Friday Star Wars Pictures

EDITOR'S NOTE: YES, DWEEBBOYS AND GIRLS, IT'S THAT TIME AGAIN. STAR WARS PICTURES OF THE WEEK ----


Director of Photography Gilbert Taylor and other members of the Star Wars crew scope out the Matmata location that will become the Lars Homestead.


The conference room aboard the Tantive IV definitely has some 1970s retro sci-fi appeal.


Marc Gabbana illustrates a whimsical design for a mixer droid for Dex's Diner.


C-3PO (Anthony Daniels) and R2-D2 would rather not mingle with the other guests at this particular party.


According to these comparative sketches by Joe Johnston, an X-wing is 12.5 meters long, the Millennium Falcon is about 30 meters, the Rebel blockade runner about 48.5 meters, and the Star Destroyer is about 575 meters. Luke's landspeeder is whited out of the diagram.EDITOR'S NOTE: THIS SORT OF DETAILED ARCANA MAKES ME FLUSH WITH EXCITEMENT. (SADLY, TRUE)


The standard infantry trooper of the 212th Attack Battalion has orange markings and reports to Clone Commander Cody.


Only briefly glimpsed in Episode III is the Utapaun P-38 starfighter, a vessel that has a counterpart, at least in name, on our planet.


This painting by Erik Tiemens studies the qualities of a Coruscant sunset on Padmé Amidala. EDITOR'S NOTE: IT DOESN'T LOOK ALL THAT MUCH LIKE NATALIE PORTMAN, BUT IT SURE IS A PRETTY PIC.


This status screen from the Mustafar complex control room tracks the stability of the collection plant's all-important shield generators.

Some STAR WARS odds-n-ends

EDITOR'S NOTE: I'M JUST NOT IN THE MOOD TO BE TOO TERRIBLY ORGANIZED. SO....RANDOMNESS FROM THE STAR WARS UNIVERSE ----

LEGO STAR WARS: REVENGE OF THE BRICK
Animated Movie Got TV Premiere and Drove Kids to Web Site
NEW YORK (AdAge.com) -- The final film in the second Star Wars trilogy was a major event and many brands had promotions tied to the tale of Anakin Skywalker’s transformation into Darth Vader.

To coincide with the launch of “Star Wars: Revenge of the Sith,” Lego created a range of models and building sets. Merchandising and product sales tied to the movie were estimated to be worth around $1.5 billion, so Lego needed to ensure its products stood out.

It created an animated movie, “Lego Star Wars: Revenge of the Brick,” to act as the hub of an online presence that would enable children to get involved in the brand’s Star Wars Universe and make sure it got its fair share of merchandise sales.

The clever part of the campaign was to leverage this content to gain the best possible media value for the brand, as well as coordinating the movie's release across a region that included media markets as diverse as U.K., France, Spain, Hungary and Sweden.

Carat worked with Jetix -- a pan-European children’s channel -- to treat the film as a premier in its own right with a movie trailer broadcast on Jetix to build excitement for the actual release of the film in the two weeks leading up to its screening.

The film was broadcast in children’s prime-time on Saturday, May 14, with a Sunday re-run across all 11 markets. It was edited to end on a cliffhanger, with the full ending available only online.

The central strategy was built on by local markets with extra activity in-store, using PR as well as TV and print advertising.

The site attracted more than 100,000 unique users and there were nearly 32,000 competition entries. EDITOR'S NOTE: YES, BUT DID IT MAKE EVERYONE HAPPY??!!! (THAT'S THE AD BIZ THESE DAYS....ALL NUMBERS, NO HEART).


Thanks to the DVD release of Episode III, viewers have been able to see more of Bail Organa in his historic role as co-architect of the Rebel Alliance. Though his part in Episode III's theatrical cut is substantive -- being the adoptive father of Leia and Yoda's getaway speeder driver are nothing to be balked at -- there was originally more Bail in Revenge of the Sith. EDITOR'S NOTE:MORE JIMMY SMITS...ALMOST ALWAYS A GOOD THING.

The demands of the personal tragedy of Anakin Skywalker meant that the political tragedy of the Republic ended up considerably trimmed. "I knew going in that this politician would go through some transformation," says Jimmy Smits, reflecting on his role. "This character has scenes that have that political tenor, but he's much more conspiratorial and suspicious and wanting to be more active."

The politics behind Imperial ascension is a story told many times throughout history, and writer George Lucas distills many real world precedents in Palpatine's rise, particularly events in ancient Rome. Though the Republic backroom politics were largely edited out of Episode III, their impact can still be felt in the movie, says Smits.

"George is really quite eloquent about the whole demise, about how you start as a Republic, and without the proper checks and balances, total power can corrupt totally," Smits says. "Those are chords that run deep in the film without hammering in that this is a philosophical point."

Helping Smits get into the role of Organa were such accomplices as the intricate wardrobe of the character, and the exotic and varied colleagues he surrounds himself with.

"Trisha Biggar is incredible, what she has done with all the costumes. They make you feel regal and noble, walking around in them. It totally puts you into what that character is supposed to be," he says. "Also, you're working with this international cast. You have accents from different places, which is what you'd find in another universe with all these characters from different worlds. All of that comes together."

Bail Organa -- Viceroy of the Royal House of Alderaan, father of Princess Leia, founder of the Rebellion -- these are the makings of a very important character in the Star Wars mythos. But to Smits, the role's significance was far closer to home and heart.

"To be involved in something that I saw as a young person, in terms of watching the films, and having my children see the subsequent Star Wars films, was really cool for me." EDITOR'S NOTE: A HANDSOME DWEEB. YUMMY. (AND ALL I REALLY WANT FOR CHRISTMAS, ACTUALLY)

Obey Vader: Shepard Fairey Print

EDITOR'S NOTE: VERY COOL PIC. PITY I'M RUNNING OUT OF WALL SPACE.

Our Price: $11.99

Initially only available to Best Buy Reward Zone members when purchasing the Ep III DVD

Created by the well-known artist, Shepard Fairey

Very limited quantities available

Measures 14" x 11"
In Stock Now

Give any Star Wars art collection a shot of street cred with this unique portrait of Darth Vader created by underground "Obey Giant" artist Shepard Fairey. To celebrate the DVD release of Star Wars: Episode III Revenge of the Sith, Fairey designed a one-of-a-kind print initially available only to Best Buy Reward Zone members. Now, this amazing piece is available to you here!

Originally made infamous for plastering abandoned city buildings with 8-foot-high wheat paste posters and expansive sticker bomb tributes to the late professional wrestling legend Andre the Giant, Fairey has a knack for giving pop culture icons the proper hipster treatment.

Since then, Fairey and his design firm have created unique posters and designs for such clients as Black-Eyed Peas, Red Bull, Levi's, among others.

The Vader poster print designed by Fairey measures 14" x 11" and features Darth Vader with subtle accents of the legendary Andre the Giant Obey logo patterned throughout the background. EDITOR'S NOTE: PURTY DARNED COOL!

MORE ADVERTISING....BELIEVE IT OR NOT, IT'S ALMOST TIME TO TALK OSCARS (EEK)! -----
For Your Consideration Episode III Ads
As the year winds down, the motion picture industry takes stock of the acclaimed movies produced over the previous 12 months.

With an eye towards next year's announcement of Academy Award nominees, studios often take out captivating full-page advertisements in trade publications to remind Academy voters of cinematic achievements worth considering. EDITOR'S NOTE: SORT OF AN ADVERTISING NUDGE.

Lucasfilm has begun placing "For Your Consideration" ads for Star Wars: Episode III Revenge of the Sith.

Here is a sampling of ads, highlighting the contributions of the cast and crew of the final Star Wars movie. They will appear in trade publications such as Variety, Hollywood Reporter, and Cinefex.

Some ads cover multiple categories, but the accomplishments in four categories have been singled out with individual ads:

Best Costume Design (Trisha Biggar), Best Visual Effects (John Knoll, Roger Guyett, Rob Coleman and Brian Gernand), Best Makeup (Dave Elsey, Lou Elsey and Nikki Gooley) and Best Supporting Actor (Ian McDiarmid).

