Production Predictions: "The Hobbit" (2011)

Unfortunately mislabeled under the "Juvenile Fiction" tag for a long time, "The Hobbit" is a dark, brooding book when read with Peter Jackson's LOTR Trilogy in mind.

Here is my prediction about how Peter Jackson, and more importantly Director Guillermo Del Toro, are going to tackle the adaptation of J.R.R. Tolkien's "The Hobbit."

"The Hobbit" will be Chapters 1 through 8.

"The Hobbit: Part II" will be chapters 9 through 19, plus an added epilogue, bridging the gap between "The Hobbit" and "Fellowship of the Ring."

How do I know that? If I know Peter Jackson, LOTR, and film, I know that Jackson cannot resist splitting the films at the end of Chapter 8.

Here's why.

After the climactic battle sequence in the Spider Lair of Mirkwood, after what should be an amazing cinematic sequence (imagine the Shelob sequence in "Return of the King" times 50 more spiders), the characters need a much deserved rest as they attempt to get back on the trail. Thorin Oakenshield has been captured by the Elven King in Mirkwood. The fellowship, for a lack of a better word, has been broken.

Bilbo, the protagonist of the story, finally emerges as the unlikely hero as he slays a spider with his sword (who he calls "Sting") and frees the dwarves from bondage of the rest of the spiders. He has done something brave. He has done something heroic.

Thorin is now out of the picture and the Dwarves look to Bilbo for leadership.

Balin (a dwarf), as if he is possessed by Gollum, starts speaking in his voice and says...

"Gollum! Well I'm blest! So that's how he sneaked past me is it? Buttons all over the doorstep! Good old Bilbo--Bilbo--Bilbo--bo--bo--bo..."

Cut to Black. Cue Credits. To Be Continued...(Much like the end of "The Two Towers").

Also, as Tolkien even says at the end of Chapter 8, "...but that belongs to the next chapter and the beginning of another adventure in which the hobbit again showed his usefullness."

What else will we see in "The Hobbit"?

Well, for one thing, you will see another storyline involving Gandalf. In the novel, Gandalf conveniently disappears, and reappears througout the narrative.

That is going to change. For one thing, you will see Gandalf's disappearences be explained. He is going off on a search quest. A shadow is lingering in the East. He has been summoned to the Second White Council. Where we will once again see Elrond, Galadriel, and Saruman. He is finding clues about someone called The Necromancer (I won't spoil it for you). Hint, hint, you may see a quick image of the rebuilding of the Dark Tower of Barad-dur (just like the half-completed Death Star in Jedi).

Adaptation Issues:

1) The Dwarves. Cut them down from 13 to 4 or possibly 5. It is comical (and not in a good way) to see 13 dwarves come through Bilbo's door (ONE-BY-ONE) in the opening of the film. It doesn't fit unless you are going to revert back to the Juvenile Fiction tag. I know, some fans out there may call it sacrilege to not include all 13 Dwarves, just like they were blowing hot-air over the fact that Peter Jackson did not include Tom Bombadil in Fellowship, but they'll get over it. Keep the Dwarves that matter: Thorin, Balin, Gloin, Bombur, and Dwalin.

Bifur, Bofur, Dori, Nori, Ori, Fili, Kili, & Oin (I'm not making these names up) can be seen in the Extended Edition to make everyone happy.

2) Take away Smaug's ability to speak! I know, I'm just defiling the whole book now. But the alternative is a speaking Dragon. Okay. That is lame. Like Sean-Connery-Dragonheart-lame. I know that the riddle between Smaug and Bilbo is critical to the story, but, you have to kill your darlings here. Keep the riddle-game between Bilbo and Gollum. Axe Smaug/Bilbo.

3) The Battle of the Five Armies. This is not actually an issue but it is going to be awesome. Combine the Battle of Pelennor Fields and The Battle of Helm's Deep and make it an epic, half-hour, Saving-Private-Ryan-D-Day-esque bloodbath.

4) The Title: "The Hobbit 2", to quote Lee Donowitz from "True Romance", when asking Elliot Blitzer what they plan on calling the sequel to "Coming Home in a Body Bag" (while watching the dailies of the film)...

