PAN

[njr]

May 20, 2015 17:34:08 GMT -5 jo said:

Here's the trailer again --

www.youtube.com/watch?v=Y1wRv8vTpxo



At 1'42" -- can you guess who is making a cameo appearance


It was not on the original script


Jo

smiley-signs002 What? Blackbeard? He was barely mentioned in the original story.

Nancy

[jo]

Er...sorry, if I confused you, Nancy -- what I meant was the original script by Jason Fuchs. Joe Wright might have made certain changes when he made the actual film.

Have you seen the scene at 1'42" ?

There is no Blackbeard at all

Jo

[jo]

Here's another clue -- just click on the link and simply stare at the screen cap. Don't click on the image as it will start playing the trailer. Just look at it ( it is the 1'42" moment).

www.hollywood.com/movies/see-peter-pan-before-he-became-the-legendary-pan-in-trailer-2-60262205/


EDIT: They pulled down the screencap - they must have been asked not to disclose the cameo. But Joe Wright has already mentioned it in interview ...Just take a look at 1'42" of the new trailer.

[jo]

Btw, The Hollywood Reporter says there will be a live-action movie centering on Tinkerbell in the future, with Reese Witherspoon as Tink.

www.hollywoodreporter.com/heat-vision/reese-witherspoon-star-disneys-live-797424

LOL - maybe Disney was impressed with the potential of new origin stories, as in PAN


Jo

[jo]

Joe Wright shares his cinematic vision and what prompted him to do this origin story --

new.blog.imdb.net/2015/05/18/a-qa-with-pan-director-joe-wright/

A Q&A with Pan Director Joe Wright
May 18th, 2015 | Posted by Melanie McFarland in IMDb Picks | Uncategorized



Joe Wright is an expert in bringing literary classics such as Anna Karenina and Pride & Prejudice to gorgeous life on the movie screen, infusing each frame with dazzling color and coaxing moving performances from his casts. But while Anna Karenina and Pride & Prejudice followed the basic storylines crafted by their original authors, his upcoming film Pan presents a new vision of Peter Pan as realized by screenwriter Jason Fuchs (Ice Age: Continental Drift).

We spoke with Wright in a phone interview about Pan, the evergreen appeal of J.M. Barrie‘s timeless character, and the film’s lush visuals.

IMDb: This is Jason Fuchs’ first live-action screenplay. Can you talk about what it’s like to develop this new take on the Peter Pan mythology with him?

Joe Wright: I think maybe because of his youth, he brought a wonderful exuberance and energy to the screenplay and the project. These ideas have been building up for him for a long time, so finally he was able to see them come to fruition and realized. There was a lovely, excitable kind of energy to him, and that was great to ride along with.

IMDb: Is this a story that you have a personal connection with, or was your decision to take on the project purely about the screenplay?

Wright: I had a big response the screenplay. It just delighted me, and also moved me. But I read the novel of Peter Pan when I was a kid, and then I went back to it, having read the screenplay, and found such a wonderful, strange resonance within it. Also, you know, now I’m a parent. It had a new kind of meaning for me, and it was something I wanted to bring alive for my own children as well as for the child within myself.

IMDb: What do you think it is about this story that lends it to so many instances of reinvention in cinema through the years? It’s a timeless tale, but so many writers and directors have wanted to look at it in different ways.

Wright: It has a kind of wonderful strangeness to it that feels very specific, and at the same time, universal. It’s an odd book… and I think it was one of the first books that I read as a child that didn’t talk down to kids, and it allowed their sometime ambiguous reactions to the adult world to be vindicated and heard.

IMDb: One of your recent films, Anna Karenina, provides a prime example of your strong emphasis on visual aesthetics. Can you talk about your viewpoint and influences that you called upon to bring Pan to life?

Wright: I knew I wanted a lot of color, and I knew I wanted to try viewing the world from a young perspective, a kind of pre-adolescent perspective as well. Things didn’t need to be cool, they needed to be extraordinary. I watched my son, as well. …There’s a whole fight sequence on a trampoline, for instance, that was inspired by my son bouncing up and down on a tiny little indoor trampoline. I was interested in seeing what inspired him.

IMDb: Another aspect of your films is that you really take great care with very specifics color palettes. How does that play into the visual style of Pan?

Wright: The film starts off in London in the 1940s. It starts off with a sort of green, muted, almost a monochromatic palette. Suddenly there’s the arrival of the pirates, and Peter and his friends get whisked off to Neverland, which is an explosion of color.

…I wanted the film to have a kind of handmade feeling about it, in the way I hope all my films feel handmade. So the colors are natural dyes rather than synthetic dyes. And then the world itself is inspired by the natural world. So instead of relying on fantasy illustrators, our (visuals) were born straight out of National Geographic … the idea of surrealism is putting disparate elements together to get something new. The idea of finding the amazing crystal caves in Mexico, then putting them next to the exquisite coastline of Vietnam, and seeing what they do to each other …It’s really about trying to examine the world around us, and allowing that to inspire our imagination.

