Giants Are Coming:
New trailer for Steven Spielberg’s The BFG.
Frank Marshall is honored at CinemaCon, the annual exhibition industry convention and trade show in Las Vegas, as “International Filmmaker of the Decade“.
In 1981, Marshall and
Kathleen Kennedy co-founded Amblin Entertainment with Steven Spielberg, producing many successful films such as Gremlins (1984), Who Framed Roger Rabbit? (1988) and the Back to the Future trilogy (1985, 1989, 1990).
As a producer, Marshall has received five Oscar nominations for Best Picture for The Curious Case of Benjamin Button (2008), Seabiscuit (2003), The Sixth Sense (1999), The Color Purple (1985), and Raiders of the Lost Ark (1981).
His feature film directing debut was the thriller Arachnophobia (1990).
After ten years at Amblin, Marshall and Kennedy formed their own production company, the Kennedy/Marshall Company.
took over as sole principal, when
Kennedy became president of Lucasfilm in 2012.
In his acceptance speech, Mark Rylance salutes Steven Spielberg, calling him “one of the greatest story-tellers of our time”.
“Unlike some of the leaders we’re being presented with these days, he leads with such love that he’s surrounded by masters in every craft.”
Out of its six nominations, Bridge of Spies wins only 1 Oscar – but an important one: It’s only the second Spielberg-directed film to win an Academy Award for one of its actors – following Daniel Day-Lewis for Lincoln (2012). Little by little, the Academy recognizes Spielberg’s craft as an actor’s director.
All nominations and wins of Bridge of Spies.
Amblin Partners Executive Kristie Macosko Krieger is the new “Kathleen Kennedy” in Steven Spielberg’s inner circle of creative collaborators.
as head of worldwide publicity at the USC Shoah Foundation, before she joined DreamWorks in 1997, starting a stellar career.
Back in 2012, when George Lucas pondered about making Kathleen Kennedy co-chair of Lucasfilm he felt obliged to first call Spielberg. “He wasn’t technically her boss—it was just
about friendship. It was kind of like, ‘Oh, by the way,
Steven, I’m going to marry your wife.’ ”
After Disney acquired the company and Kennedy became president of Lucasfilm in 2012, there was no denying: Spielberg had to find a replacement for his trusted long-time producer and co-founder of Amblin Entertainment. The Disney production The BFG (2016) has probably been the last Spielberg-directed film, with Kennedy attached as producer – unless Spielberg is hired by her to direct Indiana Jones 5 for Disney.
Spielberg must have seen it coming: Fifteen years ago, he made Kristie Macosko Krieger his assistant on A.I. – Artificial Intelligence (2001). For Catch Me If You Can (2002), she became Spielberg’s associate and continued to prove her skills and trustworthiness on projects such as The Terminal (2004), War of the Worlds (2005), and Munich (2005).
Meanwhile, Kathleen Kennedy showed extraordinary commitment to mentoring
the next generation of female executives. Macosko Krieger must have been among them. Asked about Kathleen Kennedy, she says:
When preparing Lincoln (2012), Spielberg made Macosko Krieger his co-producer, before she was assigned as producer of Bridge of Spies (2015) and executive producer of The BFG (2016).
She is currently producing Steven Spielberg’s Ready Player One (2018) and a film adaptation of the New York Times best-seller “Popular: Vintage Wisdom for a Modern Geek” written by Maya Van Wagenen.
© 2016 Amblin Partners
Steven Spielberg’s The BFG is a 3-D fantasy adventure film adapted from Roald Dahl‘s classic children’s book, The BFG. It is co-produced by Walt Disney Pictures, DreamWorks Pictures, Amblin Entertainment, and Walden Media.
The screenplay is written by Melissa Mathison who also penned the script for E.T. – The Extra-Terrestrial (1982). Fittingly, the tagline and typography of The BFG’s poster evoke Spielberg’s masterpiece E.T.
This is the final film written by Melissa Mathison before her death in 2015. It is dedicated to her as a tribute. Spielberg about his collaboration with Mathison:
“I don’t miss Melissa yet because I haven’t had the chance to mourn her, because she is still with me. I’m not saying that in a supernatural way, because Melissa is alive in every single frame of The BFG. She has been with me all through this process and she is as tangible as if she were sitting next to me. What I’m not looking forward to is when I finish with The BFG and I have to face the fact that Melissa is no longer with me.”
“Melissa could do something most of us could not. She observed people without judging them. The only other people I can think of who observe with curiosity and without judgment are children. And I think that’s why she understood them and wrote them better than anyone else.”