Lee: What does Joe like?
Elliot: Um...”Body Bags 2".
Lee: Oooo, that's imaginative. I've got more taste in my penis.

"The Hobbit: Part II". Just like "The Godfather Part II."

I'm really looking forward to this film and I hope the collab-combo of Del Toro and Jackson will make it a classic.

Classic Trailers: "The Shining" (1980)

Stanley Kubrick had two filmmaking commandments. The first commandment was (paraphrasing): that everything had been done before, but it was his responsibility to do things better.

The other commandment Kubrick called the "economy of statement." In Kubrick's mind, every scene, sequence, or composition had to be broken down into its most basic elements first. Then, he would stage/block the sequence that would best explain his intent. Now, Kubrick started off as a photographer. In his creative mind, he saw everything visually first, through the lens, through exposure. Everything was framed.

It was critical for him to economically state the intent of every scene, sequence, and composition.

He was obsessive about the economy of statement and the following "teaser" trailer for "The Shining" (1980) perfectly reflects his second commandment.



Over black.

The ominous score/music of Wendy Carlos & Rachel Elkind kicks-in.

Long shot. Hallway. Twin red, elevator-doors. A chandelier splits the doors. Twin couchs symmetrically positioned. Two paintings symmetrical. The twin motif has been carried over from the two dead twin girls that was see earlier in the film. From Jack Torrance's dual-personality.

The credits, starting with the title "The Shining" in white text, scroll-up.

The music swells. There is a distorted noise. It sounds like a swarm of locusts. A plague of ghosts.

The credits continue their upward climb. This suggests that the elevators may be rising in the shafts. Is something coming?

The music is louder. The distortions are more frequent. Menacing.

Finally, when the credit "Directed By Stanley Kubrick" is just about to cross the top part of the frame and the chandelier, an unknown liquid pours out of the left-elevator door.

It is blood.

The blood flows profusely down the hallway. It splatters against the walls.

The music reaches a fever pitch.

The blood collides with the camera.

The blood drips down the camera. It acts as a filter. The image is now distorted. Congealed.

The couch floats aimlessly in the river of blood.

The title once again appears.

The score has reached its zenith.

Quick cut to a paperback cover of the novel.

Redrum.

REDrum.

RedRUM.

REDRUM.

Opening Sequence: "8 1/2" (1963)

After the smashing international success of "La Dolce Vita" (1960), Federico Fellini fell into a deep, drawn out "director's block" (his words).

A paralyzing, inspirational void.

A phantom zone of creativity.

At that point in his career, Fellini always picked up where he left off. He never had a large gap between films. His next film was always gestating in his mind as he was finishing up post-production on his current film.

However, something happened after the long, post-production process of "La Dolce Vita."

Fellini had no clue which film he was going to do next. He was lost. He poured so much of what he wanted to say in "La Dolce Vita."

His fear of losing his creative voice had come true.

Just sit back and imagine this for a minute. Put yourself in Fellini's shoes. Ever since he was young, he had a gift of imagination and creativity. He had made 7 1/2 (one co-directed) films over a period of 10 years. He was on top of the world of cinema. He was the maestro.

And all of a sudden, it was gone.

Eventually, Fellini had the idea of making a film about a writer going through writer's block, but that morphed into a director going through director's block in what would become his masterpiece, "8 1/2" (1963).



This is a traffic jam as Purgatory.

This is a film director, Guido Anselmi (Fellini's alter-ego), having a mid-life crisis in pre-production.

After the opening credit sequence, we start out beyond the back glass of Guido's moving car.

The car stops in a bumper-to-bumper traffic jam.

A man, in the backseat of the car in front of Guido, looks directly at him. This will become an ongoing theme of the opening sequence. All eyes on Guido.

A sweeping shot of the jam. Notice how Guido's car is in shadow, underneath the tunnel. Whereas, the light of the exterior is a short distance away. However, in this type of limbo, it can be an eternity before he reaches the light.

The cause of the jam is ambiguous. It's not important in Fellini's world. The point of this introduction is the jam, not its cause.

Guido looks to the left and sees a man, in another car, looking at him. Freeze frame. He then sees a woman asleep at the wheel. Freeze frame.