IMDb: Can you talk about the usage of realistic sets in the film versus relying purely on CG?

Wright: Well, it’s kind of based on real stuff. For instance, the forest that we built, which I think is the largest indoor set that’s ever been built in the U.K. We felt like we needed to build that so that all the kids and everyone had a sense of place, really. And then we can kind of use CG to expand out, but we really enjoyed those sets.

…I wasn’t sure that I was going to like it at all, working with all of that stuff. I like to shoot stuff physically. And yet what I found, using some of the digital processes, is that actually they were quite freeing. One can kind of go anywhere with them. And the level of photographic realism now is so fine that it doesn’t pull me out of the movie like it possibly used to.

IMDb: You were the first person to cast Cara Delevingne in a movie. Considering the experience she’s amassed since then, what would you say that she brought to Pan versus her prior work?

Wright: In Anna Karenina…it was very very quick and a very important role, because she had to, in Anna Karenina’s imagination, be everything that was threatening her and her relationship. But in this film, her role is more developed. In fact, there’s three of her in this film – the three mermaids, and she plays all of them.

That wasn’t the original concept, but when you’ve got Cara, I’d rather have three Caras rather than one. She’s such an amazing force of nature, and I guess the mermaids had to be a kind of force of nature, too. She’s an amazing kid, Cara. She’s got this whirlwind energy.

IMDb: What was it like working with Hugh Jackman? Did he take Levi Miller under his wing?

Wright: He’s got very broad wings, and he took the entire unit under his wings. He’s a brilliant company leader, and I mean that in the old fashioned, theatrical sense of the word. He arrives on set, and he makes sure everyone is OK, makes sure the cast is OK. He’s incredibly supportive of young talent, and kind of makes it not about him — which of course has the magical effect of everyone wanting to support him to the best of their abilities.

He is one of the most generous, enthusiastic and supportive actors that I have ever worked with. He’s extraordinary. I really can’t talk highly enough about him. And yet he’s someone who enjoys being directed as well. He enjoys the collaboration between actor and director, and he trusts the director to take him to places he hasn’t gone before… He’s just a joy.

And certainly, Levi really looks up to him and there ended up being, between the two of them, pretty much my favorite team in the way that Levi stopped being aware of anything other than Hugh in most scenes, and wanted to give his best for Hugh in those scenes. And that was brilliant and amazing.

IMDb: When people walk away from seeing Pan, what feeling are you hoping to leave them with?

Wright: A belief in their own potential, and a love for their fellow travelers. And a big smile on their faces.

Pan is currently set for wide release on October 9 in the U.S. and Canada.

Joe Wright is the third British film director with whom Hugh Jackman has worked -- Chris Nolan in THE PRESTIGE, Tom Hooper in LES MISERABLES, and now Joe Wright in PAN. And of course there is his acknowledged mentor, Sir Trevor Nunn, who directed him in Sunset Boulevard and Oklahoma! on stage.

[jo]

If you watch the two trailers together, there is already a lot that one can pick up re the origin story --

www.youtube.com/watch?v=tjW1mKwNUSo

www.youtube.com/watch?v=Y1wRv8vTpxo


There was some buzz about the studio wanting a less dark and gritty storytelling. Joe Wright also shares that he did some test screenings especially with youngsters because he wanted the tone to be whimsical, not scary.  But I hope he did not edit the scene where the orphans are kidnapped by pirates descending through the roof and snatching them away -- that was scary but it set the ominous tone just right ( there is some gritty background to the story of Peter coming to Neverland).

LOL - I should really view this with a mind's eye of a child. Whimsical, laden with fantasy, and truly imaginative!

Jo

[jo]

IMDb: What was it like working with Hugh Jackman? Did he take Levi Miller under his wing?

Wright: He’s got very broad wings, and he took the entire unit under his wings. He’s a brilliant company leader, and I mean that in the old fashioned, theatrical sense of the word. He arrives on set, and he makes sure everyone is OK, makes sure the cast is OK. He’s incredibly supportive of young talent, and kind of makes it not about him — which of course has the magical effect of everyone wanting to support him to the best of their abilities.

He is one of the most generous, enthusiastic and supportive actors that I have ever worked with. He’s extraordinary. I really can’t talk highly enough about him. And yet he’s someone who enjoys being directed as well. He enjoys the collaboration between actor and director, and he trusts the director to take him to places he hasn’t gone before… He’s just a joy.

You reckon it is his youthful experience of playing in a highly competitive sports team (Aussie rugby or other sports he indulged in when he was young)? Or is it the theatrical training at WAAPA where he learned to appreciate how to work or lead the company?

Or is it genetics - born to be a leader

And certainly, Levi really looks up to him and there ended up being, between the two of them, pretty much my favorite team in the way that Levi stopped being aware of anything other than Hugh in most scenes, and wanted to give his best for Hugh in those scenes. And that was brilliant and amazing.