The BFG is a Big Friendly Giant and nothing like the other inhabitants of Giant Country. Standing 24-feet tall with enormous ears and a keen sense of smell, he is endearingly dim-witted and keeps to himself for the most part. In contrast, giants like Bloodbottler and Fleshlumpeater are twice as big and at least twice as scary. Upon her arrival in Giant Country, Sophie, a 10-year-old orphan girl from London, is initially frightened of the mysterious giant who has brought her to his cave, but soon comes to realize that the BFG is actually quite gentle and charming. Together, they set out on an adventure to capture the evil, man-eating giants who have been invading the human world.
Spielberg had read Roald Dahl’s book to his then-young children. He recalls:
The BFG is the first Disney-branded film directed by Spielberg and the first with a female lead since The Color Purple (1985). Spielberg explains why the story appealed to him:
The film stars Ruby Barnhill, Mark Rylance, Penelope Wilton, Jemaine Clement, Rebecca Hall, Rafe Spall and Bill Hader.
The BFG marks Spielberg’s second collaboration with Mark Rylance who won an Academy Award for Bridge of Spies. (2015). Rylance plays the title role via motion-capture – a process of recording movement and mimics of actors that Spielberg previously applied in his film The Adventure of Tintin (2011).
Spielberg tries to convince Gene Wilder to do a cameo in the film, but Wilder declines. He appeared as the title character of Willy Wonka & the Chocolate Factory (1971) which is based on another story written by Roald Dahl.
Principal photography takes place between 23 March 2015 to 16 June 2015, with filming locations in Vancouver, British Columbia, Canada as well as in Scotland and England.
Development for the film project goes back as far as 1991 when producers Frank Marshall and Kathleen Kennedy set up a deal with Paramount Pictures. Robin Swicord and Nicholas Kazan write a screenplay in 1998 (revised by Gwyn Lurie
in 2001), with Robin Williams in mind for the title role.
In September 2011, DreamWorks picks up the film rights to the book, with Kennedy and Marshall set to produce, and Melissa Mathison as screenwriter. Originally, John Madden is supposed to direct but in April 2014, Steven Spielberg takes the helm (Madden remains attached as executive producer). After Walden Media agrees to co-finance and co-produce the film, Walt Disney Studios joins The BFG as a co-producer and co-financier.
Regular Spielberg collaborators include: Director of Photography Janusz Kaminski, Editor Michael Kahn, Composer John Williams, Production designer Rick Carter, and Costume designer Joanna Johnston. Visual effects are created by Weta Digital.
The BFG is produced by Steven Spielberg, Frank Marshall and Sam Mercer with Kathleen Kennedy, John Madden, Kristie Macosko Krieger, Michael Siegel, Frank Smith and Naia Cucukov serving as executive producers.
Roald Dahl’s books, which also include “Charlie and the Chocolate Factory,” “James and the Giant Peach” and “Matilda,” are currently available in 58 languages and have sold over 200 million copies worldwide.
Originally created as a bedtime story, “The BFG” was Dahl’s own favorite of all his stories and is made into a live action film for the first time, marking Dahl’s 100th birthday.
Roald Dahl created the fantasy language Gobblefunk, which is spoken by the BFG. Here is a glossary of some of his words:
Cannybully … … … . . Cannibal
Chatbags … … … … . Chatterbox
Chidlers… … … … . . Children
Crickety Crackety … … Sound of cracking bones
Delumptious… … … . Delicious
Despunge … … … … Deplore
Earbursting … … … . . Loud
Figglers … … … … . . Fingers
Frobscottle … … … . . Carbonated soft drink where bubbles float downwards rather than upwards
Frumpkin Fry … … … Pumpkin Pie
Giggler … … … … . . Little Girls
Glummy … … … …
Glumptious… … … . .
Golden Phizzwizard … . A
Hippodumplings… … . Hippopotamus
Hipswitch … …
… … Hence/Straightaway
Human Beans … … … Human Beings
Humbug … … … … . Humble
Humplehammers … … Something that is very big
Jabbeling… … … … . Babbling
Jiggyraﬀes… … … … Giraﬀes
Majester … … … … . Majesty
Murderful … … … … Murderous
Phizzwizards … … … . Happy dreams
Rummytot… … … … Nonsense
Rumpledumpus . .
… . . Rumpus
Scrumdiddlyumptious . . Scrumptious
Scuddling … … . .
… . Scurrying
Skumping … … … … Worried
Sloshfunking . .
