1.7 $23.1 11 Pride and Prejudice 1,141 -42% $1.5 $29.2 12 Memoirs of a Geisha 52 New $1.2 $2.2 After an opening weekend of $50.2 million and a five-day total of $66.2 million, Kong had better have big legs in the long run. The big ape got off to its much-anticipated debut this weekend, and to the naked eye, the box office result may leave some wondering. However, while the opening seems to be on the soft side, there really is nothing to worry about here. Kong is a good film, albeit long, so Universal will just have to be patient before hitting the December movie lottery. First, let's look at how Kong did over its Wednesday-to-Thursday portion of its opening frame, and find out why the press was bashing Kong's box office before the weekend began. King Kong opened to a slight $9.8 million on Wednesday (if $9.8 million of anything can be considered slight), and followed that up with a $6.3 million gross on Thursday. Instantly, the media wanted to know what was going on, why did Kong fail to break the Wednesday-to-Thursday gross of the Lord of the Rings films, like it was doomed to failure. The LA Times' called the opening Wednesday/Thursday surprisingly low" and a "disappointing domestic haul" two days into Kong's opening. Nikki Rocco, head of Universal's distribution, has made the wrong move all week in response to these comments. After the Wednesday gross, Rocco pulled out the Shrek 2 reference, reminding us how Shrek 2 grossed $12 million on its first Wednesday, before going on to reap $108 million over its first Friday to Sunday. This wasn't smart. Kong was never going to come close to matching Shrek 2's opening weekend gross, considering the animated ogre film had a run time about 1.5 hours shorter than Kong. To make a long story short, the Peter Jackson flick earned about $16 million from its first two days, despite its run time and the fact that the third biggest December opener ever had opened just a week earlier. Who really killed the beast this weekend? Those damned kids from Narnia. After the rocky Wednesday/Thursday start from Kong, things got a little better on Friday. As BOP's Tim Briody noted yesterday, Kong grossed about $14.4 million on Friday, a figure that wasn't low or high. We can't ignore the run time on Kong. At 187 minutes, it was longer than Fellowship of the Ring (178 minutes, $47.2 million opening), and The Two Towers (179 minutes, $62 million opening), but shorter than Return of the King (201 minutes, $72.6 million open). Many theatres were stuck showing Kong once in the afternoon and once in the evening. Fewer showings with successful opens is not new, but they were never as high as the LOTR films. Long films like Titanic (194 minutes) opened strongly at $28.8 million. Pearl Harbor (183 minutes) opened to $59 million. Lord of the Rings was able to keep its run time and keep the big opening weekend grosses, the rest of these films didn't, due to a lack of LOTR fanboys. With a three-hour plus run time, a film needs a group of fans that will go through hell to see a film at all hours of the day, to make it an opening weekend box office super-hit. Run time wasn't the only thing working against Kong this weekend, but we'll get to the others further down in this column. In the end, with its 187 minute run time, King Kong grossed $50.2 million this weekend from 3,568 venues over the Friday-to-Sunday portion of the weekend and $66.2 million since opening on Wednesday. The Saturday gross has been estimated at $19.9 million and the film had a weekend venue average of $14,054, less than The Chronicles of Narnia's opening average of $18,129. The weekend multiplier (Friday gross divided by weekend gross) for Kong comes in at 3.48, a fantastic figure that will give the suits at Universal some relief. A higher number than 3.0 suggests that word-of-mouth is working since the Wednesday opening, and suggests the film has some momentum heading out of opening weekend. It also enforces the idea that run time is holding Kong back somewhat; there are more opportunities for sold out shows on Saturdays and Sundays, and thus the multiplier increases. The best comparison here, as much as I hate to make it, is to Titanic. We know the James Cameron slop-fest had the similar long run time, but like Kong, it also had some serious competition over its opening weekend. When the doomed boat opened on December 19, 1997, it had to wrestle with another much anticipated film, Tomorrow Never Dies, the second Bond feature to star Pierce Brosnan. Titanic had to duel to get the big screens, much like Kong had to do with Narnia. Titanic opened to what seemed to be a slight $28.6 million (only $3.5 million more than TND), and questions were raised after opening weekend as to whether Fox had spent too much on the James Cameron film. Good, bad or indifferent, I think it's important to remember that Titanic made $8.6 million on its opening Friday, much