He was also great with Dakota Goyo in REAL STEEL as well as Isabelle Allen in LES MISERABLES! And who can forget his poignant moments with his daughter in SWORDFISH ?! And of course, he was also tasked by Prof Xavier to take care of the young mutants ( while the teacher-mutants went on a mission) in XMEN UNITED ( xmen 2).

LOL - I almost forgot -- what about the unforgettable scenes at the beginning and at the end with the young and brash Peter (Woolnough) Allen in THE BOY FROM OZ?


Jo

[njr]

May 21, 2015 11:51:48 GMT -5 jo said:

Here's another clue -- just click on the link and simply stare at the screen cap. Don't click on the image as it will start playing the trailer. Just look at it ( it is the 1'42" moment).

www.hollywood.com/movies/see-peter-pan-before-he-became-the-legendary-pan-in-trailer-2-60262205/


EDIT: They pulled down the screencap - they must have been asked not to disclose the cameo. But Joe Wright has already mentioned it in interview ...Just take a look at 1'42" of the new trailer.

I did look at 1'42" and still don't know what you're talking about.

Nancy

[jo]

Did you see what Peter was staring at, to his left

A burst of light ( which seems to have wings) ?

Tinkerbell!

Joe Wright confirmed in an interview that she is going to appear in a cameo.

Jo

[jo]

The Collider report link was posted a while ago, when the set visit reports came out. But because of the volume of all the set reports released simultaneously, I was not able to reproduce the report. Reading it again makes even more sense after seeing the second trailer --

May I reproduce it in full?

PART ONE :

Question: Your interpretation of this character seems to be the most drastic of what we’re seeing because we knew so little about Tiger Lily. You are able to bring a whole new interpretation and approach the character with a fresh palette.

ROONEY MARA: I feel like there hasn’t really been a proper interpretation of the character. At least in the cartoon anyway, right? She doesn’t even speak. But really it was in the script. I was really lucky that there was such a great female character that they created for the film. I don’t know how much I brought to it. It was really in the script.

How much did you know about this interpretation in terms of the punk rock elements and the costume and the boots, versus the iconic image of her coming into it?

MARA: No. When I heard Joe was doing it, I have wanted to work with him for a long time now. And when they told me that he was doing it and that he wanted to meet with me, I was like, “How is that going to work? I can’t play Tiger Lily.” Because I always thought of her as a Native American, because that’s always how she has been portrayed. I met with him anyway, because I love him, and I asked how this is going to work. Then he showed me all these images that he had of all these different cultures around the world. He explained to me what his vision was for the Native Village and it just made sense to me. They are natives of Neverland, and it’s a completely made up place. Then it just made sense to me. The costume stuff all came later. I remember he called me up before I auditioned for it and told me that he wanted her to be like a tree hugger but also a punk. Not dirty, but a little bit of a hippie and also punk. Those two things smashed together.

Does she get to talk a little more than she does in the cartoon? Does she have more lines?

MARA: Yes. I haven’t had a line in three weeks, but yeah, I do have a lot of lines. The last few weeks have just been all fighting stunt stuff so I haven’t spoken in a few weeks.
pan-hugh-jackman-levi-miller
Image via Warner Bros.

How does that change your process when you don’t have to prepare for dialogue, when you are physically out there, but not talking?


MARA: I have spent hours and hours and hours . . . I basically have spent the whole movie with the stunt team. Just learning the choreography and stuff for the fights. I have never done anything like that before so it’s been really challenging. It’s fun. I just feel like I’m with the stunt people all the time and that’s really fun. It’s fun to have a whole new little crew to hang out with on set. But learning lines, I don’t know. It doesn’t take me that long to learn lines so it doesn’t really change anything about my process. It’s just a different way of thinking and it’s just something totally new to me, being so physical.

Do you use an accent?

MARA: Yeah, I’m using an English accent

Can you tell us a little bit more about the stunts that you’re doing? Is it martial arts? How did you prepare coming into it?

MARA: I didn’t have that long to prepare, which was part of the problem because I came right from another film. I only had a few weeks really before we started shooting. I have been training with them the whole time we have been shooting, but it’s been difficult because I’m working. But we just learn the choreography. We did a little martial arts. We kind of did a little bit of everything. There has been weapons training. There is a lot of stuff on wires. Me and Hugh have this huge fight that is really challenging. I don’t think I should talk about it specifically where the fight takes place, but it’s really cool and it was really, really hard. Because he’s amazing, and he has been doing this kind of stuff for a while now. It was really hard for me and it made it feel even harder seeing how good he was at it.


Can you compare the directorial styles of Fincher and Wright?