… … . . Like godforsaken
Snozzcumber … … … A
only found in Giant Country
Splitzwiggled … … … Caught
Swalloped … … … … Swallowed
Swigpill … … … … . . Swill
Swizzfiggling … … … . Deceiving
Bunkum Box . Television
Trogglehumper… … . . A horrible nightmare
… … … … . Going off to somewhere
Whizzpopper … … … Fart
Whopsey… … … …
. Adjective similar to little or trifling
The BFG has its world premiere out of competition at the Cannes Film Festival on May 14 prior to its U.S. opening on July 1. E.T. – The Extraterrestrial (1982) also premiered on the Croisette. Just like E.T., Spielberg’s The BFG receives standing ovations.
In his Cannes review, Variety critic Peter Debruge writes:
“That’s the beauty of Roald Dahl’s The BFG, as brought to life by recent Oscar winner Mark Rylance: You believe. No matter how fantastical the tale (and it gets pretty out-there at points), this splendid Steven Spielberg-directed adaptation makes it possible for audiences of all ages to wrap their heads around one of the unlikeliest friendships in cinema history, resulting in the sort of instant family classic “human beans” once relied upon Disney to deliver.”
Screenshots: © Disney Enterprises, Inc., DreamWorks Pictures, Amblin Entertainment, and Walden Media
Newly formed company Amblin Partners co-produces Steven Spielberg’s film adaptation of Ernest Cline’s novel Ready Player One with Warner Bros.
Spielberg returns to Universal Pictures – where his professional career began in 1969. Universal signs a five-year deal to market and distribute films produced by Amblin Partners.
The LA Times reports Amblin Partners has more than $300 million in financing lined up and is expected to produce four to seven films a year.
Amblin Partners – a film, television and digital content creation company – is formed by DreamWorks Studios, Participant Media, Reliance Entertainment and Entertainment One.
For the first time since the foundation of DreamWorks in 1994, Spielberg decides to invest some of his own money: $50 million.
According to the company’s press release, Amblin Partners “develops and produces films using the Amblin, DreamWorks
Pictures and Participant banners and includes Amblin Television, a
longtime leader in quality programming.”
The company will release family friendly movies with the Amblin brand, adult fare under the DreamWorks label and films with a social-justice element under the Participant label.
Upcoming film projects include: Steven Spielberg’s The BFG, Derek Cianfrance’s The Light Between Oceans, Tate Taylor’s The Girl on the Train, and Lasse Hallström’s A Dog’s
Walt Disney Pictures releases first teaser trailer for Steven Spielberg’s upcoming fantasy adventure film The BFG (2016). It’s the first time Spielberg directs a live-action 3D film.
The talents of three of the world’s greatest storytellers – Roald Dahl, Walt Disney and Steven Spielberg – unite to bring Dahl’s classic children’s book The BFG to life. The screenplay is written by Melissa Mathison who also penned Spielberg’s E.T. – The Extraterrestrial (1982).
The film tells the imaginative story of a young
girl and the Giant who introduces her to the wonders and perils of Giant
Country. The BFG (Mark Rylance), while a giant himself, is a Big
Friendly Giant and nothing like the other inhabitants of Giant Country, e.g. Bloodbottler (Bill Hader) and Fleshlumpeater (Jemaine Clement).
Standing 24-feet tall with enormous ears and a keen sense of smell, he
is endearingly dim-witted and keeps to himself for the most part. Upon her arrival in Giant Country, Sophie (Ruby Barnhill), a precocious
10-year-old girl from London, is initially frightened of the mysterious
giant who has brought her to his cave, but comes to realize that
the BFG is actually quite gentle and charming, and, having never met a
giant before, has many questions. Sophie and the BFG soon depart for London to see the Queen
(Penelope Wilton) and warn her of the precarious situation, but
they must first convince the Queen and her maid, Mary (Rebecca Hall),
that giants do indeed exist. Together, they set out on an adventure to capture the evil, man-eating giants who have been invading the human world.
After his impressive portrayal of Rudolf Abel in Bridge of Spies (2015), Mark Rylance once again plays a major role in a Steven Spielberg film. Principal photography for The BFG begins just three months after Bridge of Spies wraps.
Filming locations are: Vancouver (British Columbia, Canada), Blenheim Palace, Woodstock (Oxfordshire, United Kingdom), Buckingham Palace, Westminster (London, United Kingdom), Skye, Highland (Scotland, United Kingdom).
The film’s score is composed by John Williams. Other regular Spielberg-collaborators are: Director of Photography Janusz Kamiński, Editor Michael Kahn, as well as producers Frank Marshall and Kathleen Kennedy. The stunning visual effects are created by Weta Digital.
The film is a co-production between Walt Disney Pictures, DreamWorks Pictures, Amblin Entertainment, and Walden Media.
