Peter Jackson’s “Precious”…
Today was the premiere of the first movie in “The Hobbit” trilogy.
I was not about to comment on todays events. For me, the shine has long since corroded from the Ring Trilogy and the “Hobbit” that came after.
Events surrounding the industrial dispute; the mass hysteria that followed; the vilification of actors who stood with Actor’s Equity; the demonisation of trade unionists; the the carefully crafted manipulation of public hysteria by some very skilled creators of illusion; the actions of National in unilaterally changing employment law – all left a sour taste in my mouth.
Whilst I loved the “Lord of the Rings” trilogy; the talents of actors, technicians, director and producer, and all the other fantastically imaginative craftsmen and woman who contributed to one of the most epic movies of this century – I can no longer share those same feelings with “The Hobbit”.
As with our fraudulent claim to be “100% Pure”, there is something about “The Hobbit” which is a sham.
Unlike the “Lord of the Rings”, “The Hobbit” is not the product of Kiwi ingenuity. It is the product of back-room deals; media manipulation; and political-corporate connivance.
Have a look at TV3’s report today into the tumultuous background of “The Hobbit”, when Hollywood Hell broke loose in our country,
Note Peter Jackson’s comment @ 1:27,
“We are now being given signs that they [Hollywood producers] are looking very seriously about shifting [the Hobbit].”
That was a lie.
We know it was a lie.
We know it was a lie because Peter Jackson admitted it in an email to National’s Economic Development Minister, Gerry Brownlee, on 18 October 2010,
Sir Peter Jackson told the Government he did not believe an international actors’ boycott would force The Hobbit overseas, emails show.
The message, sent to the office of Economic Development Minister Gerry Brownlee on October 18, is in stark contrast to comments the film-maker made earlier in the month.
On October 1, he said: “The Hobbit is being punished with a boycott which is endangering thousands of New Zealand jobs and hundreds of millions of dollars of foreign income, for no good reason.”
Sir Peter dismissed the idea that movie production was moving overseas because it was cheaper to make films there.
“It’s completely absurd! Eastern Europe is only being considered because a minority group of the New Zealand acting community have invoked union action that has blacklisted our film, making it impossible to shoot in New Zealand.”
But on October 18, Sir Peter said the boycott had nothing to do with the movies potentially moving overseas.
“There is no connection between the blacklist (and it’s eventual retraction) and the choice of production base for The Hobbit,” he wrote.
“What Warners requires for The Hobbit is the certainty of a stable employment environment and the ability to conduct its business in such as way that it feels its $500 million investment is as secure as possible.”
The October 18 email also suggests Sir Peter thought the boycott had been lifted, even though he said in television interviews three days later he was unsure if it had been officially ditched.
Sir Peter declined to comment through a spokesman yesterday.
And Fairfax Media reported,
The email showed Warner Bros wanted ”stability” to film the movies in New Zealand and was worried about ”grey areas” of employment law.
The Government secured the movies in October by an urgent amendment to the law which prevented independent contractors from claiming entitlements as employees, as well as an agreement to increase the tax concession for big screen productions.
The report said the email was signed ”Peter J” – apparently director Sir Peter Jackson – and was sent to the office of Economic Development Minister Gerry Brownlee who was involved in the negotiations with Warner Bros.
It said there was no connection between Actors’ Equity union action against The Hobbit movies and choice of location, which contradicted government statements at the time – which were that Warner Bros was concerned about strife caused by the blacklisting of the movies because of a row over collective pay conditions.
See: Union: Protest did not affect Hobbit decision
It was all a giant con. And we, as a country, were the ones being conned.
Because three days later, on 21 October 2010, Jackson issued a Press Release stating,
“Next week Warners are coming down to New Zealand to make arrangements to move the production offshore. It appears we cannot make films in our own country even when substantial financing is available.”
Peter Jackson knew full it well was unlikely that Warner Bros would move “The Hobbit”, for several practical, hard-nosed reasons. Which Jackson duly shared with Gerry Brownlee.
Unfortunately, neither Brownlee nor Jackson shared that information with the rest of the country, and the mounting public hysteria gave John Key and National the ‘mandate’ they needed to act decisively.
The country panicked; and National used the opportunity to play “hero” by saving the day. It was like a Hollywood scripted movie. (Though, for the life of me, I’m not sure that the “good guys” won.)
In 48 hours, National rammed through legislation amending the law covering all workers in the movie and television entertainment industry. The Bill was introduced on 28 October. It gained Royal Assent on 29 October. The fastest piece of legislation enacted since politicians voted themselves generous superannuation entitlements, late one night, in the 1980s.
At the stroke of a pen – similar to a Decree issued by a lone despot in some authoritarian regime – National unilaterally changed workers from being employees to sub-contractors.
The resulting change was stark;
- Employees can negotiate collectively for a collective agreement
- Sub-contractors cannot
- Employees had minimum wage; sick pay; holiday pay; appropriate employment/termination protections; etc.
- Sub-contractors do not.
National got what it wanted; public support through a bit of Union bashing, and preliminary legislative attacks on de-unionisation of the workforce. (See: New industrial relations laws rewrite labour rules)
Warner Bros got what they wanted; more money (courtesy of the taxpayer) and de-unionisation of “The Hobbit” workforce.
Peter Jackson got what he wanted; an irritation out of his life.
In a way, I don’t blame Peter Jackson – despite his masterful manipulation of public opinion and reaffirming (if re-affirmation was ever required) that we can be a nation of sheep.
Peter Jackson is a talented, imaginative artist who can create the most visually stunning images on a screen. He is, in most likelihood, a genius.
Unfortunately, geniuses are often so focused; so obssessed; and so fixated on their work, that they will disregard all others around them. A genius is all-consumed with his work, to the detriment of others.
In this case, Peter Jackson identifies utterly with his projects; immersing himself in childhood fantasies that he now has the power to bring to life – albeit a two-dimensional “life” on the big screen.
In doing so, he swats aside any irritation that might distract him from his work.
Actors Equity was such a distraction, and Jackson used his masterful skills at perception-manipulation to rid himself of that irritation. He had the power – so he used it.
He’s not evil or tyrannical or nasty.
He’s simply a boy who never quite grew up and realised that he could fulfill all his childhood fantasies.
Unfortunately, in doing so, and like many other obessively-dedicated geniuses before him – he has hurt many people in the process.
Will I go to see “The Hobbit”? I really don’t know.
But if I do, it won’t be the same as “Lord of the Rings”.
The illusion will be broken – the suspension of disbelief (film makers and writers will understand what I’m referring to).
Because all the while, there will be the spirit of a little boy who never quite grew up; holding on to his childhood fantasies; and murmuring ‘my precious‘, as he never lets go.
Gordon Campbell: On The Hobbit finale
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