MARA: Every director I have worked with has been completely different from the other. I am lucky that, especially in the past few years, there hasn’t been a director that I have worked with that I wouldn’t want to work with again, or that I didn’t just really enjoy working with and learn something new from. I love working with Joe. I’m having such an amazing time. Especially I love watching him direct Levi. He’really good with talking to all the actors, but especially talking to Levi. I’m fascinated watching him direct Levi. I don’t know how I would compare the two because they are so different. I guess maybe working with Joe is the most similar to working with Fincher out of anyone else I’ve worked with, but they’re not similar. They are completely different directors. But Joe is very specific and we do a lot of takes. He’s very visual and he’s also really articulate about the story and about the characters. So in that regard they have similarities but they are both unique in their own way

Talk about the physicality of the character. How does this Tiger Lily move? Is it animalistic? Is it dance?

MARA: I don’t know. I will have to see how they cut it together. I can tell you what we wanted it to look like. I don’t know it will look like that because, like I said, I didn’t have that long to train, and my experience with being this physical was really limited. I didn’t want it to feel super martial artsy. I wanted it to feel more animalistic. Not dancey, but . . . I don’t know how to describe it. If it was dancey, more modern dance. We wanted there to be something kind of odd about the way she moves. But definitely to have it feel a little more animalistic. She’s supposed to be an incredible warrior. We wanted her to have kind of something a little odd about the way she moves.

Does Tiger Lily have any signature weapon that she uses?

MARA: Yeah, I’m fighting with an axe. It’s like a boomerang axe.
pan-movie-image-hugh-jackman-levi-miller
Image via Warner Bros.

You said that when they first talked about you playing Tiger Lily, even you were sort of surprised. So when the headline came out and the reaction was really negative, because you understood it, did you want to respond and explain?


MARA: No, because people are going to react how they are going to react and they have the right to do that. It will be fine. They will go see it and they’ll either still feel that way or they will feel better about it. I just remember when we were shooting in the Native Village, which was so amazing. This set is amazing too but that was the most incredible set I have ever seen in my life. There were over 150 extras and they were there every day and they were so amazing. They were so passionate. They loved being there. [Joe Wright joins the group] Everyone was from every different part of the world and it was amazing. [To Wright] I’m talking about the other day. Remember that beautiful speech you gave on the last day?

JOE WRIGHT: I can’t remember what I said.

MARA: You said that whenever you were imagining it you weren’t really sure what to do at first. And then you thought, “Why don’t we just all be natives of Planet Earth?”

WRIGHT: Oh, yes! Yeah, yeah, yeah.

MARA: And everyone started cheering.


WRIGHT: Yes, it was very rousing. In the book, the natives are described as being redskins, which is a term I don’t really recognize. So I couldn’t work out where they were natives of. So I thought, should they be Native American, or should they be African, or should they be Mongolian? And then I thought, well, better if they are from everywhere, that they are all natives of Planet Earth. So that’s what we did. It was a bit of a gamble really, because they still needed to feel like a cohesive community. I was a bit worried about whether that was going to work. But the supporting artists that we had were an amazing group of people, and they did become their own little community really and inhabited that space. It felt like on that last day it really worked, didn’t it? It was great. It was lovely.

I know you have had fantasy elements in some of your previous movies, like Hanna. Can you talk about getting into these fantastical worlds?

WRIGHT: I guess a lot of my work has been a kind of a pull between Alan Clarke Bristish realism, which is a lot of the stuff I love, but then also my background in puppet theater and theater in general. And the films of Powell and Pressburger and Bedknobs and Broomsticks. The films are often kind of pulling between those two poles. This was an opportunity to really go into the fantasy area. It’s getting back to my childhood and maybe expressing that to my son as well. This is for my son. He’s not really into British Realism. He’s three.


We saw pictures of 1940s scenes that has a monochromatic look and there is much more color as things go along. Can you talk about your approach to the expanding color palette?

WRIGHT: It seemed a lot of very brilliant fantasy films these days are often in kind of grays and blues. Whenever you see fantasy illustrators they work in gray and blue a lot. I just wanted to make it a lot more colorful. I didn’t quite understand why if you are doing visual effects why they have to be gray and blue. So it was quite interesting because it took some pushing of those illustrators when we first did the concept art and stuff, to really get them to use pinks and oranges and purples and play with color in a way. When I think of my son, I think of bright colors. I don’t think of gray and blue, you know? But it also afforded us the opportunity to . . . London in the 1940s I think probably was quite a monochromatic world. Then when we go into Neverland it explodes in color and also explodes in 3D as well. I’m thinking, I don’t know if it’s for sure now, but I’m thinking the opening sequence of the film would be mainly 2D and the 3D stuff will kick in when we exit to Neverland.

Can you talk about the visual effects palette? I know you’re shooting anamorphic and then going into 3D later. Are you going to do long shots?