In a TIME Magazine article, Steven Spielberg talks about the late screenwriter Melissa Mathison and her contribution to his upcoming screen adaptation of Roald Dahl’s The BFG (2016).
“I found working with Melissa that those 30-plus years had evaporated—it was just like being back in the cutting room on Raiders sitting on the floor with a bunch of cards strewn about, trying to figure out that story.”
Mathison was on set of The BFG every day of shooting in summer 2015, so Spielberg calls her “more than just a writing partner—she was a real on-set partner.” He adds:
“It did not feel like an adult was writing words, but
that they were coming improvisationally from the mouths of young people.
That was her magic and that was her gift with E.T., and she’s done the same thing with BFG.”
“I think her legacy will be that she could only tell a story that began and ended from the heart. E.T.’s glowing heart was, in fact, Melissa’s.”
In the same article, Kathleen Kennedy reveals that it was Harrison Ford who talked Melissa Mathison into writing the script for Steven Spielberg’s E.T. – The Extraterrestrial (1982). Initially, she refused arguing she wasn’t the right writer for it, so Spielberg turned to Ford and asked him for help.
In an interview with EW, Steven Spielberg speaks about his first encounter with Mathison and what he remembers most about his friend and collaborator: Her ability to find wonder in unlikely places.
“Like a mirage in Lawrence of Arabia…That’s what it was like the first time I set eyes on Melissa. We were shooting Raiders. It was in 1980, in the unbearable heat of Nafta in Tunisia, and amidst a couple of hundred Arab extras dressed in German uniforms, I saw what looked like an egret.This person was bent over, picking stuff up off the ground. I asked, ‘What are you doing?’ And she said, ‘You know, this used to be the ocean floor and look at all these fossils…’ She was right. Everywhere you looked on the ground there were fossils and seashells and all kinds of things in the sand.I said, ‘Who are you?’ And she simply said, ‘I’m Harrison’s friend.’ And I said, ‘Well, what do you do?’ She told me, ‘Currently, I’m a failed writer.’ I began to laugh and she began to laugh. Then I said, ‘What have you failed at?’ She said she had written a number of scripts that she wasn’t really happy with, and only one got made. When I realized she had written The Black Stallion, it stopped me in my tracks because it’s one of my favorite movies. Then I started asking her a lot of questions about The Black Stallion. Before she was even finished answering them, I said, ‘I have a story about this alien that gets stuck on Earth with a family of divorce, and … would you be interested in writing this with me?’ She said ‘No, no, no. I’m retired from writing now. I need to find another way to live my life.’ I started telling her the story of E.T. that I had thus far, not down on paper, but in my head. She heard it and said, ‘That’s really sweet and interesting, but I’ve retired.’
I went back to the set and shot a couple scenes with Harrison and told him this curious story of bumping into Melissa while she was picking up seashells in the middle of the Tunisian desert. I told him I had offered her a chance to write a movie with me and she turned it down. Harrison said, ‘Sounds like Melissa…’ I asked, ‘Can you help me?’ He said, ‘Let me talk to her tonight.’ And so the next day Harrison came into work, and the first thing he said was, ‘I think she’s had a change of heart.’
When I sat down to talk to her about the script again a few days later, she said, ‘I wasn’t really listening to anything you were saying to me before, so why don’t you start over again?’ [Laughs.] She started to brainstorm with me and added all kinds of new ideas to the mix. And that’s when I knew that I had a partner. Melissa was back in the writing game.While I was in the editing room cutting Raiders, Melissa would come in two to three days a week, and we would just sit and develop the story. She would put everything on cards. Those cards became a kind of talisman, and defined the way I thought about Melissa’s creative partnership with me. All these little cards, where she wrote down either my ideas or her own, eventually became the first draft. She went away for six weeks and wrote the script.“When I finally read the script, I pretty much said, ‘I could shoot this movie tomorrow.’ We tweaked it and we changed just a little bit of the third act. At one point, E.T. got sick and was taken to a hospital, and the entire venue of the film shifted to a medical center. On second thought, it just seemed like a better idea to keep it at home and turn the house into a hospital, so that became the triage of trying to save E.T. and Elliott’s lives. Those were some of the very few changes. Of all the movies I’ve ever made, E.T. went through the least amount of revision. Melissa’s heart was just glowing over that movie.