Pan right. Guido grabs a hanky and cleans a smudge on his windshield. The problem? There is no smudge. The windshield is flawlessly clean.

More people are staring at him.

Then, a mysterious smoke appears inside his car.

Guido begins to panic. He turns a dial on his center console. Nothing. He attempts to open the driver's door. Nothing.

Then, the terrifying shot of a bus-load of headless arms. People continue to stare at him.

Guido's breathing gets heavier. He slams on the driver's door again. Nothing. He reaches over and pulls the passenger door handle.

Nothing. He is trapped.

He frantically slams his palms on the passenger door glass. We can hear his flesh streak on the cold glass.

The car is becoming his coffin. It is no coincidence that his car resembles a hearse. A car for the dead.

We pan right and see a man looking at Guido. Freeze frame.

Guido is now slamming on the passenger quarter glass. Full panic mode.

Quick cut to a cigarette-smoking-lecherous-old-man caressing the bare shoulder of Carla, Guido's mistress.

Guido crawls out of the sunroof of his car. He resembles a black salamander. A tadpole with a black tie. He is a creature of Purgatory. The car, which was once his coffin, has now become a womb.

Guido is being reborn.

Guido floats above the cars toward the light at the end of the tunnel. He raises his hands and accepts the light as he passes below power lines.

Guido is flying above the clouds. The sun is in the distance. Heaven is in his sights.

We see a flash image of a half-erected monstrosity that is a setpiece of Guido's abandoned film.

Cut to the shore as a man on a horse rambles to the right side of the frame. Another man in a turtleneck sweater pulls on a kite string.

Cut to Guido's leg tied to the end of the rope/string. His ascension to Heaven is tethered to the string of a kite. This is Heaven, interrupted.

The turtleneck man tugs violently on the rope.

Guido tries desperately to untie the rope. This umbilical cord to earth. To Purgatory.

Finally, Guido is pulled back down to Earth. His body falls toward the breaking waves of the shore.

Toward water. Toward life.

Before he actually crashes into the water, we hear heavy breathing.

Guido wakes up. His hand outstretched toward the ceiling of his room.

Toward God.

------------------------------------

This opening sequence expertly sets the tone for the rest of the film.

It represents the Duality of an Italian Man.

Between Madonna and Whore. Between Wife and Mistress. Between Reality and Fantasy.

Fellini decides to open his film with an anxiety dream laced with a nightmare. The sequence encapsulates the fears and desires that have governed Guido/Fellini's life.

He is trapped. Everyone is looking at him. They are waiting for his next direction. They are waiting for his next film. They are waiting for Fellini to be Fellini.

Fellini wants liberation from his director's block. He is looking for a way out.

What Fellini finally realizes that he must do is to go through the block instead of working around it.

He makes a film about a director making a film. But it's much more than that.

It is about a man who has lost his boyhood imagination. A man who has lost his inner-child and inner-voice.

Fellini courageously examines his past through "8 1/2." His childhood. The moments in his life that have defined his existence. The moments that he will always cherish.

Fellini exorcises the demons of his temporary inspirational void and comes out reborn.

He was lost and his now found.

Opening Sequence: "The Lion King" (1994)

*Opening Sequence will be an ongoing series that breaks down cinema's best opening sequences.*

"The Lion King" (1994)



The sun rises and Lebo Morake's Zulu chant explodes onto the scene and ushers the audience into an epic, animated experience.

Mbongeni Ngema and the rest of African Chorus join the chant as we are shown various animals in their environments as they are summoned to Pride Rock.

As a giraffe and her calf step out into the sunlight, the first verse (sung by Carmen Twillie) begins:

From the day we arrive on the planet
And blinking, step into the sun
There's more to see than can ever be seen
More to do than can ever be done

Watch closely (1:09 - 1:15): Ants, in focus foreground, are carrying leaves along a branch. A blur of animals run out-of-focus in the background. Rack-focus from ants on the branch to zebras trotting in the same direction as the rest of the herds.

Simple, yes. But an animated feature having a rack-focus just adds to the magic of the moment. They are using camera techniques that exist solely in the real world. By including this technique into an animated world only increases its critical value. Another example would be a lens flare, which you find quite often now in animations.

