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Trojpólový Princip Vztahů Ve Filmu King Kong Režiséra Petera Jacksona

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Trojpólový Princip Vztahů Ve Filmu King Kong Režiséra Petera Jacksona Masarykova univerzita Filozofická fakulta Ústav filmu a audiovizuální kultury Roman Bolek (FAV, bakalářské prezenční) Trojpólový princip vztahů ve filmu King Kong režiséra Petera Jacksona (Bakalářská diplomová práce) Vedoucí práce: Mgr. Lucie Česálková Brno 2008 Chtěl bych poděkovat Mgr. Lucii Česálkové za trpělivé vedení mé bakalářské diplomové práce, cenné podněty a nápady. Mé díky patří rovněž Mgr. Pavlu Skopalovi, Ph.D. za prvotní nasměrování při výběru tohoto tématu. 2 Prohlašuji, že jsem pracoval samostatně a použil jen uvedených pramenů. V Brně 29. dubna 2008 Roman Bolek ................................. 3 Obsah 1. Úvod.......................................................................................5 1.1 Vyjasnění zkoumaného problému a cílů...........................5 1.2 Vymezení dvou hlavních pohledů na King Konga.............5 1.2.1 King Kong jako film Petera Jacksona....................5 1.2.2 King Kong jako remake......................................11 2. Vznik snímku King Kong........................................................15 2.1 Pre-produkce................................................................15 2.2 Produkce a postprodukce...............................................16 3. Propagace a uvedení do kin.....................................................19 3.1 Propagace....................................................................19 3.1.1 Propagační kampaň............................................19 3.1.2 Nástroje propagace............................................22 3.2 Uvedení do kin.............................................................25 3.3 Kritická reflexe............................................................26 4. Neoformalistická analýza........................................................28 4.1 Segmentace syžetu........................................................28 4.2 Úvod............................................................................31 4.3 Analýza žánru..............................................................33 4.4 Analýza narace a stylu..................................................37 5. Závěr.....................................................................................47 6. Použitá literatura a prameny....................................................49 7. Filmografie............................................................................51 8. Resumé..................................................................................53 4 1. Úvod 1.1 Vyjasnění zkoumaného problému a cílů Autor se v práci rozhodl sledovat film King Kong režiséra Petera Jacksona, jeho produkci, propagaci, uvedení a následnou kritickou reflexi ve dvou liniích. První z nich je vymezená faktem, že tento film natočil oscarový režisér Peter Jackson a druhá linie je pak určená tím, že se jedná o remake King Konga z roku 1933 (bližší specifikace těchto linií níže). Bude snahou práce zjistit, jaký vliv měly tyto skutečnosti na jednotlivé fáze geneze filmu od doby příprav na natáčení až po jeho promítání a přijetí. Pomocí formální analýzy filmu a jeho předešlých verzí se pokusím ukázat ovlivnění výsledné podoby snímku v těchto dvou liniích. 1.2 Vymezení dvou hlavních pohledů na King Konga 1.2.1 King Kong jako film Petera Jacksona Peter Jacskon se narodil 31. října 1961 v Pukeura Bay na Novém Zélandu. Od roku 1989 žije s partnerkou Fren Walshovou, s níž má 2 děti a jež je zároveň spoluautorkou scénářů ke všem jeho filmům vyjma Bad Taste [IMDb, online]. Mezi společnosti, které spoluzakládal, patří mimo jiné Weta Digital Limited [The Bastards Have Landed - trivia, online], jež se zabývá tvorbou digitálních triků. Tato společnost vytvářela triky k notné části Jacksonových filmů včetně King Konga [IMDb, online], významnou je rovněž filmová společnost Wingnut Films [The Bastards Have Landed - trivia, online], která produkovala nebo se podílela na produkci všech jeho filmů [IMDb, online]. Pro profesi režiséra se Peter Jackson dle svých slov rozhodl poté, co jej rodiče v devíti letech vzali do kina na původní verzi filmu King Kong . Ten na něj udělal takový dojem, že si filmovou profesi zamiloval a jal se pokoušet o vlastní amatérské výtvory. Už v té době mu začala v hlavě klíčit myšlenka na 5 natočení „vlastního“ King Konga 1 [King Kong Peter Jackson's Production Diaries, 2005]. O tom, že nejde o smyšlenou historku použitou pouze k propagaci Jacksonova remaku, ale o informaci zakládající se na pravdě, svědčí několik skutečností. Že je původní verze King Konga jedním z jeho nejoblíbenějších filmů, prozradil Jackson v rozhovoru na stránce vytvořené fanoušky, The Bastards Have Landed, ještě před natočením Pána prstenů [The Bastards Have Landed - faq, online]. Jeho dlouholetý přítel a spolupracovník na filmu Forgotten Silver, novozélandský režisér a filmový kritik Costa Botes, ve své práci o Jacksonově režisérském vývoji a příčinách jeho úspěchu říká: „Pokud by měl Peter Jackson pouze jeden oblíbený film, pak by to musel být King Kong. Když Universal ohlásil, že chystá remake s Peterem jako režisérem, ihned jsem pomyslel na dvě věci: Zaprvé, v osobě režiséra nemohli zvolit lépe, a zadruhé, bez ohledu na to, jaké úžasné věci by Peter s materiálem provedl, což by se zajisté stalo, vždy to bude projekt, ve kterém nelze uspět. Je těžké soutěžit s klasikou. Jacksonova verze by vždy existovala ve světle, pokud ne ve stínu originálu“2 [Botes, 2002] (časově toto prohlášení nespadá do doby těsně před skutečným natočením King Konga , Universal měl totiž tento plán ještě před natočením Pána prstenů , nakonec z něj však sešlo/byl odsunut na později). Ozvuky fascinace kingkongovským tématem najdeme i v Jacksonově předchozí tvorbě – ve filmu Braindead například figuruje opice, která pokouše matku hlavního hrdiny a je chycena na ostrově jménem Skull Island. Sám Jackson v rozhovoru s fanoušky potvrdil, že se jedná o poctu originálnímu King Kongovi [The Bastards Have Landed - faq, online]. Peter Jackson nikdy žádnou filmovou školu nevystudoval, ale díky samostudiu si stále více osvojoval filmovou řeč. Costa Botes o jeho začátcích píše: „Není to umění, co je na jeho dětských filmových výtvorech to pozoruhodné, nýbrž tvrdá práce a ambice. Mladý Jackson byl samouk, 1 Tato skutečnost má dle mého názoru pro výslednou podobu a v následné propagaci jeho verze značný význam, což se budu snažit doložit, a proto se k ní budu v průběhu práce vracet. 2 Přeloženo z anglického originálu: “If Peter Jackson has a single favourite movie, then it must be King Kong . When Universal announced they were backing a remake with Peter directing, I immediately thought two things: Firstly, there was no better choice of director, and secondly, no matter what amazing things Peter did with the material, and I'm sure he would have, this was always going to be a 'no-win' project. It's hard to compete with a classic. Jackson's version would always exist in the light, if not the shadow of the original“. 6 klasický zastánce teze 'KIWI3 udělej si sám'. Učil se pokusy a omyly a prostřednictvím jakýchkoli instruktážních materiálů, na které narazil: jak točit a stříhat filmy, jak vyrábět umělé části těla, jak konstruovat miniaturní modely a jak vytvořit řadu sofistikovaných speciálních efektů“4 [Botes, 2002]. Jackson začal svou kariéru režiséra celovečerních filmů nízkorozpočtovými, často pobuřujícími snímky. Přes komediální sci-fi horor Vesmírní kanibalové s odhadovaným rozpočtem 150 tisíc dolarů a muzikálový film o plyšových zvířátkách z podsvětí Meet the Feebles s rozpočtem 750 tisíc dolarů se dostává k parafrázi na zombie horory Braindead – Živí mrtví , u které už je odhadovaný rozpočet 3 miliony dolarů a tržba přes 242 tisíc dolarů. Tyto první tři celovečerní filmy Jacksonovi zajistily statut „KIWI režiséra“ a staly se pro fanoušky „béčkových“ žánrových filmů kultem. V roce 1994 přichází do kin snímek Nebeská stvoření . Film produkovaný společností Miramax měl rozpočet 5 milionů dolarů a domácí tržby lehce přesáhly hranici 3 milionů dolarů. Po tomto snímku Jackson natáčí mystifikační dokument Zapomenuté stříbro s rozpočtem pouhých 650 tisíc dolarů a tržbou přes 26 tisíc dolarů. Hororová komedie Přízraky je první Jacksonovou spoluprací se společností Universal a s odhadovaným rozpočtem 30 milionů dolarů je do té doby jeho nejdražším filmem. Ani ona však nepřinesla s domácími tržbami přes 16 milionů dolarů (29 milionů dolarů celosvětově) finanční úspěch. Na uvedeném výčtu lze zpozorovat, že rozpočty Jacksonových snímků stále stoupaly. Přesto jeho filmy nebyly finančně úspěšné [Box Office Mojo, online]. Radikální změna přichází až se snímkem Pán prstenů: Společenstvo Prstenu . S rozpočtem 93 milionů dolarů a s domácími tržbami 313 milionů dolarů (871 milionů dolarů celosvětově) film z ekonomického hlediska zcela zastiňuje Jacksonovu předešlou tvorbu. Následující dvě pokračování – Pán prstenů: Dvě věže s rozpočtem 94 milionů dolarů a domácími tržbami přes 339 milionů 3 Idea KIWI vynalézavosti spočívá v předpokladu, že Novozélanďané (není to genderově rozlišeno, ale mluví se tak především v souvislosti s muži) projevují jakousi macgyverovskou schopnost vyřešit jakýkoliv problém, často za použití nekonvenčních prostředků nebo čehokoli, co je zrovna po ruce [Wikipedia, 2008]. 4 Přeloženo z anglického originálu: “It isn't the art in his childhood film making that's striking, but the sheer hard work and ambition. The young Jackson was a self starter, a classic 'Kiwi DIY' proponent. He learned via trial and error and any instructional material he could lay his hands on: how to shoot and edit films, how to sculpt,
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