Next week, Hollywood Reporter will feature a five-page For Your Consideration ad that begins with an imposing full-page image of Darth Vader, complete with voice chip that recreates the eerie rasping breathing sound of the Dark Lord. EDITOR'S NOTE: MUST HAVE MUST HAVE MUST HAVE! (IMAGINE EATING YOUR WHEATIES. YOU HAVEN'T HAD A FULL CUP OF COFFEE YET. AND SUDDENLY, YOUR NEWSPAPER STARTS RASPING AT YOU. THANK GOODNESS FOR SPRAY-N-WASH, HUH?!)

























EDITOR'S NOTE: WHETHER OR NOT YOU WANT THE MOVIE TO GET OSCAR NOMINATIONS, YOU'VE GOT TO ADMIT THE PUBLICITY DEPARTMENT AT LUCASFILM KNOWS HOW TO KNOCK OUT VERY WONDERFUL PICS, HUH?! THIS LAST ONE IS MY FAVORITE. GORGEOUS!

Check your local newsstand that carries the Hollywood Reporter on December 13th. EDITOR'S NOTE: TRYING TO SCORE THIS SECTION FROM AN L.A. FRIEND. (ANYONE KNOW WHERE ELSE I MIGHT FIND IT?)

For Your Consideration
Best Picture: Producer: Rick McCallum
Best Director: George Lucas
Best Actor: Hayden Christensen
Best Supporting Actor: Ian McDiarmid; Ewan McGregor; Samuel L. Jackson
Best Supporting Actress: Natalie Portman
Best Original Screenplay: George Lucas
Best Cinematography: David Tattersall, B.S.C.
Best Film Editing: Roger Barton, Ben Burtt
Best Art Direction: Production Designer: Gavin Bocquet, Set Decorator: Richard Roberts
Best Original Score: John Williams
Best Sound Mixing: Tom Myers, Christopher Scarabosio, Andy Nelson, Paul "Salty" Brincat
Best Sound Editing: Ben Burtt, Matthew Wood
Best Costume Design: Trisha Biggar
Best Visual Effects: John Knoll, Roger Guyett, Rob Coleman, Brian Gernand
Best Makeup: Dave Elsey, Lou Elsey, Nikki Gooley
EDITOR'S NOTE: GOOD LUCK WITH THESE, UNCLE G.

I MEAN, I CAN'T IMAGINE SHORT OF HECK FREEZING OVER THE 'INDUSTRY' GIVING MUCH OF ANY PROPS TO ANYTHING STAR WARS. (AND NO, I DON'T REALLY THINK IT SHOULD GET A SCREENWRITING NOM).

BUT MCDIARMID AND MCGREGOR SHOULD DEFINITELY BE CONSIDERED.

AND THE MOVIE ITSELF SHOULD SURELY BE NOMINATED....A) BECAUSE IT'S A WONDERFUL MOVIE (IMHO) AND B) BECAUSE OF THE SAGA AND ITS IMPORT.

AND THEN OF COURSE ALL THE TECH AND COSTUME STUFF SHOULD DEFINITELY GET A NOD, AS SHOULD JOHN WILLIAMS.

NOT THAT ANYONE ASKED ME.....MORE IS THE PITY.

Winnie-the-Pooh...and Disney, too

EDITOR'S NOTE: FIRST THE DRAB, SAD BUSINESS STUFF. (ONE ITEM). THEN WE CAN GO BACK TO OUR HAPPY PLACE WITH OUR FURRY FRIENDS.

Disney settles wrongful-death suit
The Walt Disney Co. has agreed to settle a wrongful-death lawsuit brought by the family of a 22-year-old man killed on a roller coaster at Disneyland in 2003.

Disney said Friday it accepts responsibility for incorrectly performing maintenance on the Big Thunder Mountain Railroad ride.

An axle assemble came loose on the ride on Sept. 5, 2003, causing the first passenger car to jackknife and slam into the lead car, which is shaped to resemble a locomotive.

The accident caused the death of Marcelo Torres of Gardena, who suffered severe blunt force trauma and extensive internal bleeding. Terms of the settlement were confidential. EDITOR'S NOTE: I GUESS I SHOULD COUNT MYSELF LUCKY THAT THE RIDE JUST MADE ME QUEASY. (OF COURSE...AS JOEL WOULD BE THE FIRST TO POINT OUT...WHAT DOESN'T?)!

80 YEARS OF WINNIE-THE-POOH
It's hard to believe it, but the eternally childlike Winnie the Pooh was created nearly 80 years ago.

A.A. Milne's first stories of the honey-loving bear and his devoted friends were inspired by Milne's son, Christopher Robin Milne, and his collection of stuffed animals.

Upon publication of the first Pooh book, "Winnie-the-Pooh," on October 14, 1926, the world took to the lovable teddy bear and several other books followed.

Pooh's upcoming anniversary will be celebrated in grand style at Disney throughout 2006, with special merchandise, new Pooh-themed music on CD, and special events.

The Insider thought this would be a good time to take a look back at some highlights of the famous bear's career.



• Milne's young son, Christopher Robin, was fascinated by a black bear named Winnie during a visit to the London Zoological Gardens. This inspired Milne to create a series of adventures for Christopher's stuffed bear Edward and his other stuffed-animal companions. Piglet, Owl, Eeyore, Kanga, Roo, and the rest were all based on the boy's toys. Pooh, Piglet, Kanga, and Tigger were eventually donated to the New York Public Library, where they can still be visited today.

• E. H. Shepherd's beautiful pen-and-ink and watercolor illustrations for the Pooh books were based on the scenery of Sussex's Ashdown Forest - where the bridge from which the characters play the game of "Poohsticks" was restored in 1979. EDITOR'S NOTE: LET'S GO TO ENGLAND. WE COULD VISIT ALL THE HARRY POTTER SITES, THEN TOSS POOOHSTICKS OFF THIS BRIDGE!

• Walt Disney was attracted to the Pooh stories and wanted to film them because he had read Milne's books to his own daughters, Sharon and Diane.

• Sterling Holloway provided an unforgettable voice for Pooh in the Disney shorts (which were later bundled and released as a feature movie, "The Many Adventures of Winnie the Pooh.") Sterling was a versatile voice performer for Disney - among other memorable characters, he can be heard as Kaa in "The Jungle Book," the Stork who delivers "Dumbo," and the narrator of "Peter and the Wolf."

• The irrepressibly bouncy Tigger did not join the Hundred Acre Wood friends until the second Winnie the Pooh short, "Winnie the Pooh and the Blustery Day" (1968). This is appropriate enough, since Tigger is a latecomer to the Pooh stories, not appearing until the story "Tigger Comes of the Forest and Has Breakfast" in 1928's "The House at Pooh Corner." In spite of this late arrival, he is one of the best beloved off all the Pooh characters. Although Tigger was one of Christopher Robin's stuffed animals, Milne modeled the character's personality on a hyperactive dog named Chum, owned by a friend.

As a tribute to Pooh's 80 years of friendship and adventure, The Walt Disney Company has planned a series of events, promotions, and special-edition products throughout 2006 featuring the world's most beloved bear in his signature red shirt. EDITOR'S NOTE: WELL OF COURSE THEY HAVE. (I'M NOT COMPLAING; I LOVE THE OPPORTUNITY TO BUY AFFECTION AND REMEMBRANCES. BUT WE DIDN'T REALLY THINK UNCLE WALT AND HIS STILL-LIVING ASSOCIATES WOULD MISS ANY CHANCE TO SELL US SOMETHING, DID WE?)

Pooh's 80th kicked off with Pooh's stage debut at the "Pooh Live!" show on December 7 at the Beacon Theater in New York.

Pooh fans can tune into Playhouse Disney and watch Pooh specials throughout the year, with a special Friendship Day tribute in August.

Look out for the release of "Pooh's Grand Adventure: The Search for Christopher Robin," available for the first time on DVD on April 4.

From January through March, Radio Disney's Playhouse Disney block will feature Pooh's Days Tuesdays, playing favorite Pooh tunes.

Pooh fans can also hear the new Pooh song, "My Friend Pooh," from "Ralph's World" - the release date should be some time in spring 2006.

And for those who would like to bring those 80th keepsakes home, Disney stores will be offering an exclusive plush, snowglobe, and gift with purchases starting in January. EDITOR'S NOTE: NOW WE'RE TALKIN!