As the massive congregation of animals make their way to Pride Rock, the camera tilts up and follows Zazu, a hornbill.

It's the Circle of Life
And it moves us all
Through despair and hope
Through faith and love

Zazu lands on Pride Rock and bows in front of King Mufasa. Shot from a low-angle, King Mufasa looks regal and menacing. After all, he is the King of the Jungle and its most feared resident. King Mufasa bows and smiles, erasing any fear that the audience has that he is a threat. This is an important introduction and distinction. The lion sits on top of the food chain, he is the most feared because he is the most powerful. But in this incarnation, he merely governs the chain. Instead of plundering its resources, he distributes its wealth.

Gourds on top of a walking stick make their way through the crowd.

Holding the stick is Rafiki, an old baboon, who acts as Pride Land's shaman. He climbs up Pride Rock and hugs King Mufasa. They are old friends.

Rafiki and King Mufasa look and see Sarabi cradling the infant-born Simba. The song enters its bridge as Sarabi licks the top of Simba's head.

Rafiki shakes his crooked stick and the gourds rattle. Simba playfully attempts to hit the gourds.

Rafiki breaks open a gourd and smears its juice across Simba's brow. He then takes a handful of dirt and sprinkles it over Simba's head.

This is Simba's baptism by sand.

Rafiki carefully picks up Simba and carries him to the edge of Pride Rock.

The African Chorus's chant swells.

Rafiki triumphantly thrusts Simba up for all to see.

It's the Circle of Life
And it moves us all

The animals react with glee: elephants trumpet; monkeys applaud; and zebras stomp.

The camera starts behind Simba and circles around to get his reaction.

The sky. A shaft of sunlight shines down through the clouds on the future king.

The animals bow and kneel.

In the Circle
The Circle of Life

Rafiki holds Simba high. King Mufasa and Sarabi watch and stand proud.

The shaft of sun encompasses them all.

The camera tracks back to reveal all the animals fixed on one moment.

The annointing of the future king.

The music abruptly STOPS!

TITLE CARD (Red letters over Black Screen):

"THE LION KING".



Okay. Take a breath.

You're going to need it.

What makes this opening even more impressive is that the filmmaker's bracket it at the end. A great touch for an overall terrific film.

This is one of my all-time favorite opening sequences and it sets the standard for every film I see.

The only other film that captures my attention in a similar fashion is Alfonso Cuaron's brilliant "Children of Men" (2006), which adopts the same flash/cut to title card.

Carmen Twillie perfectly sums it up best:

"And it moves us all."

Indeed.

Best Actor Nominations 2009 (Based Solely on Trailers).

My wife can vouch for me.

I have successfully picked the last two Academy Award Best Actor Winners based solely on the merits of the film's trailer.

Seriously, you can ask her.

As you know, Forest Whitaker won in 2007 for "The Last King of Scotland" (2006) and Daniel Day-Lewis won in 2008 for "There Will Be Blood" (2007).

I've decided to up the ante.

Instead of predicting the Best Actor, I'm going to predict ALL FIVE BEST ACTOR NOMINEES, based solely on trailers.

Here's the lowdown. I will give you the Actor, Oscar Background, Thoughts, and the Trailer. I will also give you my "Clincher" moment. This will be the moment in the trailer that clinches my gut feeling about the nomination.

Check back with me on January 22nd, 2009 when the Academy releases their nominees.

I'm not a betting man, but if I was...

__________________________________________________________

Sean Penn -- "Milk" (2008)

Oscar Background: Nominated 1996, "Dead Man Walking" (1995); Nominated 2000, "Sweet and Lowdown" (1999); Nominated 2002, "I Am Sam" (2001); Nominated/Won 2004 "Mystic River" (2003).

The Clincher: (1:27 - 1:31) & (1:45 - 1:51).

Thoughts: Having misfired in his last attempt to grab a nomination in "All the King's Men" (2006), Penn returns in what looks like his finest performance yet. Coupled with a re-energized Gus Van Sant, who hasn't made a mainstream film since his redudant "Finding Forrester" (2000), Penn is an absolute lock to get one of the noms.



Frank Langella -- "Frost/Nixon" (2008)

Oscar Background: None.

