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By MCN Editor editor@moviecitynews.com

WARNER BROS. PICTURES UNVEILS NEVER-BEFORE-SEEN FOOTAGE OF “THE HOBBIT: AN UNEXPECTED JOURNEY” SHOWCASING STUNNING HIGH-FRAME-RATE RESULTS

FOR IMMEDIATE RELEASE

BURBANK, CA, April 24, 2012 — Warner Bros. Pictures screened approximately 10 minutes of never-before-seen footage from New Line Cinema and MGM’s upcoming epic “The Hobbit: An Unexpected Journey,” which showcased the filmmaking innovation of 48 frames-per-second (fps), doubling the typical frame rate of 24 fps.  The footage was part of the studio’s presentation at CinemaCon, the official convention of the National Association of Theatre Owners (NATO).

The film, slated for worldwide release beginning December 14, 2012, is the first major motion picture to be made using this state-of-the art high-frame-rate technology.

The footage was introduced via a taped greeting from director Peter Jackson, who gave a bit of history as to how 24 fps became the industry standard and why today’s technology allows for higher frame rates. He also explained that 48 fps is actually closer to the way the human eye views the world.  Jackson offered, “As a filmmaker, I always want to create a strong sense of reality, to allow the audience to lose themselves in whatever the cinematic story is that I’m presenting.  Shooting and projecting at 48 fps gives you the illusion that a hole has been cut in the wall of the cinema, and you’re watching the story unfold with a heightened sense of reality.  It’s terrific for 3D; I’ve looked at the 48 fps dailies for ‘The Hobbit: An Unexpected Journey’ in 3D for over a year now, and with the reduction in strobing and flicker, it is a much more gentle experience on your eyes.  48 fps is not just limited to 3D.  A film shot in 48 fps looks fantastic when projected in 2D, and converts well to 24 fps as well.”

Dan Fellman, Warner Bros. Pictures President, Domestic Distribution, stated, “24 fps has been the standard in our industry for the last 80 years, so this is an exciting breakthrough.  It’s no surprise that Peter Jackson, with his commitment to innovation, is the first director to utilize 48 fps on a grand scale.  It’s equally gratifying to me to see the exhibition community embrace this advancement.”

Veronika Kwan Vandenberg, Warner Bros. Pictures President, International Distribution, added, “We’re thrilled to be arm-in-arm with Peter Jackson and the exhibition community in exploring the possibilities of high-frame-rate filmmaking.  The powerful combination of enduring storytelling and spectacular visuals will offer an exciting new movie-going experience to audiences around the world.”

From Academy Award®-winning filmmaker Peter Jackson comes “The Hobbit: An Unexpected Journey,” the first of two films adapting the enduringly popular masterpiece The Hobbit, by J.R.R. Tolkien.  The adventure follows the journey of title character Bilbo Baggins, who is swept into an epic quest to reclaim the lost Dwarf Kingdom of Erebor from the fearsome dragon Smaug.  Approached out of the blue by the wizard Gandalf the Grey, Bilbo finds himself joining a company of thirteen dwarves led by the legendary warrior, Thorin Oakenshield.  Their journey will take them into the Wild; through treacherous lands swarming with Goblins and Orcs, deadly Wargs and Giant Spiders, Shapeshifters and Sorcerers.

Ian McKellen returns as Gandalf the Grey and Martin Freeman stars in the central role of Bilbo Baggins.  The ensemble cast also includes (in alphabetical order) Richard Armitage, John Bell, Cate Blanchett, Orlando Bloom, Jed Brophy, Adam Brown, John Callen, Luke Evans, Stephen Fry, Ryan Gage, Mark Hadlow, Ian Holm, Peter Hambleton, Barry Humphries, Stephen Hunter, William Kircher, Evangeline Lilly, Sylvester McCoy, Bret McKenzie, Graham McTavish, Mike Mizrahi, James Nesbitt, Dean O’Gorman, Christopher Lee, Lee Pace, Mikael Persbrandt, Andy Serkis, Conan Stevens, Ken Stott, Jeffrey Thomas, Aidan Turner, Hugo Weaving and Elijah Wood.

“The Hobbit: An Unexpected Journey” is directed by Peter Jackson from a screenplay by Fran Walsh, Philippa Boyens, Guillermo del Toro and Jackson.  Jackson is also producing the film, together with Fran Walsh and Carolynne Cunningham.  The executive producers are Alan Horn, Ken Kamins, Toby Emmerich and Zane Weiner, with Boyens serving as co-producer.

“The Hobbit: An Unexpected Journey” is a production of New Line Cinema and MGM, with New Line managing production.  Warner Bros Pictures is handling worldwide theatrical distribution, with select international territories, as well as all international television licensing being handled by MGM.  “The Hobbit: An Unexpected Journey” will be released on December 14, 2012, and the second film, “The Hobbit: There and Back Again,” opens on December 13, 2013.  Both films will be released in 3D and 2D in select theatres and IMAX. www.thehobbit.com

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“Chad Harbach spent ten years writing his novel. It was his avocation, for which he was paid nothing, with no guarantee he’d ever be paid anything, while he supported himself doing freelance work, for which I don’t think he ever made $30,000 a year. I sold his book for an advance that equated to $65,000 a year—before taxes and commission—for each of the years of work he’d put in. The law schools in this country churn out first-year associates at white-shoe firms that pay them $250,000 a year, when they’re twenty-five years of age, to sit at a desk doing meaningless bullshit to grease the wheels of the corporatocracy, and people get upset about an excellent author getting $65,000 a year? Give me a fucking break.”
~ Book Agent Chris Parris-Lamb On The State Of The Publishing Industry

INTERVIEWER
Do you think this anxiety of yours has something to do with being a woman? Do you have to work harder than a male writer, just to create work that isn’t dismissed as being “for women”? Is there a difference between male and female writing?

FERRANTE
I’ll answer with my own story. As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me. That phase ended after a couple of years. At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them. I devoured books at that age, and there’s no getting around it, my models were masculine. So even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men. I didn’t want to write like Madame de La Fayette or Jane Austen or the Brontës—at the time I knew very little about contemporary literature—but like Defoe or Fielding or Flaubert or Tolstoy or Dostoyevsky or even Hugo. While the models offered by women novelists were few and seemed to me for the most part thin, those of male novelists were numerous and almost always dazzling. That phase lasted a long time, until I was in my early twenties, and it left profound effects.
~ Elena Ferrante, Paris Review Art Of Fiction No. 228

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