Peter Jackson Wants to ‘Poke Fun’ at Australians in a ‘Mortal Engines’ Sequel

We put some of the most burning questions from Fandom’s Mortal Engines fan communities to producer Peter Jackson, director Christian Rivers and the cast of the film. Questions like what they want to see in a sequel. Which Traction City they would want to live in. And, perhaps most importantly, what’s Thaddeus Valentine’s favourite dad joke? Read some of what they said below; watch the video above for more.

What Would You Like To See in a Sequel?


MOrtal Engines
Hugo Weaving as Thaddeus Valentine in Mortal Engines.

“I’d like to see Dog in the next one,” says Leila George who plays Katherine Valentine, daughter of Hugo Weaving’s villain Thaddeus, in Mortal Engines.

Robert Sheehan, who plays Tom Natsworthy in the film, wants to see his character take on more responsibility.

“In the second book, Tom and Hester have become parents,” he says. Hester is Hester Shaw, the film’s main protagonist, played by Hera Hilmar. “So that would be quite nice wouldn’t it? To play a dad. Do you know what’s interesting? I’ve never played a dad. Hopefully, I wouldn’t drop the poor devil.”

Stephen Lang, who plays cyborg Stalker Shrike, meanwhile says he wants to see “the elopement between Valentine and Shrike.”

We think he’s joking. Valentine actor Hugo Weaving concurs: “The love story between these two. It was sad, the backstory.”

Gaining Traction


Mortal-Engines
The Traction City of London.

Producer Peter Jackson, who also co-wrote the screenplay which is based on the Phillip Reeve novel, wants to see a Traction City in the next one that doesn’t make an appearance here.

“I do look forward to seeing Sydney,” he says. “The traction city of Sydney, which has got a lot of corks floating around the top of it — big swinging corks. And it’s another chance to poke fun at Australians, so why not?”

Co-producer and screenwriter Philippa Boyens wants to see a Traction City absent from their adaptation of Mortal Engines too: “I want to see Arkangel, which is the giant traction city which inhabits the wastelands in the north.”

Jackson also cites Anchorage from “the second story, which is a Traction City on skids on the ice, that is wind-powered.”

Star Wars To Blame

Peter Jackson Shelved ‘Mortal Engines’ for 5 Years – Because of ‘The Hobbit’

Director Christian Rivers, meanwhile, is disappointed we didn’t get to see the Traction City of Panzerstadt in the film – but says there’s a Star Wars-related reason it was left out.

“There is a great moment in the book where they test fire [weapon of mass destruction] Medusa and it destroys Panzerstadt,” he explains. “The shock of people seeing that, because it’s so unnatural to [the tenets of] Municipal Darwinism, it would be like seeing a gazelle eating a lion. It has that unnatural quality about it, everyone is terrified by it. So that would have been cool to see but the reason we don’t see that is for the clarity and the efficiency of the storytelling. We’re going to see this thing go off, [so we need to see it fire] at the target. We don’t want to have a little test drive.”

He adds, “And possibly it might have actually been too akin to Star Wars, actually seeing the Death Star blow up Alderaan, as a mechanic.”

Watch the rest of what they had to say in the video above.

Mortal Engines hits screens in Australia on December 6, the UK on December 8 and the US on December 14.

Peter Jackson’s Heartbreaking New War Film is a Towering Technical Achievement

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Peter Jackson ‘looked forward to’ Mortal Engines after The Hobbit

‘The Lord of the Rings’ film-maker was keen to adapt Philip Reeve’s novel with colleague Christian Rivers and help kickstart the Oscar-winning visual effects artist’s debut directing career. Rough cut (no reporter narration).


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Hussein Chalayan, Peter Saville Accuse Fashion Corporates of Crushing Creativity

LONDON — How is technology impacting creativity, and what does it really take to disrupt an industry that’s reaching saturation point?
Frieze Academy brought together a series of creatives — ranging from Kim Jones and Hussein Chalayan, to graphics expert Peter Saville and sound designer Michel Gaubert — to argue those questions in a series of talks held at the Royal Academy of Arts on Friday.
Chalayan, one of the first designers to incorporate technology into his work and present moving garments in his famous “Geotropics” collection in 1999, said technology’s impact on the arts hasn’t necessarily been a good thing.
He described wearables as “tacky” and highlighted the growing interest of handcrafted techniques: “It’s such a cliché to be chasing 3-D printing now. I liked it at the beginning, but not anymore, it no longer feels expensive somehow,” Chalayan said.
He also touched on the influence of the Internet and social media, talking about the “sense of entitlement,” that the easy access to data has created in younger generations.
“Are you really learning by Googling something?” he said, adding that social media and the rise of fashion conglomerates have both dampened creativity. Chalayan said  there is less room today to speak up, take risks and

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Peter Jackson’s Heartbreaking New War Film is a Towering Technical Achievement

Last night — in the presence of Duke of Cambridge Prince William — the London Film Festival hosted the world premiere of Peter Jackson’s new film, They Shall Not Grow Old, a heartbreaking WWI documentary that focusses on British soldiers fighting on the Western front. It’s a towering technical achievement that takes 100-year-old footage, and modernises it in a way that makes the Great War somehow contemporary. Most importantly, it tells the story of this brutal conflict through the men who lived it.