like Kong's Wednesday. There is another comparison though that isn't as kind as Titanic. When Pearl Harbor opened, with its 183 minute run time, it had to face off against the second weekend of the first Shrek movie, which slightly increased its gross in its second weekend to $42.5 million. Still, the Michael Bay WWII story opened to $59.1 million, yards ahead of where Kong is this morning. Like Kong, Pearl Harbor had all the same things working against it, and still opened bigger. However, King Kong's future is a lot brighter. The $135 million Pearl Harbor film was devastated by critics, and not just for its long run time. Pearl earned only a 25% fresh rating at RottenTomatoes, which forecasted its quick decline. Kong, on the other hand, has great reviews. At RT, the $215 million Kong gathered 168 reviews, and of those, only 30 were negative, almost all of them due to the film's run time. That's 82% fresh, and a very long way from Pearl Harbor. When everyone is screeching tomorrow about the low gross of King Kong, please, do me a favor, and remind them that its not a sprint, it's a marathon, and this ape will more than likely have big, big legs. One of the big reasons for a lower-than-expected score from Kong is our film in second place this weekend, The Chronicles of Narnia: The Lion, The Witch and The Wardrobe. It was a power struggle this weekend between these two films, and in the end, both films hurt each other's potential successes, which may wake Hollywood up to the idiocy of scheduling these types of blockbusters over back-to-back weekends. Having "made room for Kong", exhibitors may have shot themselves in the foot this weekend, as Chronicles grossed just $31.2 million from 3,680 venues. That's down a pretty shocking 52% from last weekend. This didn't have to happen. I made mention above of the second weekend of Shrek opening against Pearl Harbor, and having an increase in the second weekend compared to its first frame. I was expecting a drop in the 30-40% range; however, Disney and Walden will have to settle for the bigger plunge. Now, after two weekends of release, The Chronicles of Narnia has earned $112.5 million domestically, and is a long way away from its budget figure of $180 million. It's still too early (especially with the Kong opening) to say where Chronicles will end up, but it will need to improve on this performance drastically over the Christmas weekend in the next frame if its to reach the $300 million. Eight films open or go wide between Wednesday and Sunday of next weekend, so the battle for eyeballs will get even tougher in the days to come. Third this weekend goes to the counter-programming entry, The Family Stone, from Sideways producer Michael London. It was hard to escape the shadow of Kong and Chronicles this weekend, but The Family Stone went against the grain smartly, earning $12.7 million, and setting itself up for a big gross next weekend. The film, which stars the largest amount of solid actors in a comedy since The Royal Tenenbaums, earned a strong venue average of $5,160 from 2,466 venues this weekend. IMDb lists the budget at $17 million, which makes it even more compelling competition for the two blockbusters, as it will match its budget domestically by early next weekend, something neither of the big boys will be able to accomplish. From Fox, this one stars Sarah Jessica Parker, Luke Wilson, Diane Keaton, Rachel McAdams, Claire Danes and Craig T. Nelson. Critically, The Family Stone was split right down the middle, with RottenTomatoes finding106 reviews, 59 of which were fresh, leading to the slightly rotten rating of 56%. This one has enough seasonal family angst to keep it around solidly for another weekend, but then will probably wane in the face of expanding Oscar product. Still, considering the budget, this is going to be another big success for Michael London and the folks at Fox. The rest of the top ten was cut up pretty bad this weekend, as the big three took most of the momentum out of the returning films, except for the Oscar worthy Brokeback Mountain. Before we get to that, though, we have to give Harry Potter props this weekend for cruising past $250 million. In its fifth frame, Harry Potter and the Goblet of Fire grossed $5.9 million, down 43% from the previous weekend. Currently, the Mike Newell flick sits with $252.6 million, and should climb to between $280 and $290 million on the domestic front. Fifth spot goes to Syriana. Audiences abandoned the George Clooney think piece in its second wide weekend, as the film grossed only $5.5 million, down a dreadful-for-drama 53%. Now at 1,775 venues, the current events film could only muster a venue average of $3,078. With its $50 million budget, this WB film is all of a sudden going to have to work very hard over the holidays to recoup the budget domestically. Currently Syriana has grossed $22.3 million from North American