All in all, it's an appropriately big bash for a bear who never forgets his friends and always manages to have fun.

My what a BIG Monkey

EDITOR'S NOTE: FOR THOSE OF YOU MORE EXCITED BY THE UPCOMING "KING KONG" THAN BY THE APPROACH OF SANTA CLAUS, HERE'S A BUNCH OF MONKEY BUSINESS. (NO, I AM NOT GOING TO EXERCISE ANY SELF-RESTRAINT WHEN IT COMES TO APE JOKES. DON'T BE RIDICULOUS).

Notes on King Kong



Film music journalist extraordinaire Jon Burlingame reported on the musical controversy surrounding Peter Jackson’s KING KONG remake in the Nov. 30th issue of Variety.

In the article Burlingame reported that, according to sources, Shore recorded his unfinished KONG score in nine days (three in Berlin, six in New Zealand). Although Shore had been working on themes for months, the film’s post-production was running so late that he could not spend sufficient time with the edited film.

None of Shore’s recorded KONG music will be used in the film. In his only press statement regarding the music switch, Jackson has said, "During the last few weeks, Howard and I came to realize that we had differing creative aspirations... Rather than waste time arguing with a friend and trying to unify our points of view, we decided amicably to let another composer score the film."

Shore has told friends, said Burlingame, that Jackson's press statement is essentially correct, and that the decision to stop was not a mandate from the studio (as had been widely speculated after the mid-October revelation that the film's running time had ballooned to three hours, and that Universal was negotiating with Jackson about how to cover the extra $32 million required to finish the movie).

James Newton Howard was hired in early October and began recording Oct. 29. He had the assistance of nine orchestrators and three conductors in order to record the necessary 15-20 minutes a day to finish on time in recording sessions that included a 40-voice choir as well as separate sessions for percussion, ethnic instruments and solo voice, noted Burlingame.

Howard composed the film’s major themes in just three days, after which he spent six weeks composing the music for specific scenes. Howard communicated with Jackson solely by phone and video conferencing; a live video hook-up enabled Jackson to comment on each cue as it was recorded.

As with Max Steiner’s classic music for the original 1933 KING KONG, the music for Skull Island is among the new score’s most provocative.

Burlingame reported how Howard implored the orchestra before recording a track accompanying a battle on Skull Island: "You have to play this as viciously and as out of control as you can."

Playback of the score’s final, five-minute elegy for Kong, with its heartbreaking melody and rich string passages, caused musicians to burst spontaneously into applause.

(Thanks to Jon Burlingame for permission to quote from his report - rdl).

Audio clips from Howard’s score can be heard at www.James-newton-howard.com. Decca will release the soundtrack CD on December 14th. EDITOR'S NOTE: I WONDER IF THE SHORE/JACKSON PARTING-OF-THE-WAYS WAS AS AMICABLE AS THIS, OR IF THERE IS MORE STEEPING RANCOR UNDERNEATH.

The Trades Praise KONG



The Hollywood Reporter and Variety have released their reviews of KING KONG and overall they seem to like the film a great deal.

The Reporter says, "The gorilla is great, the girl terrific, sets are out of this world, creatures icky as hell, and the director clearly does not believe in the word 'enough.'" EDITOR'S NOTE: THAT ALL SOUNDS LIKE A PETER JACKSON MOVIE, EH?

The HR reviewer later notes, "Surprisingly, the visual effects on the isle are sometimes shaky. A fight between Kong and three T. rex beasts goes on too long. A Brontosaurus stampede with actors running here and there among huge feet is phony looking, a puzzling lapse from a director in love with visual effects. A sequence involving huge sucking, biting, burrowing, devouring creatures and Jimmy machine-gunning them off the bodies of his compatriots is downright silly."

Variety claims, "It's the RETURN OF THE KING all over again, and he's got a dazzling Queen. Almost too much of a good thing, Peter Jackson's remake of the film that made him want to make movies is a super-sized version of a yarn that was big to begin with, a stupendous adventure that maximizes, and sometimes oversells, its dazzling wares; but, no matter how spectacular the action, KING KONG is never more captivating than when the giant ape and his blond captive are looking into each others' eyes." EDITOR'S NOTE: OK, NOW THAT'S A TAD CREEPY, ISN'T IT?

Variety also notes, the film takes "70 minutes -- 70% of the original's entire running time -- just to get to Kong." And though it might be a too long for some, their reviewer feels "the opening stretch does a solid job of welcoming one into the story, especially into the tough prospects faced by pretty struggling actress Ann Darrow once her vaudeville show closes down."

Interview : Peter Jackson
New Zealand's Oscar winning Peter Jackson first fell in love with the 1933 "King Kong" when he was a mere 9 years old. Now, a few decades later and the gargantuan success of "Lord of the Rings" behind him, Jackson has fulfilled his life long ambition by bringing the mighty Kong to the screen as only this director can.

Looking far more svelte than the last time we met and surprisingly more subdued, Paul Fischer caught up with the director in New York.

As an auteur, how do you keep your vision pure when you’re known for these large spectacles? JACKSON: Well, it’s an interesting question. I don't quite know what an auteur is. I’ve never quite understood that term because filmmaking is such a huge team effort. I regard myself as being the final filter so everything that ends up in the movie is there because it’s something that I think was cool if I saw the film that somebody else made. I’m very much trying to make the film that I’d enjoy but I’m open to ideas and I need a huge team of people to help me.

Everybody contributes and I try to encourage people to contribute as much as possible, so I think that the job of a director really is to sort of funnel all the creativity into one centralized point of being. And the marketing is sort of something that really happens with other people and not something that I’m at all an expert in and I regard my job at the end of the day as to make the best possible film I can. And that’s really where my job stops and marketing people take over after that.

We all know about your weight loss. How is your life now as a filmmaker and a person different with this new body?
JACKSON: I’m exhausted and just absolutely tired. I felt fit for a while but then the film has been such a gruelling marathon to do. We literally finished the movie about ten minutes before we got on an airplane to come over here. We were leaving, we were flying out of New Zealand at 9:30 in the morning and at nine o’clock I was at the visual effects house approving the last two or three shots in the movie. Then at 9:15 we dropped by the dub stage to look at a couple of changes that we had made to the dubbing and approve them and then we got on the plane. So I haven’t enjoyed being healthy yet, am absolutely shattered and I haven’t really had a life. I’ve been making movies for about 10 years solid now with the Lord of the Rings films and straight on to Kong and I’m very pleased that we did that because we were able to utilize a great creative team that we’d assembled for the Lord of the Rings films.

One of the reasons why I wanted to make Kong very quickly when the opportunity to do Kong came up, was because I wanted to keep this team together and be able to just channel that creativity into another project. We were in a situation, people didn’t really know it at the time because you obviously don’t talk about it, but when we flew over to Los Angeles for the Oscars for Return of the King, we were in a Kong production meeting the following day. We had a Universal script meeting the day after the Oscars and the day after that, I got on a plane and flew to New York and met with Fay Wray. EDITOR'S NOTE: OH COOL! (GOOSEBUMPS)

We got a tour up the top of the Empire State Building and we were taking photos and videotaping the top of the Empire State Building for building our sets. We were already in the middle of doing Kong, so it’s been sort of a continuous journey for me the last few years. EDITOR'S NOTE: STILL BEATS HAVING A DAY-JOB, THOUGH, DOESN'T IT?!

How did you decide what to keep and cut from the original?
JACKSON: It’s a good question and really just sort of instinct to some degree. It doesn’t reflect a right and a wrong way of doing anything obviously because every filmmaker that would make a version of King Kong would do a completely different film.

I’ve just wanted to make this movie for a long, long time and I’ve had images and ideas in my head for years and years and years.

To me, it wasn’t a particularly difficult situation to figure out what should be in and out. I just really wanted to play down a movie in my head that is the sort of film that I enjoy. And there are actually a few scenes we shot, like we shot a version of the [scene] in the original film where they cross the swamp and they’re attacked by a creature. We actually shot that scene and it didn’t end up in the cut.

