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Film adaptation is the transfer of a written work to a feature film. It is a type of derivative work.

A common form of film adaptation is the use of a novel as the basis of a feature film, but film adaptation includes the use of non-fiction (including journalism), autobiography, comic book, scripture, plays, and even other films. From the earliest days of cinema, adaptation has been nearly^{[citation needed]} as common as the development of original screenplays.

Novel adaptations[link]

Novels are frequently adapted for films. For the most part, these adaptations attempt either to appeal to an existing commercial audience (the adaptation of best sellers and the "prestige" adaptation of works) or to tap into the innovation and novelty of a less well known author. Inevitably, the question of "faithfulness" arises, and the more high profile the source novel, the more insistent are the questions of fidelity.

Elision and interpolation[link]

Erich von Stroheim attempted a literal adaptation of Frank Norris's novel McTeague in 1924 with his film, Greed. The resulting film was over sixteen hours long. A cut of the film only eight hours long, then one running to four hours, appeared. Finally, the studio itself cut the film to around two hours, resulting in a finished product that was entirely incoherent. Since that time, few directors have attempted to put everything in a novel into a film. Therefore, elision is nearly mandatory.

In some cases, however, film adaptations will also interpolate scenes or invent characters. This is especially true when a novel is part of a literary saga. Incidents or quotes from later or earlier novels will be inserted into a single film. Additionally, and far more controversially, film makers will invent new characters or create stories that were not present in the source material at all. Given the anticipated audience for a film, the screenwriter, director, or movie studio may wish to increase character time or invent new characters. For example, William Kennedy's Pulitzer Prize winning novel, Ironweed, had a very small section with a prostitute named Helen. Because the film studio anticipated a female audience for the film and had Meryl Streep for the role, Helen became a significant part of the film. However, characters are also sometimes invented to provide the narrative voice.

As Sergei Eisenstein pointed out in his landmark essay on Charles Dickens, films most readily adapt novels with externalities and physical description: they fare poorly when they attempt the Modern novel and any fiction that has internal monologue or, worse, stream of consciousness. When source novels have exposition or digressions from the author's own voice, a film adaptation may create a commenting, chorus-like character to provide what could not be filmed otherwise. Thus, in the adaptation of John Fowles's The French Lieutenant's Woman, the director created a contemporary Englishman in a romance with a woman to offer up the ironic and scholarly voice that Fowles provided in the novel, and the film version of Laurence Sterne's "unfilmable" novel, Tristram Shandy had the main actor speak in his own voice, as an actor, to emulate the narrator's ironic and metafictional voice in the novel. Early on, film makers would rely upon voice over for a main character's thoughts, but, while some films (e.g. Blade Runner) may self-consciously invoke the older era of film by the use of voice over, such devices have been used less and less with time.

Interpretation as adaptation[link]

There have been several nominees for non plus ultra of inventive adaptation, including the Roland Joffe adaptation of The Scarlet Letter with explicit sex between Hester Prynn and the minister and Native American obscene puns into a major character and the film's villain. The Charlie Kaufman and "Donald Kaufman" penned Adaptation., credited as an adaptation of the novel The Orchid Thief, was an intentional satire and commentary on the process of film adaptation itself. All of these cases of Hawthorne's point. The creators of the Gulliver miniseries interpolated a sanity trial to reflect the ongoing scholarly debate over whether or not Gulliver himself is sane at the conclusion of Book IV. In these cases, adaptation is a form of criticism and recreation, as well as translation.

Change in adaptation is essential and practically unavoidable, mandated both by the constraints of time and medium, but how much is always a balance. Some film theorists have argued that a director should be entirely unconcerned with the source, as a novel is a novel, while a film is a film, and the two works of art must be seen as separate entities. Since a transcription of a novel into film is impossible, even holding up a goal of "accuracy" is absurd. Others argue that what a film adaptation does is change to fit (literally, adapt), and the film must be accurate to either the effect (aesthetics) of a novel or the theme of the novel or the message of the novel and that the film maker must introduce changes where necessary to fit the demands of time and to maximize faithfulness along one of these axes.

Theatrical adaptation[link]

Movies sometimes use plays as their sources. William Shakespeare has been called the most popular screenwriter in Hollywood. There are not only film versions of all of Shakespeare's plays but also multiple versions of many of them, and there are films adapted from Shakespeare's plays very loosely (such as West Side Story, Kiss Me, Kate, The Lion King, O, and 10 Things I Hate about You, as well as Akira Kurosawa's adaptations in Throne of Blood and Ran).