markets. Walk the Line slides into sixth spot this weekend, as the Johnny Cash biopic continues its ascent. Walk the Line grossed $3.6 million this weekend, down 37% from the previous frame. I think nominations will keep this one going for a while still, with maybe a drop out of the top ten until Oscar nominations, when it might get a lift back into the top films of the weekend. With $100 million still not out of the question, Walk the Line sits with $82.5 million. I'm happy to announce that Yours, Mine and Ours is almost a memory this weekend, as the Dennis Quaid family fest finishes seventh with $3.4 million this weekend. Cheaper by the Dozen 2, good or bad, will at least remove this one from the top ten. Down 32% from last weekend, Yours has now conned families out of $45.1 million domestically. Eighth spot goes to the aforementioned Brokeback Mountain, which is simply finding huge success despite being at only 69 venues, and carrying a subject matter that some still find shocking. Brokeback Mountain, the story of gay cowboys by The Hulk's director Ang Lee, grossed a stunning $2.4 million from only 69 venues this weekend. That score gives it a deafening venue average of $34,188, a weekend after it scored the largest venue average ever for a live-action film at $109,385. Currently, the film made for only $15 million has already earned $3.3 million despite not seeing more than 70 venues yet. IMDb lists six production companies for Brokeback including Paramount and Good Machine, as well as distributor Focus. Where this one goes is anyone's guess, but if this isn't a wake up call to an under-served market, I don't what is. Just Friends holds on to a top ten spot this weekend (which isn't much of a feat), finishing ninth. The Ryan Reynolds flick grossed $2 million, off a large 49% from last weekend. Friends will be a memory in seven days, as eight new films open wide between Wednesday and Sunday of next week. It spends its last weekend in the top ten with a total so far of $29.4 million, against a budget that was probably half that. Tenth goes to flop Aeon Flux. The Charlize Theron miss grossed $1.7 million in its last weekend on the chart, down a woeful 63% compared to the previous frame. The Paramount flick now has a gross of $23.1 million against a budget in the $60-80 million range. In limited release, Memoirs of Geisha finished 12th with a gross of $1.2 million from only 52 venues this weekend. That's good for an average of $23,750 and a total so far of $2.2 million before going nationwide next weekend. The Producers didn't fare as well. The comedy grossed $156,000 from six venues this weekend, good for an average of $26,000. Overall, for the second weekend in a row, the top ten managed to get ahead of last year. Last year, the top ten films grossed about $95 million, with the top three films grossing about that much this year. Over the December 16-18, 2005 weekend, the top ten at the box office grossed $118.5 million. Happy Holidays!
  • Jimmy@the.raunch wrote: > If they figure Jackson is making too much money and they think he won't complain > too much if they steal some of it back. > Corporations are like this. The problem with the guys who run Hollywood, is that they are under the notion that "God gave them a license to steal"!
  • CliffB wrote: > Marlene Blanshay wrote: > He looked like some unkempt greasy wino hobbit/troll at the last > Oscars. Of course running the table and winning them all lessened the > load. Actually, how heavy is Oscar? He had to lug quite a few around to > the various post-party buffet tables. Maybe he used them as dumbbells > this year. > well, that greasy looking hair and awful glasses.. plus his stomach popping out of his suit. Lugging that falstaffian belly around is abig load, small wonder he was huffing and puffing. In an industry where everyone is always dieting, being that big is very unsusual, even for a director! How many really fat directors are there? The only one i can ever think of was Alfred Hitchcock.
  • > loss. He really looks incredible...and he wasn't wearing those awful > outdated glasses. He actually isn't a bad looking guy! It's weird, but I think he looks a lot like Dominic Monaghan now. --Amy
  • Marlene Blanshay wrote: > Rick in Oz wrote: > loss. He really looks incredible...and he wasn't wearing those awful > outdated glasses. He actually isn't a bad looking guy! I guess he tired > of being out of breath all the time. I remember him huffing and puffing > after taking two steps up to get his Oscar. I figured at that rate he'll > be dead in five years. He pretty mucb saved his life! He looked like some unkempt greasy wino hobbit/troll at the last Oscars. Of course running the table and winning them all lessened the load. Actually, how heavy is Oscar? He had to lug quite a few around to the various post-party buffet tables. Maybe he used them as dumbbells this year.