Even though the movie is three hours long, there are quite a few scenes that we filmed that didn’t make it into the finished movie. So some of those things that you’re missing from the original film, I guess if we did an extended DVD which hopefully we’ll get a chance to do, you might see them popping up again. EDITOR'S NOTE: GIVEN HIS TRACK-RECORD WITH EXTENDED-VERSION DVDS, IT DOES SEEM LIKE A PRETTY SURE BET, DOESN'T IT?

Why the passion for King Kong in particular and its inspiration for you as a filmmaker?
JACKSON: Well, it did inspire me to become a filmmaker, absolutely, to such a profound effect that I saw the original Kong on TV when I was nine on a Friday night in New Zealand. That weekend, I grabbed some plasticine and I made a brontosaurus and I got my parents’ super eight home movie camera and started to try to animate the plasticine dinosaur.

So really it was a moment in time when I just wanted to do special effects and do monsters and creatures and ultimately led to becoming a filmmaker. I didn’t really know what directing was when I was nine, but more about the monsters at that stage.

The original Kong to me is just a wonderful piece of escapist entertainment. It has everything that’s kind of really cool about movies, such as a lost remote island and a giant ape and dinosaurs. It also has this wonderful heart and soul with this empathetic creature who when I was nine, made me cry at the end of the movie when he was killed on the Empire State Building.

That moment of shedding tears for him has stayed with me and to me that level of emotional engagement and just pure escapism as well. People go to the movies for different reasons. Everybody has different takes but for me that’s a great piece of escapist entertainment, the original King Kong.

Why did you go with James Newton Howard’s score and where’s the scene on the beach from the teaser?
JACKSON: Well, Howard Shore was an original choice as composer but we’re very good friends and it just came to a point where it seemed like our sensibilities for the film were somewhat different. So we decided as friends that it was better not to go down that road any more for this film.

James Newton Howard was a composer that we’ve obviously admired for a long, long time and we’d used some elements of his earlier scores in some temp tracks that we’d done, and his sensibility and feeling for the music seemed to relate really well to the pictures that we’d shot.

What was also fun with the music was finding a little opportunity to pay homage to Max Steiner. We used some of his original score in the New York show where Kong is put on display on stage, so that was a nice way to keep an homage and a sort of compartmentalized way.

The scene on the beach was a scene, it was like I was saying before. There are a lot of scenes that we shot that didn’t make it into the movie. The movie’s three hours long. It would probably be if we included everything that we shot, it would be near four hours long.

That was a scene that we had filmed and had obviously been used as an important part of the teaser trailer, but subsequently when we were dealing with this big length of film, we started to refine it and started to look at it and trim it down as you do. Again, there are no real rules about what you do. It’s just you just use your instincts as to the pacing of a film and what is repetitive and what is the minimum amount you can get away with to tell the story. That scene didn’t make it in.

What was the balance of making Kong human versus an animal?
JACKSON: Obviously, as a filmmaker, you are going to manipulate the character as you need to make the scenes work. I certainly don’t deny that, but we did set out to base him on a real gorilla as much as we possibly could.

We thought at the very beginning, what is Kong? What is he? Is he a monster? Is he some sort of a missing link or an aberration? We thought just making him a gorilla, a silverback as genuine as we possibly could would be a really good way to go. Everybody thinks of him as being a gorilla anyway although various versions of Kong have been a little different. So we studied Silverback gorillas.

Andy Serkis who obviously did a lot of the performance of Kong for us, he especially studied gorillas in the mountains and he went up and tracked a group of them in the Rwandan mountains for a couple of weeks and he spent a lot of time at the zoo studying their behaviour. So everything in the movie is based on some form or another on what a Silverback gorilla would do. But obviously with a little bit of cheating and manipulation on the behalf of the filmmakers.

But it was interesting because we found that with silverback gorillas, a lot of character or personality is expressed through simplicity. And I think that probably studying gorillas so much, if it had any profound effect on us, it would be in simplifying his characterization and making him less emotive. They’re very- - they don’t really give away a lot, gorillas. EDITOR'S NOTE: YEAH, THE CHIMPS ARE MORE THE DIVA/SCENERY-CHEWERS OF THE APE FAMILY.

It’s all to do with eye contact and whether they’re looking at you or turning away and how their body language is. There’s not a lot of expression on their faces, so we tried to rein it in. We tried to pull it back as much as we possibly could. It’s interesting.

One of the interesting things that I found in telling the story, it’s something I’ve been thinking about in the last few months as we’ve been doing the animation and kind of refining Kong is the fact that I also didn’t want to fall into the trap of making him too cute and making his behaviour too cute. The point in the story where we want an audience to start to empathize with Kong, I didn’t want to stop him being dangerous. I didn’t want to stop him at that point being a wild creature who can kill characters that we’ve gotten to know in the story. So it was interesting the balance of wanting people to empathize for him but also keeping that edge to his character, making him unpredictable and always a wild animal at heart.

What was most important to you in adapting the material?
JACKSON: Well, I think what was most important was to have people be able to connect with Kong, both in the way that he is portrayed in his performance, his character and also just technically to make him believable.

I knew going into this that the movie was ultimately going to live or die on whether you believed in Kong and whether your suspension of disbelief - - because all movies are a suspension of disbelief and you hope that people will engage in the film on some level and be prepared to go along for the ride.

The biggest concern that I had in terms of the film completely failing would be if Kong wasn’t believable, if you didn’t connect with him. It was a difficult thing to pull off. It was much more difficult than the Gollum character that we did on Lord of the Rings. Gollum talked the whole time, so much of his character and so much of his role in the story and what he was able to be presented with his dialogue. And you got to know him a lot through what he said and yet Kong is completely mute. He has so much screen time and so many close-ups as a character. He’s not only mute but we deliberately reined him in and didn’t want him to express very much most of the time. So I think that was the biggest challenge, the thing that we were most scared about.

Talk about working with working with Naomi and getting the performance out of her with Kong not really there?
JACKSON: Well, Naomi was our first and only choice for the role of Anne. I think we responded to her because she’s so honest as an actor. She doesn’t pretend in the films that she does. She makes it as believable as possible. She’s one of those actors that if she’s shedding tears in a scene, it’s because she’s thinking of something that makes her cry. She’s really in the moment and I don’t know what it is, how she does that but she’s utterly believable which obviously for this particular role in this particular movie was essential for us. Naomi was also hugely helped by Andy Serkis.

I think people would obviously think of Andy being the guy who does the motion capture for Kong which he does. And he’s in a suit and he acts out the role and we did all the motion capture of the character with Andy and then that was put into the animation and into the performance.

But for me, as the filmmaker, possibly one of Andy’s greatest contributions was actually being on set with the actors when they originally shot the scenes. Now none of that was recorded for Andy. He wasn’t captured on set. That was done in post production. He wasn’t even filmed. It was like Andy was just there for the other actors. And every single shot in the movie, and I don't think there’s an exception, I really don’t, every close-up of Naomi when she’s looking at Kong, she’s actually looking at Andy. Andy would get himself into her eye line so that whenever she looked at Kong’s face, that would be where Andy was which was in a cherry picker, up a ladder or suspended on something. He was always there and he was acting his heart out as Kong. I think that was hugely beneficial for Naomi obviously and the other actors. EDITOR'S NOTE: ANDY SERKIS IS AMAZING. THEY ALMOST NEED TO GIVE HIM AN HONORARY AWARD, OR CREATE A SPECIAL CATEGORY FOR WHAT HE DOES. IT'S AN INCREDIBLE GIFT HE HAS.

And it was also great for me because it was the beginning of us creating Kong as a character too.

I was able to talk to Andy when we were doing those scenes. It wasn’t just Naomi and me. It was Naomi, Andy and me. It was the three of us that we were able to rehearse the scene and block the scene and talk about how Kong would be behaving. And it was the beginning of the creation of that character that would then take it through the motion capture and into the animation and finally into the film. So it was a huge contribution, more than what people would imagine from Andy.

Is the Bad Taste/Dead Alive type of filmmaker still inside you?
JACKSON: Oh, absolutely. I hope one day that I’ll get to make another low budget horror film. I’d love to. And I certainly feel in a way now that I just want to rest and recuperate from this last 10 years of filmmaking and be able to do some more interesting things, other low budget ideas and horror movies and other types of films.