The Painstaking Process of Bringing the Dead Back to Life

Peter Jackson — the writer-director responsible for both the Lord of the Rings and Hobbit trilogies — calls They Shall Not Grow Old his most personal movie. And that’s clear from the words which appear onscreen at the end of the film, with the documentary dedicated to his grandfather, who fought in the British army from 1910 to 1919.

Jackson was asked by the Imperial War Museum to take archive footage and BBC recordings, and turn them into something fresh and original. So he employed all the technology at his disposal to make the sound, speed and colour familiar to 21st Century eyes.

“I wanted to reach through the fog of time and pull these men into the modern world” Jackson says of the film. “So they can regain their humanity once more, rather than be seen only as Charlie Chaplin-type figures in the vintage archive film. By using our computer power to erase the technical limitations of 100-year-old cinema, we can see and hear the great war as they experienced it.”

The challenges were many and varied. Modern film runs at 24 frames per second, but this footage was anything from 10 frames to 16. So Jackson and his team used that computing power to construct those missing images for a consistent speed throughout.

They then began the painstaking process of meticulously colouring each frame of film. Resulting in one of the movie’s most jaw-dropping scenes, when black-and-white footage of the men training transforms into vibrant colour when they reach the trenches. Jackson also employed lip-readers and voice actors to figure out what the soldiers were saying, and bring their conversations and speeches to life onscreen.

The results are stunning, this combination of ancient filmmaking techniques with modern technology reaching through that fog, and giving voice to a generation that’s long gone.

An Inspiring Account of the Great War


Colourised footage from They Shall Not Grow Old.

They Shall Not Grow Old is the story of WWI, told by people on the front-line. So over those remarkable images, we hear — through BBC interviews — accounts of those who actually served on the Western front. But the story starts long before, kicking off with war being declared, and capturing the heady excitement felt throughout Britain.

Men enlist for what they hope will be a “civilised war.” And boys too. With 19 the minimum age, but teenagers of 18, 17, 16 and 15 encouraged to lie so they can join the fun. Their enthusiasm and optimism is positively heartbreaking.

Training on home soil follows, as the army endeavours to take a motley crew of “weedy, skinny children” and turn them into soldiers. So civilians are clothed, trained, taught to march, and fed a diet of plum and apple jam.

Their training soon becomes more serious, as boys are given weapons, and taught how to kill. They’re taught to develop what one soldier ominously calls “animal instincts.” Then, after just six weeks, they are sent to France to fight.

Crafting a True Horror Movie


British soldiers firing on the Germans.

It’s at this point the film changes from black-and-white into colour. And while Peter Jackson is no stranger to horror movies — having started out making the likes of Bad Taste, Braindead and The Frighteners — this passage of film is true horror. It presents the unspeakable and at times the unwatchable.

The soldiers spend their days avoiding bullets, bombs and mines, and find themselves surrounded by the bodies of officers hung from barbed wire. The stench from decaying flesh infests their trenches, attracting huge rats who feed on the dead. Mustard gas is another killer. Meanwhile winter brings frostbite and trench foot, with the wounded sinking to oblivion beneath the mud.

The waiting is the hardest part, tension building as the men prepare for zero hour. Fear takes over, and hysteria frequently sets in. Then the call comes, and it’s over the top to face the might of the German war machine. And near certain death.

There’s very little footage of the deadly exchanges in no man’s land, so Jackson uses illustrations from magazine War Illustrated. While when the killing stops, it’s film of the men burying their fallen friends in mass graves. With 600 going into this particular battle, and just 100 making it back.

Highlighting the Tragedy and Futility of War


Comparison of the black and white footage alongside the colour.

It isn’t all bad however, with Jackson showing another side of the conflict, capturing the camaraderie that developed between the soldiers in happier times. We watch them eat together, shave together, sing together, play together, and even go to the toilet together. And we’re not talking about number ones.

They Shall Not Grow Old is filled with smiles and laughs and cups of tea. So many cups of tea. The soldiers play rugby and box together during their fleeting time off, and swap English cigarettes for French wine. Which they drink between those cups of tea. Hammering home the fact that these were ordinary blokes thrust into extraordinary circumstances.