Similarly, hit Broadway plays are frequently adapted, whether from musicals or dramas. On one hand, theatrical adaptation does not involve as many interpolations or elisions as novel adaptation, but on the other, the demands of scenery and possibilities of motion frequently entail changes from one medium to the other. Film critics will often mention if an adapted play has a static camera or emulates a proscenium arch. Laurence Olivier consciously imitated the arch with his Henry V (1944), having the camera begin to move and to use color stock after the prologue, indicating the passage from physical to imaginative space. Sometimes, the adaptive process can continue after one translation. Mel Brooks' The Producers was a film that was adapted into a Broadway musical and then adapted again into a film.

Television adaptation[link]

Feature films are occasionally created from television series or television segments. In these cases, the film will either offer a longer storyline than the usual television program's format or will offer expanded production values.^{[citation needed]} n the adaptation of The X-Files to film, for example, greater effects and a longer plotline were involved. Additionally, adaptations of television shows will offer the viewer the opportunity to see the television show's characters without broadcast restrictions. These additions (nudity, profanity, explicit drug use, explicit violence) are only rarely a featured adaptive addition (film versions of "procedurals" such as Miami Vice are most inclined to such additions as featured adaptations) - South Park: Bigger, Longer & Uncut is a notable example of a film being more explicit than its parent TV series.

Because the film makers are adapting established characters with expected behaviors, introducing obviously non-broadcast elements may alienate a core audience.^{[citation needed]} Films will sometimes try to offer a "real" story, as if commercial television were inherently censored for complexity.^{[citation needed]} Some adaptations of television shows are nostalgic and usually ironic.^[who?]

At the same time, some theatrically released films are adaptations of television miniseries events. When national film boards and state controlled television networks co-exist, film makers can sometimes create very long films for television that they may adapt solely for time for theatrical release. Both Ingmar Bergman (notably with Fanny and Alexander but with other films as well) and Lars von Trier have created long television films that they then recut for international distribution.

Even segments of television series have been adapted into feature films. The American television variety show Saturday Night Live has been the origin of a number of films, beginning with The Blues Brothers, which began as a one-off performance by Dan Aykroyd and John Belushi. The most recent of these Saturday Night Live originated films is a case of double television origin: Fat Albert, which began with an impression of another television show based on the comedy routine of Bill Cosby. Rowan Atkinson has starred in three British films that originated on television: Johnny English, Bean and its sequel Mr. Bean's Holiday.

Radio adaptation[link]

This section requires expansion.

Radio narratives have also provided the basis of film adaptation. The Hitchhiker's Guide to the Galaxy, for example, began as a radio series for the BBC and then became a novel that was adapted to film. In the heyday of radio, radio segments, like television segments today, translated to film on several occasions, usually as shorts. Dialog-heavy stories and fantastic stories from radio also adapted to film (e.g. Fibber McGee, Life with Father and Superman, which was a serial on radio before being adapted to film).

Comic book adaptation[link]

Comic book characters, particularly superheroes, have long been adapted into film, beginning in the 1940s with Saturday movie serials aimed at children. Superman (1978) and Batman (1989) are two later successful movie adaptations of famous comic book characters. In the early 2000s, blockbusters such as X-Men (2000) and Spider-Man (2002) have led to dozens of superhero films. The success of these films has also led to other comic books not necessarily about superheroes being adapted for the big screen, such as Ghost World (2001), From Hell (2001), American Splendor (2003), Sin City (2005), 300 (2007), Wanted (2008), and Whiteout (2009).

The adaptation process for comics is different from that of novels. Many successful comic book series last for several decades and have featured several variations of the characters in that time. Films based on such series usually try to capture the back story and “spirit” of the character instead of adapting a particular storyline. Occasionally aspects of the characters and their origins are simplified or modernized.

Self-contained graphic novels, and miniseries many of which do not feature superheroes, can be adapted more directly, such as in the case of Road to Perdition (2002) or V for Vendetta (2006). In particular, Robert Rodriguez did not use a screenplay for Sin City but utilized actual panels from writer/artist Frank Miller's series as storyboards to create what Rodriguez regards as a "translation" rather than an adaptation.

Furthermore, some films based on long-running franchises use particular story lines from the franchise as a basis for a plot. The second X-Men film was loosely based on the graphic novel X-Men: God Loves, Man Kills and the third film on the storyline Dark Phoenix Saga. Spider-Man 2 was based on the storyline Spider-Man No More! Likewise, Batman Begins owes many of its elements to Miller's Batman: Year One and the film's sequel, The Dark Knight, uses subplots from Batman: The Long Halloween.