It’s kind of weird but it’s only just recently that I’ve realized that for the last 10 years, I’ve just had two projects. I’ve had The Lord of the Rings and King Kong because we were originally trying to make King Kong after The Frighteners. So that was back in 1995 into 96 and then that got canned and we went into Lord of the Rings and then we went back to King Kong again. So I’ve had two projects in the last 10 years so it’s an exciting time to be able to rest up and recover a little bit now and just think of other ideas, think of things beyond those two projects.

You’re still producing Halo?
JACKSON: Yeah.

What attracted you to Halo?
JACKSON: I’m a fan of the game.

But video game movies suck.
JACKSON: They do.

So what will be different?
JACKSON: Hopefully it won’t suck. EDITOR'S NOTE: THAT'S IT. AIM HIGH.

But why not direct? EDITOR'S NOTE: HAVE YOU NOT BEEN LISTENING? THE MAN IS BEAT!
JACKSON: I want a break. I want to have the fun but not the hard work. I just want to be part of the creative team but not actually have the pain.

Is there a director?
JACKSON: Not yet, no. We’re talking to some people but we’re going to be shooting that next year.

Should we plan an Oscar party?
JACKSON: I don't think so. I don't think these are the types of films that get Oscar attention. That was never the intention with Kong. I don’t necessarily think that will be the case.

Are you doing Lovely Bones?
JACKSON: Yeah, that’s the plan. EDITOR'S NOTE: INTERESTING. IN HADN'T HEARD THIS.

Have you started thinking cast?
JACKSON: No, no. I’m just going to have a break first and then we’ll do the script to that.

Any special features on the DVD? EDITOR'S NOTE: FOR HEAVEN'S SAKE, THE MOVIE HASN'T EVEN HAD IT'S THEATRICAL RUN YET!
JACKSON: Well, I think there’s a two disc one coming out for sure and then if there’s an extended one, it’ll probably be three or four discs if they do that.

Are you surprised with the positive reaction to the Halo script?
JACKSON: Well, I’m pleased, yeah. You never know what to expect.

How did you lose the weight, special diet?
JACKSON: No, it was just cutting out junk food. EDITOR'S NOTE: HE MUST HAVE EATEN A HECK OF A LOT OF JUNK FOOD; THE MAN IS HALF HIS OLD SIZE!

KING OF KONGEDY EDITOR'S NOTE: NO ONE CAN RESIST A GOOD APE JOKE, SEE!?
By MICHAEL KANE


Who's the breakout star of "King Kong"? Hint: It's not Naomi Watts, Jack Black or Adrien Brody, whose performances were comparatively a bit, shall we say, small.

Must be the 25-foot gorilla himself, right?

In his Broadway debut, the belligerent big fella snaps free of his fortified steel shackles, rampages through a frenzy of panicked theatergoers (dressed in furs, no less!) and smashes out onto Seventh Avenue for the king of all "traffic snarls."

But the true breakout star of this holiday season's $207 million mega-blockbuster is the guy behind the 8,000-pound gorilla - special-effects pseudo-simian Andy Serkis. EDITOR'S NOTE: ANDY ROCKS!

The actor who brought Gollum to life in the "Lord of the Rings" trilogy is the man behind the CG'd (computer-generated) ape face, and it's his heartsick grunts and lovestruck gazes at palm-sized gal pal Ann Darrow that creates audience empathy for the good-at-heart gorilla.

"The success of the movie really depends upon the bond between Kong and Ann," says the 31-year-old Serkis. "If it feels phony, or if you don't connect, it'll still look great but the heart of the movie will be missing."

In other words, it wouldn't be a Peter Jackson film. The Oscar-winning director gets green-lighted without hesitation to make three-hour spectaculars for one reason: He's the modern director who best utilizes fantastical special-effects technology without losing emotional resonance.

And of "Kong," Jackson says: "If those close-ups didn't work, the movie wouldn't work."

Enter Serkis, in a motion-capture suit.

To provide Jackson's special-effects team, Weta Digital, with a 3D monkey mannequin they could enhance graphically, the British actor wore a blue Lycra bodysuit dotted with 60 sensors and - clutching a Barbie doll EDITOR'S NOTE: BUT ENOUGH ABOUT HIS PERSONAL LIFE! (SNICKER) - leapt and tumbled and knuckle-dragged in front of a blue screen.

The biggest change from his "Rings" work was that while Gollum never shut up, Kong expresses himself without dialogue. To that end, Serkis had 132 sensors affixed to his face, each driving Weta's CG software - capturing even the most subtle shades of puzzlement in Kong's expressions.

"At the end of the day, all my acting choices are on screen," Serkis says. "Everything from bluffing rage to internalizing a thought."

Jackson is also thrilled by the end results.

"He's more realistic than I ever imagined him to be," says the 44-year-old director. "He's a gorilla and not a monster. I wanted Kong to be sympathetic, but at the same time, I didn't want him to be cute."

To research gorillas, Serkis studied hundreds of hours of video and visited a zoo near London, forming a bond with one particular female named Zaire.

"She chose me, really," jokes Serkis, "much to the chagrin of the alpha male of the group."
That jealous silverback, Bob, once hurled a pile of stones through the bars at Serkis, scratching his camera lens. EDITOR'S NOTE: I HAVE PROBLEMS LIKE THAT AT THE ZOO ALL THE TIME. MORE AROUND THE UNGULATES THOUGH.

Later, Serkis observed gorillas in the wilds of Rwanda.

"I discovered they have a huge lexicon of about 17 recognized vocalizations they use to communicate, which I brought to the role," Serkis says. "A huge key into the Kong character was when I realized gorillas are social animals and best in big families.

"Kong has been an isolated, lonely gorilla since birth. He is the last of his species, and he knows it. That was the starting point." EDITOR'S NOTE: METHOD MONKEY.

Serkis also has a small role in the film as Lumpy, the cook aboard the SS Venture. But he spent the vast majority of his 10 months on-set as Kong.

For scenes with Naomi Watts, Serkis would position himself off camera on a crane, wearing a puffy black muscle suit and miked up to the "Kongolizer," a sound-system that pumped his grunts and roars through massive speakers.

"Most of my performance is a credit to Andy Serkis," Watts says. "I was reacting to his cues. That was my eye line."

In the key transitional scene in the film, Kong receives his human sacrifice from the natives of Skull Island and returns to the jungle. At his lair, he and Ann size each other up, so to speak.

"Kong is not a psychotic murderer who rips women apart," Serkis says. "It's not sexual frustration. It's more to do about his inability to connect and the frustration he feels. Ann changes that. She doesn't scream. She confronts him, and he's reawakened."

With every hint of understanding in the face of Kong, you have to wonder whether a CG'd alter-ego can be recognized with a Best Actor award.

Could that wounded gaze into Ann's teary eyes at the top of the Empire State Building be Kong's Oscar clip?

Don't laugh. A barely recognizable John Hurt got a nomination under prosthetics for "The Elephant Man." Is CG'd fur all that different?

"It's a gray area," says Serkis, who first stirred the Oscar-viability debate with the scene-stealing Gollum.

"Playing Kong is no different than any other conventional role onscreen," he says. "It's about embodying a character, understanding his motivations and expressing emotions." EDITOR'S NOTE: AND I'M BETTING THERE'S STILL ABOUT 2 DOZEN OLD-GUARD OSCAR VOTERS WHO WILL HAVE TO DIE BEFORE THIS SORT OF NOMINATION CATCHES UP TO THE TECHNOLOGY OF MOVIE-MAKING.

Monkey minutiae
Oscar-winning filmmaker Peter Jackson's passion for perfection goes well beyond what's visible to the audience. Here's a close-up look inside Jackson's secret world:

The hand-cranked motion-picture camera toted around by Jack Black's moviemaker Carl Denham is an actual antique Bell & Howell 2709 - the same type of camera used in the original "Kong."

The special-effects team, Weta Workshop, created at least eight variations of fake animal excrement, even researching photos of the manure of camels and tigers. EDITOR'S NOTE: PITY THE FILM-SCHOOL INTERNS WHO HAD TO RESEARCH THIS, HUH?

To create stormy seas, three tanks holding 250 gallons apiece were tilted to dump water down 20-foot ramps with angled kickers at the bottom. One wave that crashed up onto the S.S. Venture set even knocked actor Andy Serkis overboard.