WRIGHT: There aren’t so many long shots. I feel a little bit with those long Steadicam shots that I ran a course with them and I don’t find them so interesting anymore. Not least because Alfonso [Cuarón] really sealed it with the opening of Gravity. But I do think that the 3D does work better in longer takes. I’m more classical really. We haven’t used any handheld. It won’t be that cutty. I like to create the kinetic energy within the frame. Sometimes it feels artificially induced by editing rather than what happens within the frame.
pan-movie-image
Image via Warner Bros.

We saw your nod to Gravity earlier when we saw the footage.

WRIGHT: Yeah, it’s our little piss take at Alfonso. Not a piss take, an homage. I thought that film was one of the most extraordinary bits of filmmaking I have seen in a really long time. He upped the bar and that’s really exciting.

There were two things that seem to be part of the tone: a sense of adventure and a sense of humor. There has been humor in your other films but this seems like a full out sort of physical comedy. How much is this geared toward kids?

WRIGHT: Hugh has brought a lot of humor to it as well. Hugh is very funny. Rooney is funny also in her own little way and Garrett is very funny. I usually, with a lot of my films, feel like I have to hold myself in a bit really. Whereas with this it really felt like, “What’s the stupidest possible idea? Let’s do that one.” It’s really been an opportunity to be as playful as we can possibly be. I think that it’s a very emotional and moving script, actually. I find it so. I in fact shed quite a few tears when I first read it. But I also think there is lots of opportunity for fun and humor. And I like making myself and hopefully other people laugh. Again, I like making my son laugh and I find him really funny.

Is he in it?

WRIGHT: No, no, go no you couldn’t control him


Rooney, is Tiger Lily funny? Is she playful? Are you funny? Are you playful?


MARA: I don’t know if I’m funny.

WRIGHT: I think she is. She is funny in a serious way

MARA: She’s funny but not on purpose. Not funny like the way Garett is funny.

WRIGHT: No, sometimes he tries to make jokes. Tiger Lily never makes jokes.

MARA: Yeah, I don’t make jokes.

But she brings humor to the piece even if she’s not funny

MARA: I mean, I don’t know.

WRIGHT: Yes you do.

Do you have a lot of scenes with Levi and what is it like working with a younger actor like that who doesn’t have the experience like some of the other actors you have worked with?

MARA: I love it. I have worked with little kids before, every time people are like, “Oh, you have to work with little kids.” I love working with little kids. I find it so refreshing. And Levi is just so sweet and so open. I love watching Joe direct him, he really just takes everything in and he listens. He’s wonderful. I love working with him.
pan-image-levi-miller
Image via Warner Bros.

Rooney, you mentioned earlier that your stunt work and wirework is completely different from anything that you have done before. Is there any fear factor associated with that? And can you tell us a little bit about what you were doing today? We saw you hanging off the side of the boat and you were pretty high up there.

MARA: Yeah, there is a fear factor. Because I have never done it before, I’m not very good at it. I don’t really like doing things I’m not very good at. I try not to do those things. So it has been good for me in that way. And also, I’m terrified of heights. I had to do a lot of things that are up high so that’s been scary.

WRIGHT: I didn’t know that.

MARA: I’m terrified of heights.

WRIGHT: That’s funny.

MARA: I shouldn’t have told you that. But I think it is good to challenge yourself in those ways and I think it’s good for me to get more in my body and learn how to do it. It’s been really good.

You also mentioned going head to head with Hugh. Obviously, he’s had lots of experience with action, so did he give you any tips? And what was it like going up against him in that scene?


MARA: We’re still in the midst of it but Hugh is one of the nicest people I have ever met in my entire life, right?

WRIGHT: Yeah, weirdly nice.

MARA: So hardworking. Thank God I’m fighting against him because he’s so lovely and generous. He’s a great person to try and model yourself after.

It’s been suggested that they might want to continue telling more stories with these characters. Is this a franchise you might lock yourself into?

WRIGHT: I’m on week 15 of this shoot.

Bad time to ask?

WRIGHT: Yeah. Making the film is kind of like labor in the sense that during the pain of it you think you never want to do this again. And then somehow you come out the other side and something really weird happens. You forget all about the pain. So who knows? Let’s just do this one. I feel like this is a very complete story in and of itself. So if that were to pass I don’t think that would be a terrible thing. We’ll see.

You did actually have a taste of that in Hanna. Here you’re on a much bigger scale in terms of action. Was it something that you enjoy so much you wanted to do more? And how has it been with these bigger action scenes?


WRIGHT: Terrifying. Really scary. This last sequence is about 10 minutes long and I think we’re about to do the hundredth setup on this scene. And so trying to keep all of that in your head is quite challenging. And I think we’ll probably reach 200 setups by the time we finish it. So it’s challenging. Hanna wasn’t scheduled or budgeted like an action movie. So it was quite challenging from that perspective. This obviously we’ve been given the resources . . . There’s never enough, but we’ve been given the resources to spend some time doing the sequences properly. And so I’m enjoying them. Actually it’s kind of like pure cinema. There’s nothing like it in any other art form other than maybe sport. You can’t do it on stage and you can’t do it in any other form. And so that’s kind of exciting. I don’t really watch a lot of action movies so I’m just making it up as I go along really. I should have really slipped it up a little bit.