Video game adaptation[link]

Video games have also been adapted into films, beginning in the early 1980s, although films closely related to the computer and video game industries had been done previously, such as Tron and The Wizard, but only after the release of several films based on well-known brands has this genre become recognized in its own right.

Films based on video games tend to carry a reputation of being lower budgeted B movies and rarely receive the appreciation of either film critics or fans of the games on which they are based. However, a number of films have become successful with general audiences (such as Mortal Kombat, Lara Croft: Tomb Raider, Silent Hill and Prince of Persia: The Sands of Time) with a few subject to critical acceptance (notably Final Fantasy VII: Advent Children).

However, some such as Super Mario Bros. were not as well received. The aforementioned adaptation was often criticized for being too dark in comparison to the popular video game series. Many anime Original Video Animations (OVAs) based on popular games have been released such as Dead Space: Downfall, Halo Legends, Dante's Inferno: An Animated Epic and numerous films based on the video game series Pokémon.

The main cause of failure among video game adaptations is often cited as the genre's tendency for its films to drastically differ from source material. Resident Evil changed its direction to more action then horror, a lead character who is not part of the game series, lacking or butchering the video game characters and having little to do with the premise from the game series. Doom traded in religious elements of the video games for scientific plot elements and openly parodied the game's first person shooter gameplay, and the setting of Super Mario Bros. was radically changed from a light, cartoonish adventure to that of a camp parodied dark, dystopian thriller similar to the world of Blade Runner/Total Recall. Among the most well-known video-game filmmakers is Uwe Boll, a German writer, director, and producer who has become notorious among video-game fans and critics alike for making video games adaptations such as House of the Dead, Alone in the Dark, BloodRayne, In the Name of the King: A Dungeon Siege Tale, Postal and Far Cry, all of which were almost universally panned by audiences for their deviation from the source material and simply bad quality. Boll is often compared to cult filmmaker Ed Wood, who created such films as Plan 9 From Outer Space and Glen or Glenda.

In other cases, structural conversion from video game to film format can be challenging for directors. As Nintendo game designer Shigeru Miyamoto said in a 2007 interview:

"I think that part of the problem with translating games to movies is that the structure of what makes a good game is very different from the structure of what makes a good movie. Movies are a much more passive medium, where the movie itself is telling a story and you, as the viewer, are relaxing and taking that in passively. Whereas video games are a much more active medium where you are playing along with the story. In some cases, you are progressing the story yourself, or perhaps you get to a point where it gets too difficult and maybe you give up. I think that people who like movies also have an interest in the creative work that goes into making a video game. So there is interactivity with the video game that you don’t necessarily have with a movie. In that sense, I think the structures of the two are very different and you have to take that into account when converting a videogame into a movie. I think that video games, as a whole, have a very simple flow in terms of what’s going on in the game. We make that flow entertaining by implementing many different elements to the video game to keep the player entertained. Movies have much more complex stories, or flow, to them, but the elements that affect that flow are limited in number. So I think that because these surrounding elements in these two different mediums vary so greatly, when you fail to take that into account then you run into problems."

Adaptations from other sources[link]

Documentary films have been made from reportage, as have dramatic films (e.g. All the President's Men, and, most recently, Miracle, adapted from a deadline-written book after the 1980 "miracle on ice"). An Inconvenient Truth is Al Gore's documentary film about climate change. It is a film adaptation of a Keynote multimedia presentation and is an adaptation, therefore, of a lecture. Some films have been made based on photographs (e.g. Pretty Baby, directed by Louis Malle), and films have adapted films (e.g. Twelve Monkeys deriving from La jetée). Many films have been made from epic poetry. Homer's works have been adapted multiple times in several nations. Finally, both Greek mythology and the Bible have been adapted frequently. In these cases, the audience already knows the story well, and so the adaptation will de-emphasize elements of suspense and concentrate instead on detail and phrasing.

Adaptation of films[link]

When a film's screenplay is original, it can also be the source of derivative works such as novels and plays. For example, movie studios will commission novelizations of their popular titles or sell the rights to their titles to publishing houses. These novelized films will frequently be written on assignment and sometimes written by authors who have only an early script as their source. Consequently, novelizations are quite often changed from the films as they appear in theaters.

Novelization can build up characters and incidents for commercial reasons (e.g. to market a card or computer game, to promote the publisher's "saga" of novels, or to create continuity between films in a series)

There have been instances of novelists who have worked from their own screenplays to create novels at nearly the same time as a film. Both Arthur C. Clarke, with 2001: A Space Odyssey, and Graham Greene, with The Third Man, have worked from their own film ideas to a novel form (although the novel version of The Third Man was written more to aid in the development of the screenplay than for the purposes of being released as a novel). Both John Sayles and Ingmar Bergman write their film ideas as novels before they begin producing them as films, although neither director has allowed these prose treatments to be published.