The Clincher: (1:02 - 1:04), (1:38 - 1:40), (1:52 - 1:55), & (2:18 - 2:21).

Thoughts: He won Best Lead Actor in a Play at the 2007 Tony Awards for his role as Richard Nixon in "Frost/Nixon." This is a far cry from his forgettable performance as the over-the-top pirate Dawg Brown in "Cutthroat Island" (1995). He has recently regained some steam with solid performances in "Good Night and Good Luck" (2005) and "Starting Out in the Evening" (2007). The big question is: Where will Langella's Nixon rank? Is it more Anthony Hopkins in "Nixon" (1995) or Dan Hedaya in "Dick" (1999)? He is this year's dark horse.



Heath Ledger -- "The Dark Knight" (2008)

Oscar Background: Nominated 2006, "Brokeback Mountain" (2005).

The Clincher: (0:44 - 1:02).

Thoughts: I have already seen this film, twice. However, once I saw this trailer, I knew Ledger was going to knock-it-out-of-the-park. Just an awesome, jaw-dropping performance by Ledger in a fantastic all-around film. This is my second lock.



Jamie Foxx -- "The Soloist" (2008)

Oscar Background: Nominated/Won 2005, "Ray" (2004); Nominated, Best Supporting, 2005, "Collateral" (2004).

The Clincher: (0:36 - 0:54).

Thoughts: I have reservations about this pick. The Academy loves handicapped, be it mentally or physically, performances by their actors (see Dustin Hoffman, Daniel Day-Lewis, Tom Hanks, Al Pacino, Leonardo DiCaprio, just to name a few). However, my gut tells me that Foxx is going to fall short. But the odds of getting a nom are in his favor.



Leonardo DiCaprio -- "Revolutionary Road" (2008)

Oscar Background: Nominated, Best Supporting, 1994, "What's Eating Gilbert Grape" (1993); Nominated 2005, "The Aviator" (2004); Nominated 2007, "Blood Diamond" (2006).

The Clincher: (1:02 - 1:12) & (1:14 - 1:26).

Thoughts: I believe Leo is the finest actor of our generation and before his career is over, he should get at least one Oscar. This film looks good. Leo playing a Suburban Man in a era of conformity. This could be his year.

Gordon Gekko's Take on the Bailout Bill.

Gordon Gekko (1987)





We caught up with Gordon Gekko at his beach house in East Hampton, New York. Gekko & Co. is still going strong. The company has a NetWorth of $650 Million. Multiple SEC investigations failed to unearth any wrongdoing on Mr. Gekko's alleged insider-trading scandal in 1987. Although heavily fined, Mr. Gekko continues to pioneer the field of risk arbitrage.

Just don't mention Bud Fox, Bluestar, or Teldar Paper.


This is really a nice beach house, Mr. Gekko.

Gordon Gekko: Yeah, not bad for a City College boy. I bought my way in, now all these Ivy league schmucks are sucking my kneecaps.

Do you still talk to Larry Wildman?

Gordon Gekko: Sir Larry Wildman. Like all Brits, he thinks he was born with a better pot to piss in.

Mr. Gekko. The US Economy is perilously close to a recession. As someone who was around during the last "Crash" in 1987, we hoped that you can shed some light on the current state of the economy. The Government is proposing a 700-Billion-Dollar Bailout Bill. How much is enough?



Everyone keeps mentioning the word "greed" as a main ingredient to the demise of the financial market. Can greed, for a lack of a better word, be good?



You inspired a whole generation of investment bankers. What do you think of this new generation and do you at all feel responsible for their villianous behavior?




Thank you Gordon for taking time out of your busy schedule to talk to us today. I hope we can do this again. How about lunch?

Gordon Gekko: Lunch is for wimps.

It was just a suggestion. I thought we were...

Gordon Gekko: If you need a friend, get a dog.

But Mr. Gekko. I have a dog. And I respectfully disagree with your worldview...

Gordon Gekko: Jesus, if this guy owned a funeral parlor nobody would die!

Bluestar! Bluestar! Bud Fox! Teldar Paper!

Gordon Gekko: When I get a hold of the son of a bitch who leaked this, I'm gonna tear his eyeballs out and I'm gonna suck his fucking skull.

End of transmission............................................