We were told that you called Levi personally to tell him he got the part. What did you say to him?


WRIGHT: “You’ve got the job.”

How did he react?

WRIGHT: At that point he started screaming and screaming and screaming and screaming. And actually I just hung up the phone after about five minutes of this screaming.

Did you feel like you’d made a mistake at that point?

WRIGHT: No, I enjoyed listening to his screaming for a certain amount of time. And then I was over it. And then he called back and then it was all tears and, “Thank you.”

He called you back and kept screaming.

WRIGHT: No and then he was crying. Bless him. He’s a very sensitive kid. He has a very sensitive heart and a very open heart. He doesn’t have any of that kind of . . . He probably does have it somewhere, but he doesn’t try to be tough. He’s not trying to be tough or cool, really. He’s just very much himself and so it’s really nice to work with him. I guess he hasn’t gone through the teenage angst bit yet.

He seems very uncynical.

WRIGHT: Yeah, it’s lovely. He’s not cynical at all.

MARA: No he’s so pure.

WRIGHT: Yeah. It’s weird. But it’s lovely. And I think he’s really enjoyed it, which is nice, which infects us, when he sees things for the first time. It’s lovely to see the world through his eyes. And a lot of the film is exactly that, is seeing the world through Peter’s eyes, through Levi’s eyes.

Out of the group of really marvelous costumes what would you say is the one piece you could pick out that you admire the most?

WRIGHT: That I would wear? I like some of the pirate’s trousers, the jodhpurs. In fact I’m getting a pair made for myself. I like the pirate’s jodhpurs. I like Blackbeard’s costume a lot but I certainly couldn’t pull it off. I’d look ridiculous in it.

MARA: You tried that jacket on.

WRIGHT: Yeah, I looked horrendous. It was too big for my shoulders and too small for my tummy. It was just embarrassing. But I think the Blackbeard outfit is probably the coolest. But then I really also like Hook’s kind of cowboy—

MARA: How about mine?

WRiGHT: I wouldn’t wear yours. I like It. Also my son has got this thing about girls’ tummies. He loves girls having their tummies out. And he’s three, right? And if you’re walking down the road and there’s a girl with her midriff showing he goes, “Daddy look, she’s got her tummy out.” And mermaids. You know the thing about mermaids? So if the tail is above the tummy button he doesn’t like that mermaid. If the tail is below the tummy button he really likes that one. So Rooney specifically had her costumes made with her tummy out. So it’s for Zubin, really for my son. And he actually dresses as Tiger Lily himself.

MARA: I’m going to tell him that you did this one day.

WRIGHT: One day. [Wright shows the group a picture on his phone.] That’s my son as Tiger Lily.

PART TWO :

There is a conversation about female-driven action characters and movies like Lucy, and there’s the whole question of “Are we ever going to see a female-driven superhero movie?” Do you think Tiger Lily is an answer that? Was that even a concern of yours when you took this on?

MARA: I mean there’s always the thing about “There’s not enough parts for girls and blah, blah, blah…” There’s always that and I think there always will be to a certain extent. But I mean when I read the script I thought the Tiger Lily part was a fantastic part for a girl. I mean I have more action than Garrett.

I mean you’re like the concluding fight too. That’s a big thing.

MARA: Yeah and I think it’s great. I love it. I think audiences will love it too. I think young girls will love it. I think young boys will love it.

Can you talk about your favorite parts of the costume? Is there one part that you really like?

MARA: Of all the costumes? The costumes are so incredible. [Costume designer Jacqueline Durran] is, she did such an amazing job. I couldn’t pick a favorite. I love the pirates. The pirates are my favorite as well. I wish I was a pirate. But my costume’s amazing. I’ve been wearing it for however many weeks now so I never want to see it again. But all of the costumes on the film are just extraordinary. They’re incredible.

It must be nice to be running around in boots, too.

MARA: There’s part of the film where I’m pretty much barefoot. I just have these little kind of lyrical dance shoes on and I wanted to wear them for the whole thing. And then Joe had this brilliant idea that I maybe took my boots off a pirate. Thank God because if I was barefoot I don’t know if I’d be sitting here right now.


Joe, you talked about how Levi’s innocence has sort of infected the production. Several people have told us about Hugh being the nicest man in the world that seems like pretty high praise. What does it do to the production sort of having the big star at the top of things be the nicest man in the world?

WRIGHT: It just means that everyone is relaxed. I think people are at their most creative when they’re relaxed. I don’t believe that tension is good for creativity. Everyone is relaxed and therefore can feel able to express their own individual creativity and lots of ideas come in. It’s a joy like that.

I’m assuming that the ships are at sea?

