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PETER PAN

About The Production
The story of Peter and Wendy's trip through the night skies is rooted in the collective consciousness like a recurring dream – intoxicating, fantastical, irresistible. Much more than romantic nostalgia or a simple bedtime story, Peter Pan represents our most primal hopes and fears. Its powerful emotional truth springs from a fantasy of flight and adventure that is both universal and timeless. 

Technologically, the time has never been better to tell this story on screen. Philosophically, the world's need to dream, imagine and believe, as Peter Pan urges us to do, is greater than ever.

Nevertheless, it was a long time coming. The partnership that finally brought Peter Pan to the screen convenes players who have been loyal to the project for many years. Lucy Fisher first procured the film rights 20 years ago and has nurtured the project through development with producing partner Douglas Wick. Sharing a passion for the story, Revolution's Joe Roth and Todd Garner and Columbia's Amy Pascal alchemized the project with P. J. Hogan on-board as director and co-writer. Universal's Stacey Snider, Mary Parent and Scott Stuber completed a team whose energetic and muscular collaboration realized this version of Peter Pan for audiences everywhere. 

A beguiling duality ripples through Peter Pan. Are we meant to imagine that the Darling children actually stepped off their window ledge and flew to Neverland one night when their father had been especially stern? Or should we instead assume that Wendy bid her childhood a poignant farewell with a fantastic dream on her last night in the nursery? Either scenario offers audiences an awfully big adventure. 

With P. J. Hogan at the helm, a calibrated balance between the magic of storytelling and the magic of effects was always the mandate. Set in a world that appears "normal,” his visually lavish film has the romantic tone of a turn-of-the-century painting with fresh, authentic performances and a lively respect for the original material – as well as children who fly, a ticking crocodile the size of a double-decker bus and a fencing duel set in the sails of a pirate ship high above the ground. The contrast between the story's two worlds – prim Edwardian London and larger-than-life Neverland – is sharply drawn. The city's gray, cold formality melts from the children's memories as soon as they breathe in Neverland's surreal jungles. 

P. J. Hogan's openness to magic and imagination, along with his ability to draw others into that special world, were balanced with a scholar's mastery of J. M. Barrie's work. 

"The book is amazing – dense and full of great characters and marvelous moments. You get the feeling that J. M. Barrie put everything that ever occurred to him in it,” Hogan observed. "And the play is so different from what I remembered – the story is strong, filled with adventure and action, and very funny, but also very, very moving. What drew me to making the film was realizing it had not been done. Yes, it's literally been filmed, but the full story hadn't been done. There were wonderful things that had not been put on-screen before.” 

Hogan's intimacy with the material made the script sing – he rewrote an earlier draft by Michael Goldenberg (Contact) after coming on-board as director. "I think P. J. has the entire play and the book in a sort of mental Palm Pilot that he can draw up anytime,” said actress Olivia Williams, who plays Mrs. Darling. "I don't think there is a phrase spoken that isn't somewhere referenced back to Barrie. To have produced something so natural and modern and filmic from a story written 100 years ago is amazing.” 

Hogan's knowledge was also a valuable arbiter on-set, guiding the director and his actors during the inevitable moments when something that works on the page doesn't hold up in performance. "Whenever there was a creaky bit we couldn't quite get t

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