And the same darn thing happened 30 years later when we started our second collaboration on The BFG by Roald Dahl.The main difference was I didn’t have to talk her into writing this one. She had started writing it even before I came on board and had done three drafts before I started.It was the same energy and ease of conversation that happened all over again. I felt like I got into a time machine with her and went back to E.T.’s making, because the spirit that Melissa carried with her during her entire life had infected all of us, and she shaped The BFG into a portrait of a friendship. Melissa didn’t know she was sick at the beginning. The summer of 2014 was spent in a small garage in my house on Long Island, where we assembled the movie through [pre-visualized animations.] We made the entire movie of The BFG from beginning to end that way, and watched it and changed it. During principal photography in Vancouver this past spring, she was on the set every day, giving me the cards for the day’s work — just like on E.T.
She seemed fine, but there were several times that she needed to go back to L.A. for personal reasons. I didn’t ask what the personal reasons were. And one time she was absent [for] four days. Then she came back and she seemed perfectly okay again. So her health issues came as a surprise to all of us.I’ve had a lot of time to think about Melissa since she died in November, and I’m not really sure she’s gone. I feel her presence more than her absence. I’m really going to start to hurt when that fades and I start missing her again in my life.I could speak for many of her closest friends — we’re all still in disbelief that she’s gone. The thing about Melissa was, she could just watch the traffic of everyday things speed by her, which was just fine with her because in her life she preferred to stroll.
Moviemaking is often a lot of thunder and lightning, and Melissa was always the calm eye of the storm.She could relate to kids better than anybody I had ever met. On the set of E.T., she taught me on the first day of shooting that you never talk down to children. You get on their eye level and you simply fall into conversation with them. It changed my entire approach to directing children because I watched how effortless it was for Melissa to sit with Henry Thomas, Drew Barrymore, and Robert MacNaughton and just have a conversation with them.I think she understood the natural habitat of childhood. Melissa was all about discovery. And childhood is all about daily, even hourly, even minute-by-minute discoveries.Melissa was like a kid when she was making these little breakthroughs. Like how to tell a story, or how to find the right line of dialogue. Or how to find sea shells in a desert.
Melissa Mathison dies at 65.
By writing her Oscar-nominated screenplay for Steven Spielberg’s E.T. – The Extra Terrestrial (1982) she did the groundwork for one of the most beloved film classics of all time – also serving as associate producer.
Mathison wrote screenplays for Carroll Ballard’s The Black Stallion (1979), Caleb Deschanel’s The Escape Artist (1982), the second segment in Steven Spielberg’s Twilight Zone – The Movie (1983), the TV film Son of the Morning Star (1991), and Frank Oz’ The Indian in the Cupboard (1995). Mathison had a particular feeling for children’s literature, telling stories about children who she portrayed as sensitively heroic.
She recently reunited with Steven Spielberg to write the screenplay for the Roald Dahl adaptation The BFG (2016) which is currently in post-production. After hearing of her death, Spielberg says in a statement:
On the 2002 DVD special edition, Spielberg describes her contribution:
“Melissa delivered this 107-page first draft to me and I read it in about an hour. I was just knocked out. It was a script I was willing to shoot the next day. It was so honest, and Melissa’s voice made a direct connection with my heart.”
“I would write for four or five days in my little office in Hollywood, and then drive out to Marina Del Rey where Steven Spielberg was editing in a little apartment on the beach. I’d bring him my pages and we’d sit and go through them…It took about eight weeks for us to get the first draft, which was quite fast, I think.”
Her screenplay for Martin Scorsese’s Kundun (1997), a movie about the Dalai Lama’s childhood and growth into a young man, reflected her decades-long interest in Tibet. With the help of Richard Gere, a supporter of Tibetan causes, she and Harrison Ford met with the Dalai Lama in Santa Barbara in 1990. She later pitched the notion of a film based on his early years.
Mathison was born on June 3, 1950 in Los Angeles and attended U.C. Berkeley. She interrupted her studies in political science for a job in the movies with a family friend. The friend was Francis Ford Coppola, whose children she used to baby sit. Mathison became his assistant on the set of The Godfather, Part II (1974). After Coppola urged her to write, she came up with her script for The Black Stallion (1979).
She had two children, Georgia and Malcolm, from her marriage to actor Harrison Ford. They divorced in 2004 after a 21-year marriage. From 1983 to 1985, Mathison, Ford and their children lived on a 700-acre ranch outside Jackson Hole, Wyo., where the screenwriter put her career on hold.
DreamWorks on its way back to independence: The studio closes a deal with Indian investment firm Reliance ADA Group to create a stand-alone production company called DreamWorks Studios, ending its ties with Paramount.
One year later, DreamWorks Studios enter into a 30-picture distribution deal with Walt Disney Studios Motion Pictures.
This deal is not going to be renewed, with Steven Spielberg’s The BFG (2016) being the last film to be released by Disney.