WRIGHT: No, no, no. They’re in the air. They fly. There’s one crashed in the sea at the end, but Hook finds the ship, the Jolly Roger in the sea.

It seems like there are places the story can go as long as you don’t end right where the known Peter Pan story begins. So, for instance, Hook still has his hand.

WRIGHT: There’s lots of little references or allusions to Hook losing his hand and stuff like that. So there are moments where the audience might think, “Is this when Hook loses his hand?” And so we kind of played with expectations like that quite a lot.

How are aware of you with that? Because obviously if you get to the known Peter Pan story, you can’t make another movie between in some ways. Do you keep that in mind?

WRIGHT: Yeah. I mean I guess. I think it’s quite far off the beginning of the Peter Pan story. I don’t think we get very close to it at all. I think they’re probably safe for a little while yet.

Is there a lot of pressure knowing that Peter Pan is so close to so many people’s hearts? Or did that make it more exciting to take it on?

WRIGHT: I have a bit of a habit of that because Pride and Prejudice was quite close to a lot of people’s hearts. Atonement was as well and Anna Karenina was as well. So I try not to really think about it and really just make a film that is representative of my own feelings about the book and my relationship with the book. And not worry too much. I try not to worry really.

In this there is so much more imagination as well so it had to be so much more fun.

WRIGHT: Yeah. I think the book is strange and wild and beautiful and surreal and dark and kind of extraordinary. And so that kind of opens the door to all sorts of wonder and mischief.

[jo]

Rooney Mara has just won the Best Actress Prize at Cannes 2015!

abcnews.go.com/Entertainment/wireStory/eyes-coen-brothers-cannes-readies-palme-dor-31265884

The best actress prize was split but not the way some expected. It was given to both Rooney Mara, half of the romantic pair of Todd Haynes' '50s lesbian drama "Carol," and Emmanuelle Bercot, the French star of the roller coaster marriage drama "My King." (Bercot also directed the festival opener, "Standing Tall," about a delinquent teenager.) Any split was presumed to go to Mara and her "Carol" co-star, Cate Blanchett

Hope this makes people less skeptical about her casting in PAN...

and also that it helps the film project proposal of COLLATERAL BEAUTY, with Hugh Jackman, to be a much more sought-after project which is being shopped for financing and distribution rights.

[jo]

A very positive online review from REEL REJECTS of the second trailer --


www.youtube.com/watch?v=GyWlk9MZFkE

He founds like an inner Peter Pan geek

Magical, beautiful, scary, fantastical -- he gives the future movie the thumbs up!

[jo]

“Second star to the right and straight on 'til morning. ” ― J.M. Barrie, Peter Pan.

[jo]

A pitch to the younger demographics

www.youtube.com/watch?v=Wq20yuy14tU&feature=youtu.be&a=

[jo]

Promo for a free tour of WB at Burbank, Ca -- only US residents allowed.

www.dailybreak.com/embed/hormel-pan-pepperoni-quiz/EMBED

Rules --

www.dailybreak.com/info/terms/hormel-pan-pepperoni-quiz/DAILYBREAK


I got BLACKBEARD on my first try ( ha - must be my corporate background ) -- but only to find out residency requirements disqualify me

Jo

[jo]

Hugh Jackman ‏@realhughjackman · 2h2 hours ago
Awesome day one junketing for @panmovie. Thanks to @sebastabany for the magic trick! @wbpictures #JustTheBeginning

Btw, does it look like that his Instagram account may have been hacked? The link now brings you to a faux account. Maybe that is why he has not been using it lately?

[jo]

From a previous news report, there is indication that PAN will be released in Australia on September 24, 2015.

www.dailymail.co.uk/wires/aap/article-3088638/Jackman-takes-villainous-turn-Pan.html

That is going to be two weeks ahead of the USA release date of October 9. Although it is not unusual for some major films to roll out earlier in the overseas market, many of the release dates prior to October 9 will be just be a day earlier ( except for the Australian opening day) while the rest open a week or more after October 9.

www.imdb.com/title/tt3332064/releaseinfo?ref_=tt_ql_6

Will they also hold the worldwide premiere in Australia? There are two Aussies in the major cast - the young boy who plays Peter ( Levi Miller) and the arch nemesis named Blackbeard ( Hugh Jackman).

Jo

[jo]

Why Amanda Seyfried would not want to be a superhero movie actress

www.mtv.com/news/2188829/amanda-seyfried-stuntwork-never-again/

Why? Because those franchises involve action, and action involves stuntwork, and stuntwork makes Amanda Seyfried sick, literally.

“I did a cameo in a movie and it turned into just a big nightmare for me,” she said (although she made sure to mention immediately that the movie in question, Joe Wright’s “Pan,” is itself “wonderful” and “amazing.”)

The nightmare part was a surprise announcement that Amanda’s role would involve flight, which she had been very specifically trying to avoid… for very specific reasons.

“When I signed on, there was no wirework or green screen stuff happening with my character. I’m not playing a fairy, so why would I be flying around? Throwing up?!”