Finally, films have inspired and been adapted into plays. John Waters's films have been successfully mounted as plays; both Hairspray and Cry-Baby have been adapted, and other films have spurred subsequent theatrical adaptations. Spamalot is a Broadway play based on Monty Python films. In a rare case of a film being adapted from a stage musical adaptation of a film, in 2005 the film adaptation of the stage musical based on Mel Brooks' classic comedy film The Producers was released.

See also[link]

• Remake
• Literary adaptation

References[link]

• Eisenstein, Sergei. "Dickens, Griffith, and the Film Today." Film Form Dennis Dobson, trans. 1951.

Further reading[link]

• Aragay, Mireia, ed. (2005). Books in Motion: Adaptation, Intertextuality, Authorship. Rodopi. ISBN 90-420-1885-2.
• Bluestone, George (1957, 2003). Novels into Film: The Metamorphosis of Fiction into Cinema. The Johns Hopkins University Press. ISBN 0-8018-7386-X.
• Buchanan, Judith (2005). Shakespeare on Film. Longman-Pearson. ISBN 0-582-43716-4.
• Cardwell, Sarah (2002). Adaptation Revisited: Television and the Classic Novel. Manchester University Press. ISBN 0-7190-6045-1.
• Cartmell, Deborah and Whelehan, Imelda, eds. (2007). The Cambridge Companion to Literature on Screen. Cambridge University Press. ISBN 0-521-61486-4.
• Corrigan, Timothy (1998). Film and Literature. Longman. ISBN 0-13-526542-8.
• Elliott, Kamilla (2003). Rethinking the Novel/Film Debate. Cambridge University Press. ISBN 0-521-81844-3.
• Geraghty, Christine (2008). Now a Major Motion Picture: Film Adaptations of Literature and Drama. Rowman & Littlefield. ISBN 0-7425-3820-6.
• Glavin, John, ed. (2003). Dickens on Screen. Cambridge University Press. ISBN 0-521-00124-2.
• Hutcheon, Linda (2006). A Theory of Adaptation. Routledge. ISBN 0-415-96794-5.
• Kranz, David L. and Mellerski, Nancy, eds. (2008). In/Fidelity: Essays on Film Adaptation. Cambridge Scholars Press. ISBN 1-84718-402-2.
• Leitch, Thomas (2007). Film Adaptation and Its Discontents: from 'Gone with the Wind' to 'The Passion of the Christ. The Johns Hopkins University Press. ISBN 0-8018-9271-6.
• McFarlane, Brian (1996). Novel to Film: An Introduction to the Theory of Adaptation. Oxford University Press. ISBN 0-19-871151-4.
• Naremore, James, ed. (2000). Film Adaptation. Rutgers University Press. ISBN 0-8135-2813-5.
• Stam; Raengo, Alessandra, eds. (2005). Literature and Film: A Guide to the Theory and Practice of Film Adaptation. Blackwell. ISBN 0-631-23054-8. 
• Sanders, Julie (2006). Adaptation and Appropriation. Routledge. ISBN 0-415-31171-3.
• Troost, L. and Greenfield, S. eds. (2001). Jane Austen in Hollywood. The University Press of Kentucky. ISBN 0-8131-9006-1.
• Welsh, James M. and Lev, Peter, eds. (2007). The Literature/Film Reader: Issues of Adaptation. Scarecrow. ISBN 0-8108-5949-1.

External links[link]

• Movie Adaptation Database, UC Berkeley Media Resources Center
• The history of Erich von Stroheim's Greed, from welcometosilentmovies.com
• The Art of Adaptation from hollywoodlitsales.com

Hugh Jackman
Jackman at the Sydney premiere for Real Steel, September 2011
Born	Hugh Michael Jackman (1968-10-12) 12 October 1968 (age 43) Sydney, New South Wales, Australia
Occupation	Actor
Years active	1994–present
Spouse	Deborra-Lee Furness (1996–present)

Hugh Michael Jackman (born 12 October 1968) is an Australian actor and producer who is involved in film, musical theatre, and television.

Jackman has won international recognition for his roles in major films, notably as action/superhero, period and romance characters. He is known for his role as Wolverine in the X-Men film series, as well as for his leads in Kate & Leopold, Van Helsing, The Prestige, Australia, and Real Steel. Jackman is a singer, dancer, and actor in stage musicals, and won a Tony Award for his role in The Boy from Oz.

