Hoodfellas
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It was more a labour of love - they called it the world's largest home movie - than a slapdash effort, with no guarantee of success. Jackson and Fran Walsh carried substantial debt. But the real benefit of filming in New Zealand was one that New Line wouldn't have anticipated or even necessarily approved of. New Line is a hour flight away from Auckland and another hour from Wellington.
New Line was seeing dailies, which mainly meant actors standing in front of blue screens. They weren't getting any of the rendered footage, so they wouldn't have been hearing much sound. It would have looked like nothing to them. They weren't shown a lot of things.
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The distance helped Jackson keep an enormous amount of control. He couldn't have had that in Hollywood. Wellington's even more remote than Prague or Toronto or Vancouver.
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And it was unusual to do post-production here - typically that work goes back to LA. They were insisting that there's no way a little company in New Zealand could possibly do Gollum or some of the big effects. There were all kinds of tests that Weta had to pass. One of the executives from New Line, Carla Fry, came down here and went over all the facilities and saw everything that they had done up to that point and decided, yes, they can do it.
She's often cited as the unsung hero of Lord of the Rings. Otherwise it would have all gone back and been a very different sort of film, I suspect. In the bigger picture, what is all this regional expertise doing to Hollywood's monopoly?
Does it undermine it? Weta Digital is now one of the world's top three effects houses. Well, there can be innovations in production and exhibition but the real struggle is a "Darwinian" one, Bordwell says - "As long as they control distribution, Hollywood wins.
Translation of "Hoodfellas" in English
A film can be made anywhere, but it goes to Hollywood and gets branded by a US distributor. It comes out of Hollywood, it's got New Line's logo on it. But this film, because it's cut free from time and place, in an imaginary land - a little bit of England mixed in, but also the landscape of New Zealand - it seems to have a much more internationalist sense. It's easier to cut it free of its Hollywood sources. This much is true: Lord of the Rings was a personal blockbuster. The rule seems to apply here, too: They both seem to admire Jackson's fanboy savvy.
Think of how George Lucas alienates Star Wars fans by guarding the material "very, very jealously". Now think of the "looser attitude" of Jackson posting video production diaries of King Kong online.
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Now, people might expect film academics to be talking about Jean-Luc Godard or films from Iran - they might be surprised about this blockbuster interest. The top two films for me of are Godard's Passion and Mad Max 2. Their catholicism means that they even stand against the popular critical tendency to attack Hollywood over its dependence on sequels - this year, everything from the third Shrek to the fourth Die Hard has taken a kicking. It could be bad, it could be good. The Odyssey is a sequel to The Iliad. It doesn't care about logic.
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It's about exploring imaginative alternatives and pleasing the audience. Rationality, plausibility - all that stuff can go hang. If there was a rule banning sequels, think of all the great Hong Kong movies we'd be missing. And isn't the third Indiana Jones film the best?
It strikes Bordwell that the opposition to sequels has some kinship to the baby boomers' boring enshrinement of the years to as US cinema's golden age the years of "easy riders and raging bulls" , when so much good stuff actually emerged in the 80s. There was Lynch, Zemeckis, Burton.
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Really, middlebrow cinema is the enemy. Their scepticism about the 70s is encapsulated in a book that they like - Blockbuster , by Tom Shone - which Bordwell paraphrases: The Hours or The Two Towers?
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