To add flora to his 1/10th-scale miniatures, a greenhouse of tiny plants was maintained at the New Zealand studio. Botanists hooked tiny lead weights to mini-ferns so they would sway realistically, not vibrate, in the fans. EDITOR'S NOTE: THE UN-PAID LABORS OF MORE SLEEP-DEPRIVED INTERNS?

A little bit of THIS, a little bit of THAT

EDITOR'S NOTE: IF THE HEADLINE FOR THIS POSTING DOESN'T MAKE THE SONG "ANATEVKA" RUN ENDLESSLY IN YOUR HEAD....WELL, LUCKY YOU. (AND IT MEANS YOU MIGHT BE A DWEEB....BUT YOU AIN'T A THEATER DWEEB).

AGAIN, LUCKY YOU.

ANOTHER MISHMASH POST -----

FIRST UP, I CHOOSE TO BELIEVE THAT THE DWEEBLETTER VOTERS PUT MY BELOVED STAR WARS OVER THE TOP ON VOTES YESTERDAY. THE FINAL IMDB DAILY POLL TALLY?

The Star Wars movies or the Lord of the Rings movies?
Star Wars!
8662 (40.2%)

Lord of the Rings!
8267 (38.4%)

I like both equally!
3380 (15.7%)

I really like neither
1212 (5.6%)

A total of 21521 votes were collected. EDITOR'S NOTE: OR ONE GUY WITH NOTHING BETTER TO DO THAN VOTE 21,521 TIMES.

SAD NEWS:
'Hulk' cast member Jack Colvin dies at 71
Actor Jack Colvin, best known for his role as tabloid reporter Jack McGee in the 1970s television series "The Incredible Hulk," has died. He was 71.

Colvin died Thursday in North Hollywood of complications following a stroke, said his longtime friend, actress Maaren Edvard, an instructor and administrator at Michael Chekhov Studio USA West, which was founded by Colvin.

"Jack was, in every sense of the word, a consummate artist," Edvard said. "He wrote, painted and read philosophy, but he always came back to acting."

Colvin appeared in numerous TV shows, including "The Rat Patrol," "Kojak," "The Six Million Dollar Man," "The Rockford Files," "Cagney and Lacey" and "Murder, She Wrote." He also had minor roles in several films, including "Scorpio" and "Rooster Cogburn.

WHEDONING:
Joss Whedon talks Serenity 2
If I were a betting man, I’d say the sequel to “Serenity” will most likely be direct-to-DVD. But, if I were a man of faith, I’d also be collapsing on my knees, bringing the hands together and praying to the high heavens that we get (at least) one more cinema excursion of the crew. EDITOR'S NOTE: YEP. ON ALL COUNTS. MORE MORE MORE!

Whatever-will-be-will-be I guess – and as Whedon says, nothing will be decided until the monkeys tally up the returns from the forthcoming “Serenity” DVD – but regardless, Whedon has some ideas for the sequel. EDITOR'S NOTE: IT WAS ALL CARLIE'S DREAM AND PREACHER AND ALAN TUDYK'S CHARACTER'S ARE BOTH ALIVE? (SNIFFLE)

Though he didn’t go into specifics, Whedon tells moviesonline.ca that there’s a couple of characters he’d like to revisit : Jubal Early, the bounty hunter in the final episode of “Firefly”, and Shepherd Book, who only had a small part in “Serenity”.

Whedon says that Early’s still around (“I know he survived”) and that he’s keen to use the character again because “I love that character”. EDITOR'S NOTE: YEAH. HE WAS VERY WEIRD AND WONDERFUL.

He says he might also “one day tell” Book’s back-story. EDITOR'S NOTE: YES PLEASE.

So is the big man disappointed that “Serenity” didn’t set alight the box office?

“It wasn't a horrible bomb. Yes it did struggle. It's a question of how do you market a film that doesn't have any stars. Or a film that's just not one thing, that is generally diverse. Ultimately, I'm enormously surprised that people came out and saw it. That's what matters”.

A LITTLE TREK'ING:
Bryan Singer's Star Trek?
If there’s one man that might be able to breath lungs into the dying corpse of ”Star Trek” it’s blockbuster boy Bryan Singer.

The “Superman” and “X-Men” helmer tells Sci Fi Wire that he’s very keen on filling the Enterprise tank up and give it a spin around the Nexus.

"We're huge Trekkies. And we've always talked about what we would do, and what would I do, if I were to make a film in that universe”, says Singer. EDITOR'S NOTE: GOOD LUCK GETTING ANY OF THE KEEPERS OF THE TREK FLAME (OR RATHER, THE DOUSERS OF THE TREK EMBERS) TO LISTEN TO ANYONE'S DECENT IDEAS. THEY SEEM RATHER SET ON DRIVING THE SHIP RIGHT INTO THAT ICEBERG DESPITE MANY OFFERS OF BETTER PILOTING.

"Again, you know, it's the same thing: X-Men, Superman, Logan's Run, all these things: There are these incredible universes, really," Singer said, adding: "You kind of wish you could play in them all. I mean, I got to do a cameo in the last Star Trek film; that was a thrill. I got to be on the Enterprise when it was under attack."

As for what he would do in his version of a Star Trek movie? "[That's] a longer story," he said. "It would involve ... it would be big. It would be very big." EDITOR'S NOTE: NOT THAT SIZE MATTERS. AND THAT'S WHAT THEY ALL SAY.

Meanwhile, some good news for those who loathed the idea of the next “Trek” movie being a prequel.

According to Patrick Stewart, that’s no longer the plan. According to him, you’ll indeed see Jean Luc-Picard and the cast of “The Next Generation” back on the holodeck.

“About four months ago at a meeting in Los Angeles the subject was raised quite seriously from a very interesting point of view. I have been saying for four years now that it's over. No fantasies about it coming back, the space suits have been hung up for good. But there are weighty people in Hollywood who are very interested in one more run around the holodeck. There are serious plans. I was told this may happen two or three years down the road, by which time I'll be able to sit again in the captain's chair, but then again, it's not all that far away and if I'm in good shape I'd love to do it", he tells teletext.

AND A FEW COMPLETELY RANDOM ITEMS:
TOYOTA VEHICLES TO BE INTEGRATED INTO FOX'S '24'
Series Has Previously Been Closely Identified With Ford
LOS ANGELES (AdAge.com) -- The Fox network’s conspiracy thriller “24,” which has been closely identified with Ford Motor Co. vehicles, will get its first Toyota brand integrations in the upcoming fifth season of the show.

The deal kicks off with a mini-movie attached to the DVD release of the program's fouth season. The 10-minute piece, co-created by Toyota Motor Corp. and the producers of “24,” will be exclusive to the DVD set. A making-of special, which shows how the mini-movie was filmed, is airing on the Fox Movie Channel.

Car chase
The short film is intended to bridge the gap between season four and season five, which launches early next year. It revolves around a car chase with the lead character, Jack Bauer, played by Keifer Sutherland, behind the wheel of a Toyota Avalon. A Prius also makes an appearance in the mini-movie. EDITOR'S NOTE: HOPEFULLY NOT AS JACK BAUER'S GETAWAY VEHICLE. (THE PRIUS IS A GREAT CAR, BUT WOULDN'T BE MY SPEEDY-ESCAPE CAR OF CHOICE)

Loyal “24” fans are rabid for extra content, especially exclusive bits that tell the back story or give clues to the show's twisting plot, said Rob Donnell, president of brand entertainment firm Brand Arc, which represents Toyota. They’re upscale viewers who watch the content closely, making them good targets for the marketer, he said.

Toyota wanted to do more than just embed its cars into the show, working with the producers to come up with new content that moves the story along. “We wanted a fresh way to get involved with the show,” Mr. Donnell said. “This is a short film that really shows off the cars.”

Avalon sedan
The mini-movie portrays the midsize Avalon sedan as an easily maneuvered car, a brand attribute that the marketer stresses in its advertising of the model.

Toyota has stepped up its brand integration activity, said Mark Simmons, the marketer's national manager of advertising strategy and media, with a focus on TV. Various models have popped up on "Six Feet Under," "The O.C." and "Three Wishes." Such deals will be increasingly important as Toyota rolls out a number of new models in '06, he said.