  • Rick in Oz wrote: > http://www.imdb.com/news/wenn/2005-12-09/ > months. The Lord Of The Rings director stunned journalists at promotional > interviews for his new movie King Kong with a svelte new look, a million > miles from the overweight film-maker made famous by the fantasy trilogy. > Jackson claims the grueling editing process on King Kong, which saw him > working 21-hour days, helped him slim. He says, "I just got tired of being > overweight and unfit so I changed my diet from hamburgers to yogurt and > muesli and it seemed to work. It was just cutting out junk food." I saw him on Dateline... i was sondering what caused the big weight loss. He really looks incredible...and he wasn't wearing those awful outdated glasses. He actually isn't a bad looking guy! I guess he tired of being out of breath all the time. I remember him huffing and puffing after taking two steps up to get his Oscar. I figured at that rate he'll be dead in five years. He pretty mucb saved his life!
  • "de Fragile Warrior Sports Supplies" wrote in message news:43998a83$1_1@newspeer2.tds.net... > 2#/week on a good (good = not fad) diet. Men often seem to shed weight > faster than that, too. If all he did was change his diet that's pretty impressive weight loss, actually. Even moreso considering he's been working an awfully difficult schedule for the past year or more, with King Kong. I don't see Jackson as the type who would be in the gym 3x/week.
  • > http://www.imdb.com/news/wenn/2005-12-09/ > 10 > months. Good for him but it not so staggering. It's considered safe to lose 2#/week on a good (good = not fad) diet. Men often seem to shed weight faster than that, too.
  • http://www.imdb.com/news/wenn/2005-12-09/ Jackson Sheds Weight Director Peter Jackson has lost a staggering 70 pounds in weight in just 10 months. The Lord Of The Rings director stunned journalists at promotional interviews for his new movie King Kong with a svelte new look, a million miles from the overweight film-maker made famous by the fantasy trilogy. Jackson claims the grueling editing process on King Kong, which saw him working 21-hour days, helped him slim. He says, "I just got tired of being overweight and unfit so I changed my diet from hamburgers to yogurt and muesli and it seemed to work. It was just cutting out junk food."
  • On 6 Dec 2005 10:20:51 -0800, "bklyntv@yahoo.com" wrote: >bankable directors? Sure they are that stupid. If they figure Jackson is making too much money and they think he won't complain too much if they steal some of it back. Corporations are like this.
  • http://www.femalefirst.co.uk/entertainment/115362004.htm King Kongs Peter Jackson Death Scene Dilemma December 7, 2005, 7:02:51 PETER JACKSON'S TEARS FOR KING KONG Director PETER JACKSON refused to edit KING KONG's iconic death scene in the movie, because he had become too emotionally attached to the giant gorilla to watch his demise. Jackson has re-told the classic ending of the previous Kong films, in 1933 and 1976, which sees the humongous ape fall to his death from the top of New York City's Empire State Building. When it came for Jackson to edit the final scene, the New Zealander admitted he became too upset at the thought of watching his beloved computer generated creature die. Jackson says, "Normally, when I mix a film, I would watch it over and over again. "The day we were doing this particular reel of film, I had to leave the room because I couldn't sit there and watch King Kong getting killed. "So I said I'd let the rest of the team mix the scene and I'd come back at the end of the day. I needed to get some fresh air because it really did affect me. "When you are involved in the project, you get to point where you don't want King Kong to die."
  • The Starmaker wrote: > King Con > that Peter Jackson'>Peter Jackson is suing New Line Cinema > for money stolen from him. Around a hundred million. > "...charging against the production." > "Hey, that money went to the cost of production!" > with "King Kong" this month! > think they are going to do with that money? > he know that? Is he that dumb? Or is New Line really stupid enough to alienate one of Hollywood's most bankable directors?
  • HUH! "The Starmaker" wrote in message news:4395CC4F.4B79@ix.netcom.com... > King Con > that Peter Jackson'>Peter Jackson is suing New Line Cinema > for money stolen from him. Around a hundred million. > "...charging against the production." > "Hey, that money went to the cost of production!" > with "King Kong" this month! > think they are going to do with that money? > he know that? Is he that dumb?
  • King Con I'm sure you already heard by now that Peter Jackson'>Peter Jackson is suing New Line Cinema for money stolen from him. Around a hundred million. He says they *hide* the money by "...charging against the production." That means that they say things like "Hey, that money went to the cost of production!" Cooking books stuff..you know how these gonifs are.. But this Peter Jackson'>Peter Jackson is coming out with "King Kong" this month! I don't get it. What does Peter Jackson'>Peter Jackson think they are going to do with that money? They are going to steal it from him again, doesn't he know that? Is he that dumb? Where the hell is New Zealand?
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