Knowing the effect it has on her, it’s no surprise that Amanda Seyfried’s official stance on stuntwork is “NEVER AGAIN.”

Also, keep a watchful eye on the sky during her cameo in “Pan,” because that stuff raining down from above? Probably not fairy dust.

It's funnier when you watch her in the interview itself --





Btw, I posted a very long time ago that I was hoping that Joe Wright will actually film action scenes with her character Mary (the mother of Peter), instead of the simply narrative description of her action scenes in the script - one of which might also involve Blackbeard. I wonder if she might have meant that? Or something else?

It looks like this was filmed only two months ago ( April-ish)? When was Hugh back in London for some additional filming/footages? That was in late February, so maybe Amanda was not filming any confrontation scenes with Hugh, unless that was filmed during the normal filming schedule?


Jo

[jo]

www.breakingnews.ie/showbiz/amanda-seyfried-teases-interesting-relationship-with-hugh-jackman-in-pan-685098.html

Amanda Seyfried has revealed working with Hugh Jackman on Pan was very different to their last collaboration on Les Miserables.

In the award-winning musical Hugh and Amanda play father and daughter Jean Valjean and Cosette, but in the Peter Pan sequel Hugh is playing pirate Blackbeard while Amanda is Wendy’s mother Mary Darling.

Amanda hinted: “It’s such a different relationship that I have with his character, my character… it’s interesting… It’s so funny going from father and daughter to what we are in this movie.”

The site misrepresents that Amanda plays Mary Darling. She is playing a character named Mary...but she is the mother of Peter!

Will Mary and Blackbeard even have scenes together?

SPOILER: Click to show

I am hoping that contrary to what is simply narrated in the script of their deadly encounter, that Joe Wright decided to have a real action scene.

Jo

[jo]

Another background research on who BLACKBEARD really was --

www.dailymail.co.uk/sciencetech/article-3373461/Was-Blackbeard-GENTLEMAN-Historical-records-feared-pirate-actually-aristocratic-family-man-gave-wealth-help-brother-sister.html#comments

The Wikipedia notes on Blackbeard seemed historically viable, too --

en.wikipedia.org/wiki/Blackbeard


Had PAN been received better at the box office and maybe by the critics, a sequel could focus on the backstory of BLACKBEARD ?

[jo]

Razzie Nominations --

www.msn.com/en-us/movies/news/a-complete-list-of-this-years-razzies-nominees/ar-CCsNJK?li=BBnb7Kz

Nothing except for Best Supporting Actress nods for Rooney Mara and Amanda Seyfried.

But they are in good company, as Johnny Depp and Eddie Redmayne also got nods


Jo

[jo]

Is this little Blackbeard cuter than Hugh

His costume is not so bad -- no plumage, but the pewter-ish metal vest is there, the pantaloons, the red sash, the short sword, and the moustache and goatee is very good!

Er... why are his socks of different colors - must be the reigning style in Neverland

[jo]

I caught most of PAN on a cable TV feature -- I still can't see how it failed to appeal to the general public. The movie is well-made and it does have an appeal for the young and the young-at-heart! Hugh and Levi were especially charismatic! I think it is mainly because audiences refuse to accept an origin story that departs somewhat from the familiar traits of the boy who never wished to grow old, as recounted by James Barrie. A lot of complaints about Jason Fuchs's script -- I have to disagree -- it is well-written and features very interesting characters. The Fuchs script was actually part of the Black List of that year -- which means producers and other similarly-involved Hollywood movers and shakers judged it to be a very good candidate for a very promising film. Oh well.

Btw, two observatons --

*Hugh was speaking with a British accent -- not too obvious at first until one hears how he enunciates, especially with long dialogs! Good job, part-British Mr. Jackman

*I failed to notice until now that the director of cinematography was Seamus McGarvey ( who worked with Joe Wright on Atonement and Anna Karenina and who was also an Oscar nominee) who was quite known for his body of work, which spans quite an impressive list of accomplishments in cinematography.

I mention this because Seamus is also the cinematographer for THE GREATEST SHOWMAN! Hugh must have liked his work in PAN very much and must have thought SM has the artistic flair to help bring the musical biopic to acclaim. His skills in cinematography will also be key to capturing cinematically the big musical numbers that could be hallmarks for this film!


Jo

[mamaleh]

I also didn't think PAN was so bad. It had a rousing spirit of adventure, great costumes, some witty dialogue (OK, some cringeworthy, too, but not much) and Hugh's deliciously over-the-top performance, as befitting the out-there character of Blackbeard. And yes, I thought the cinematography beautifully conveyed those fantasy worlds. Too bad many people could not get past their perception of the tribal princess as politically incorrect.

Ellen

[jo]

Loved this particular scene -- Hugh singing, without the usual Jackman ingratiating charm ( he looked menacing ) --

"Entertain Us!"