The Fox series works well because it has a "passionate, loyal fan base that's very attentive to what goes on in the show," Mr. Simmons said.

Mr. Donnell said it is not yet decided how many episodes will feature Toyota models. Toyota will not be the exclusive car partner for the drama, and Ford likely will continue to supply vehicles for product placement. American-made sedans and sports utility vehicles make particularly good choices for government cars, which abound in the critically-acclaimed series.

Ford F-150
Ford's F-150 truck and other models have been closely associated with "24" in past seasons and Ford sponsored a commercial-free premiere of the show in fall 2003. The truck was featured in much of the on-air promotion surrounding the series.

It's Billi, SIR BILLI for Connery
Actor Sean Connery is teaming up with Glasgow Animation to produce a 3D CGI animated short film entitled SIR BILLI THE VET. Connery will lend his voice to the film.

The story centers on an eccentric veterinarian working in a remote Scottish village.

Connery joins a voice cast that already includes Alan Cumming, Miriam Margolyes, Richard Briers, Ruby Wax, Barbara Rafferty, Alex Norton, Gail Porter and Scottish comedian Ford Kiernan EDITOR'S NOTE: EVERY TIME I READ ONE OF THESE VOICE-CAST LISTINGS, IT MAKES ME WISH THEY WERE CAST IN SOMETING TOGETHER NON-ANIMATED. I REALIZE THE APPEAL TO THE ACTORS IS THAT THEY ARE ANIMATION AND THUS CAN BE PERFORMED IN A BATHROBE SANS MAKEUP AND HAIR (IN CONNERY'S CASE, HAIR-PIECE). STILL...THESE CARTOONS GET THE BEST MIX OF FOLKS, HUH?!

USPS Announces Super Hero Stamps



The United States Postal Service has unveiled their 2006 Commemorative Stamps. One of the sets will honor super heroes. This is the first stamp pane (20 stamps) honoring comic book super heroes to be issued by the Postal Service.

Half of the stamps on the DC Comics Super Heroes pane show portraits of characters; the others show covers of individual comic books devoted to their exploits. Beginning with the classic covers, a separate paragraph below briefly comments on each stamp.

Ever since Superman was introduced to readers in 1938, super heroes have been nearly synonymous with the comic book medium. Their fantastic adventures provide an escape from the everyday while simultaneously encouraging readers to feel that individuals can make a difference.

DC Covers
Plastic Man #4 Summer 1946 Art by Jack Cole Cartoonist Jack Cole flexed his creative muscles with the always pliable, ever-reliable Plastic Man, who debuted in August 1941. Cole enjoyed a 15-year stretch experimenting with fun, unique story twists and graphics for his expandable protagonist and stout sidekick, Woozy Winks.

Batman #1 Spring 1940 Art by Bob Kane Batman made his debut in Detective Comics #27 in May 1939 before swinging into action - with Robin, the Boy Wonder, by his side - with his own title series in the spring of 1940. The Dark Knight's distinguishing characteristics were intellect, skill and grim determination. EDITOR'S NOTE: NOT TO MENTION THAT BOY-WONDER-BY-HIS-SIDE THING....AHEM.....

The Brave And The Bold #36 June/July 1961 Art by Joe Kubert Hawkman returned in 1960, a reincarnated hero from the earlier "Golden Age" of comics. The new Winged Wonder and his spouse Hawkgirl were intergalactic police officers from a distant planet, meting out justice to the villains terrorizing Midway City. (Editor's note: The Golden Age of Comics took place from the late 1930s to the early 1950s.)

Green Lantern #4 Jan./Feb. 1961 Art by Gil Kane & Joe Giella As readers entered the Space Age, so did comics. Ace test pilot Hal Jordan took flight as Green Lantern, a galactic peace officer with an emerald power ring that could create virtually anything. Willpower and fearlessness marked Jordan as a hero for the times.

The Flash #111 Feb./Mar. 1960 Art by Carmine Infantino & Joe Giella The Flash is capable of moving at speeds so great he can make himself invisible or travel through time and between dimensions. His fast-paced adventures highlight pseudo-science while pitting the hero against an extensive "Rogues' Gallery" of villains.

Wonder Woman #22 (2nd series) Nov. 1988 Art by George Pérez As a worldwide ambassador of peace, Wonder Woman soared to new heights in the late 1980s. The character returned to her roots as an Amazon warrior from Paradise Island, land of heroic women. Her special powers were gifts from the Olympians. EDITOR'S NOTE: AND WONDERBRA.

Aquaman #5 (of 5) Oct. 1989 Art by Curt Swan & Al Vey Aquaman defends both land and sea with great strength, speed, and the ability to communicate telepathically with all marine life. His ultimate goal is to help both realms put aside their natural prejudices and unite in peaceful coexistence. EDITOR'S NOTE: GOOD LUCK WITH THAT.

The Daring New Adventures of Supergirl #1 Nov. 1982 Art by Rich Buckler & Dick Giordano Moments before the destruction of Argo City, Kara Zor-El was rocketed to Earth and reunited with her cousin Kal-El, the hero known throughout the galaxy as Superman. Developing incredible powers and abilities, Kara chose to follow her cousin's example and fight for good. EDITOR'S NOTE: BUT MOSTLY BECAUSE SHE LIKED THE CUTE LITTLE OUTFIT.

Superman #11 July/Aug. 1941 Art by Fred Ray Destiny brought the infant Kal-El from Planet Krypton to Smallville, USA, where he was raised by kindly farmers. Though gifted with extraordinary powers, Kal-El - now Clark Kent - expresses true strength in the compassion and moral responsibility he displays in the guise of Superman.

Green Arrow #15 Sept. 2002 Art by Matt Wagner Trapped on a deserted island, billionaire playboy Oliver Queen learned to hunt with a bow and arrow. He escaped and became Green Arrow, a modern-day Robin Hood who uses his unparalleled skill as an archer on behalf of the underprivileged. EDITOR'S NOTE: WHO, COMPLETELY UNIMPRESSED WITH THAT WHOLE BOW-AND-ARROW THING, END UP SHOOTING HIM WITH A AK47.

Character Shots
Batman Art by Jim Lee & Scott Williams After the brutal murder of his parents, young Bruce Wayne mastered nearly every known form of combat and employed his vast wealth to equip himself with the tools essential to his crime-fighting crusade as Gotham City's Dark Knight, Batman.

Wonder Woman Art by Ross Andru & Mike Esposito Wonder Woman has been an iconic inspiration for countless women since her debut in All Star Comics #8 in December 1941. The most recognizable female character in comics, created by William Moulton Marston, remains a figure of strength, beauty and courage.

Plastic Man Art by Dick Giordano Eel O'Brian was a small-time gangster before an accident at a chemical plant gave him the uncanny ability to stretch and alter his shape at will. Renouncing his criminal past, O'Brian became Plastic Man, the longest arm of the law.

Superman Art by Curt Swan & Sheldon Moldoff Ever since his debut in the pages of Action Comics #1 (June 1938), the Superman character created by Jerry Siegel and Joe Shuster has been an icon. The big red "S" on his shirt is among the most recognized symbols in American pop culture.

Green Lantern Art by Neal Adams In 1970, writer Dennis O'Neil and artist Neal Adams launched a new era of relevance in comics, crafting stories in which the Green Lantern-accompanied by his friend, Green Arrow-addressed important issues then considered taboo for the typical "comic book."

The Flash Art by Carmine Infantino & Murphy Anderson An explosive mixture of lightning and laboratory chemicals endowed police scientist Barry Allen with superhuman speed, transforming him into the "Silver Age" Flash, the Fastest Man Alive. The Scarlet Speedster was first set into motion in Showcase #4 (September/October 1956). (Editor's note: the Silver Age of Comics, from the mid-1950s to the early 1970s, reflected a period of artistic advancement and commercial success in mainstream comic books.)

Aquaman Art by Jim Aparo The memories of Aquaman's personal tragedies run deep after he loses his son, his wife, and his monarchy. Nevertheless, the former King of the Seven Seas remains determined to protect both the Atlanteans and surface dwellers from those who endanger them.

Hawkman Art by Murphy Anderson Powered by the mysterious "Nth metal" in his artificial wings, Hawkman soars through the sky above Midway City. When grounding the city's worst predators, the Winged Wonder relies on his mastery of Earth's ancient weapons, among them his mace and shield.