But perhaps the most remarkable footage concerns German prisoners of war, captured towards the end of the conflict. Because there’s no anger or hatred on display. The opposing soldiers communicate as best they can, share the odd joke, and even treat the wounded together.

The English voices explain that they felt respect and sympathy towards their German counterparts. Both sides are unable to explain the conflict, and agree that war is both useless and futile.

They Shall Not Grow Old, Nor Will They be Forgotten


It's the faces that truly bring They Shall Not Grow Old to life.

They Shall Not Grow Old documents a conflict that’s beyond comprehension. But by modernising the footage, colourising the imagery, and giving the pictures sound, Peter Jackson puts it into a kind of context, taking away the distance between now and then.

But it’s the faces that stay with you. The boys who look like the kids with whom you went to school. Or the men who look like fellas in your office or at the football. It’s those faces that humanise the Great War, and ensure that these soldiers will not grow old. And thanks to this film, will not be forgotten.

Following the screening, Jackson was at pains to point out that the film only captures the voices of those who survived, with the dead sadly remaining silent. While he also said he hoped that other archives open up their vaults to this process. And on this evidence, that can only be a good thing, with They Shall Not Grow Old a powerful and emotive documentary that brings history to life in spellbinding fashion.

They Shall Not Grow Old plays at the Imperial War Museum later this month and screens on the BBC in November.

Peter Jackson Shelved ‘Mortal Engines’ for 5 Years – Because of ‘The Hobbit’

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Peter Dinklage sure makes it sound like Tyrion will die in ‘Game of Thrones’

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Fellow watchers on the wall, we must now add one more beloved Game of Thrones character to the endless list of potential and devastating deaths in the upcoming final season.

And while just about every character should be on that list, the Emmy-award winning Peter Dinklage just added fuel to the fire in support of Tyrion Lannister not making the much shorter list of survivors from the battles to come.

In a recent and rare interview with Vulture to promote his starring role in the new HBO film My Dinner with Hervé, Dinklage did what his character does best: delivered some foreboding yet wise words on the bleak future that lies ahead. Read more…

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Peter Dinklage praises ‘beautiful’ Game of Thrones ending

OHMYGOSSIP — Peter Dinklage thinks his ‘Game of Thrones’ alter ego has a “beautiful” ending.
The 49-year-old actor has wrapped shooting his scenes as Tyrion Lannister for the final season of the HBO drama and he has praised showrunners David Benioff and D. B. Weiss for the “brilliant” final episodes of the fantasy saga, as he’s particularly satisfied with the final storylines he was given as the Hand of the Queen.
He told ‘Entertainment Tonight’: “There are no better writers in television than [showrunners] Dan Weiss and David Benioff. They ended it brilliantly. Better than I could have imagined and you people are in for it.
“It ends beautifully for my character whether it be tragic or not.”
Peter recently admitted he had found it hard to say goodbye to the show because he had “developed deep roots” in many of the areas he shot the drama in because it was so far away from the home he shares with wife Erica Schmidt and their two children.
He said last month: “I had my last day on set in July, just over two months ago now and it was very sad.
“This is not only a great TV show to be a part of, but it was an enormous family to be a part of.
“I’m sure you’ve heard that before from actors but in this case I was far from home, I live in New York and we shot the show in Europe, so many times I had to stay there and couldn’t go home on the weekends and I really developed deep roots in the community of Ireland and some of the other countries we shot in.
“It was definitely hard to say goodbye, because it wasn’t just saying goodbye to the show, I was saying goodbye to a life over there.”

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Peter Dundas, Armarium Bringing Celebrity Rentals to Dallas

Want to rent a dress that walked the red carpet at the MTV or Emmy Awards? You’ll get your chance this month when designer Peter Dundas partners with luxury online rental retailer Armarium for the latest iteration of his traveling flagship series during a two-week stint in Dallas.
The Norwegian designer, whose résumé includes Emanuel Ungaro, Emilio Pucci and Roberto Cavalli, will open a pop-up with Armarium at Highland Park Village beginning today and running until Oct. 21 where customers can shop not only his fall collection, but also a selection of one-of-a-kind archival pieces that have never been shown before. Dundas’ fall D4 collection, which pays homage to the Seventies jet-set woman, will be available for sale while the archival pieces will be offered as rentals.
Dundas said working with Armarium speaks to his strive for sustainability, something that is often missing when working with celebrities who wear things only once. But by bringing the pieces to the rental market, it allows them to have a new life. “It just feels right,” he said.
Dundas wouldn’t disclose which celebrity dresses he’d be bringing to Dallas, but said some were definitely worn by public figures. “There will be MTV Awards dresses, Vanity Fair

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