Supergirl Art by Curt Swan & Stan Kaye An impressionable teenager when she first arrived on Earth, Supergirl operated as her cousin Superman's "secret weapon" while adjusting to life on her new planet. Eventually, her existence was revealed to the world, which welcomed the Girl of Steel with open arms.

Green Arrow Art by Jack Kirby & Mike Royer Green Arrow made his debut in More Fun Comics #73 (November 1941). Since then, the Emerald Archer's most notable escapades were in stories drawn by legendary comics creator Jack Kirby in Adventure Comics #250-256 and World's Finest Comics #96-99 (spanning 1958-1959).

And while you're voting for things.....

EDITOR'S NOTE: WHAT THE HECK...WHILE WE'RE IN A VOTING MOOD, GO TO THE TIME MAGAZINE PERSON OF THE YEAR PAGE AND VOTE FOR J.K. ROWLING. (MOST OF THE OTHER NOMINEES ARE DEPRESSING, REAL-WORLD STUFF. AND WE DON'T WANT THAT, NOW DO WE?!)

http://www.time.com/time/personoftheyear/2005/walkup/index.html?cnn=yes

STAR WARS NEEDS YOUR VOTE!

EDITOR'S NOTE: TODAY'S IMDB POLL IS STAR WARS VS. LOTR. LOTR IS CURRENTLY SLIGHTLY AHEAD. THIS IS WRONG. (YES, I LIKE LOTR. BUT STAR WARS IS....WELL.....IT JUST IS, OK? AND IT SHOULD WIN!)

http://www.imdb.com/poll/

GO. VOTE. NOW!

Harry makes me Happy

EDITOR'S NOTE: A SMATTERING OF NEW HP STUFF....INCLUDING SOME BEAUTIFUL EMMA WATSON PICTURES THAT ARE ALMOST DISTURBING IN THEIR MATURITY. (OUR LITTLE HERMIONE IS GROWING UP FAST, POOR DEAR)

Quotes from new Jo Rowling interview
The Radio Times magazine has published some excerpts from the recently conducted interview with JK Rowling and Stephen Fry, which can be seen below.

SF: Is it really true that you've got it [the end of the story] all planned out?
JKR: Yes, I do know what's going to happen in the end. And occasionally I get cold shivers when someone guesses at something that's very close, and then I panic and I think "Oh, is it very obvious?" and then someone says something that's so off the wall that I think "No, it's clearly not that obvious!"So much that happens in [book] six relates to what happens in [book] seven.

In six, although there is an ending that could be seen as definitive in one sense, you very strongly feel the plot is not over this time and it will continue. It's an odd feeling, for the first time I'm very aware that I'm finishing.EDITOR'S NOTE: SNIFFLE. AND WOOHOO! (ALL AT ONCE)

SF: You've not held back from the difficult and the frightening [in your fiction].
JKR: I feel very strongly that there is a move to sanitise literature because we're trying to protect children not from, necessarily, the grisly facts of life but from their own imaginations... And the child that has been protected from Dementors in fiction, I would argue, is much more likely to fall prey to them later in life in reality. EDITOR'S NOTE: NOT TO MENTION, HOW MANY ACCOUNTANTS AND BANKERS DOES THE WORLD REALLY NEED, FOR PETE'S SAKE!

SF: Do you imagine you'll write for children the next time you write something new?
JKR: Truthfully, I don't know. There is another children's book that's sort of mouldering in a cupboard that I quite like which is for slightly younger children I would say. But there are other things I'd like to write, too. But I think I'll need to find a good pseudonym and do it all secretly because I'm very frightened of the unbearable hype that would attend a post-Harry Potter book. I'm not sure I look forward to that at all. EDITOR'S NOTE: BUT SEND WE LOYAL DWEEBFOLK A SIGN, SO WE CAN FOLLOW YOU TO THE ENDS OF THE EARTH, PLEASE?

Harry Potter offered new tax break to stay in UK
Dan Milmo and Jane MartinsonTuesday December 6, 2005
Guardian
Gordon Brown attempted to lure Hollywood back to the UK yesterday with new tax break proposals for film productions.

Uncertainty over the shape of the incoming tax regime has disrupted the British film industry over the past year, forcing the collapse of several projects and leading to a number of Hollywood productions taking their shoots elsewhere. Projects such as Troy, Alexander and Batman Begins EDITOR'S NOTE: CAN'T REALLY BLAME THE BRITS FOR THOSE FIRST TWO, RIGHT? have all been shot at UK studios in recent years as US media groups took advantage of benevolent tax codes.

However, the Treasury put the system under review last year and ordered the shutting of several tax loopholes. The most high-profile casualty was the latest James Bond film, Casino Royale, which will base most of its studio filming in Prague rather than Pinewood studios outside London. The next instalment in the Harry Potter series is also in danger of being lost to eastern Europe, according to the film's producers.

The chancellor unveiled his new proposals in the pre-budget report yesterday. They offer producers of a film costing more than £20m - typically a Hollywood-backed project - a tax credit that will hand them a rebate worth 16% of the budget.

The UK Film Council, the government-backed organisation that represents the British film industry, is understood to have requested a 14.5% rebate from the Treasury. In a further proposal aimed at British-financed films, productions with a spend of less than £20m will get a 20% tax credit.

The film industry yesterday welcomed the new tax credits, which will be introduced next April. John Woodward, chief executive of the UK Film Council, said: "Today's announcement by the chancellor is the best news the British film industry has received for five years. It marks a new era for the future growth of our industry which operates in a highly competitive global marketplace."

Pact, the trade body for independent producers, also welcomed the proposals but stressed the need for certainty to enable film producers to make long-term commitments. Tim Willis, head of film at Pact, called Gordon Brown a "friend of the film industry".

British film contributes more than £3bn a year to the UK economy. The peak year in terms of production spending was 2003, when more than £1bn was spent on making British films.
James Purnell, minister for the creative industries, said a new tax regime would be the cornerstone of a "film policy MOT" being conducted by the government and the UK Film Council. The study is expected to publish its conclusions early next year. "Support isn't limited to tax alone and we will continue to work closely with the British filmmakers to nurture and support our vibrant industry," he said.

The Department for Culture, Media and Sport also released final proposals for a "cultural test" that will be applied to film productions to determine whether they will qualify for the tax credits. Under the test, a production will have to fulfil a number of criteria, from casting British actors to using British locations. EDITOR'S NOTE: OH DEAR. I MEAN, THEY MIGHT AS WELL BE THE FRENCH, AT THIS POINT. (WITH THE CATERING NOT AS GOOD, OF COURSE)
Guardian Unlimited © Guardian Newspapers Limited 2005

Jim Dale nominated for a GRAMMY
Jim Dale, narrator of the US audio books, has been nominated for a GRAMMY in the category of "Best Spoken Word Album for Children" for his work on Harry Potter and the Half-Blood Prince. Dale previously won a GRAMMY in 2000 for the Goblet of Fire. The awards will take place in Los Angeles on February 8th and will be broadcast later that day. EDITOR'S NOTE: OK...IS IT TIME TO GO AHEAD AND SPLURGE ON BOOK 6 TAPES? (JIM DALE ROCKS!)

Julie Walters returning for OOTP
The actress who played Mrs. Weasley in the first three Harry Potter films has confirmed in an interview with FilmFocus.co.uk that she will reprise her role in the fifth movie. EDITOR'S NOTE: YIPPEE!!!!

"I really can't wait. Will you write to them and tell them that I'm indispensable? But, yes, it looks like I'm doing number five."

She added how she felt disappointed she wasn't in GOF: "I'm so glad to hear you say you were disappointed I wasn't in Goblet of Fire, because I was disappointed as well! I went out to see it and I wasn't there - I was shocked!" EDITOR'S NOTE: YEAH...THEY NEEDED JUST A LITTLE MORE TIME AT THE WEASELY BURROW WITH MRS. W FRONT-AND-CENTER. (MR. AND MRS. W ARE THE CUTEST COUPLE!)

AND NOW....FROM THE LONDON EVENING STANDARD.....SCARY/SEXY/LOVELY EMMA WATSON PICS ------