In November 2008, Open Salon named Jackman one of the sexiest men alive.^[1] Later that same month, People magazine named Jackman "Sexiest Man Alive."^[2]

A three-time host of the Tony Awards, winning an Emmy Award for one of these appearances, Jackman also hosted the 81st Academy Awards on 22 February 2009.^[3]

Early life[link]

Jackman was born in Sydney, New South Wales, the youngest of five children of English parents Chris Jackman and Grace Watson, and the second child to be born in Australia (he also has a younger half-sister, from his mother's re-marriage).^[4] One of his paternal great-grandfathers was Greek.^[5] His parents divorced when he was eight, and he remained with his accountant father and siblings, while his mother moved back to England.^[6] As a child, Jackman liked the outdoors, spending a lot of time at the beach and on camping trips and vacations all over Australia. He wanted to see the world: "I used to spend nights looking at atlases. I decided I wanted to be a chef on a plane. Because I'd been on a plane and there was food on board, I presumed there was a chef. I thought that would be an ideal job."^[7]

Jackman went to primary school at Pymble Public School and later attended the all-boys Knox Grammar School, where he starred in its production of My Fair Lady in 1985, and became the captain of the school in 1986.^[8] Following graduation, he spent a gap year working at Uppingham School in England.^[9] On his return, he studied at the University of Technology, Sydney, graduating in 1991 with a BA in Communications.^[10] In his final year of university, he took a drama course to make up additional credits. The class did Václav Havel's The Memorandum with Jackman as the lead.^[4] He later commented, "In that week I felt more at home with those people than I did in the entire three years [at university]".^[11]

After obtaining his BA, Jackman completed the one-year course "The Journey" at the Actors' Centre in Sydney.^[4] About studying acting full-time, he stated, "It wasn't until I was 22 that I ever thought about my hobby being something I could make a living out of. As a boy, I'd always had an interest in theater. But the idea at my school was that drama and music were to round out the man. It wasn't what one did for a living. I got over that. I found the courage to stand up and say, 'I want to do it'."^[7] After completing "The Journey", he was offered a role on the popular soap opera Neighbours but turned it down^[12] to attend the Western Australian Academy of Performing Arts of Edith Cowan University in Perth, Western Australia, from which he graduated in 1994.^[13]

Jackman has said he "always loved acting but when I started at drama school I was like the dunce of the class. It just wasn’t coming right to me. Everyone was cooler, everyone seemed more likely to succeed, everyone seemed more natural at it and in retrospect I think that is good. I think it is good to come from behind as an actor. I think it is good to go into an audition thinking 'Man I’ve got to be at my best to get this gig.'"^[14]

Career[link]

Early work[link]

On the night of his final Academy graduation performance, Jackman received a phone call offering him a role on Correlli: "I was technically unemployed for thirteen seconds." Correlli, devised by Australian actress Denise Roberts, was a 10-part drama series on ABC, Jackman's first major professional job, and where he met his future wife Deborra-Lee Furness: "Meeting my wife was the greatest thing to come out of it."^[7] The show lasted only one season.

After Correlli Jackman went on the stage in Melbourne. In 1996, Jackman played Gaston in the local Walt Disney production of Beauty and the Beast, and Joe Gillis in Sunset Boulevard.^[4] During his stage musical career in Melbourne, he starred in the 1998 Midsumma festival cabaret production Summa Cabaret. He also hosted Melbourne's Carols by Candlelight and Sydney's Carols in the Domain.

Jackman's early film work includes Erskineville Kings and Paperback Hero (1999), and his television work includes Law of the Land, Halifax f.p., Blue Heelers, and Banjo Paterson's The Man from Snowy River.

[edit] Oklahoma!

Jackman became known outside of Australia in 1998, when he played the leading role of Curly in the Royal National Theatre's acclaimed stage production of Oklahoma!, in London's West End.^[4] The performance earned him an Olivier Award nomination for Best Actor in a Musical. Jackman said "I totally felt like it can't get any better than this. On some level that production will be one of the highlights of my career."^[7] He also starred in the 1999 film version of the same stage musical, which has been screened in many countries.

[edit] X-Men

Jackman at the X-Men Origins: Wolverine premiere, April 2009.

In 1999, Jackman was cast as Wolverine in Bryan Singer's X-Men (2000), replacing Dougray Scott. His co-stars included Patrick Stewart, James Marsden, Famke Janssen, and Ian McKellen. According to a CBS interview in November 2006, Jackman's wife Deborra-Lee Furness told him not to take the role, a comment she later told him she was glad he ignored.

Wolverine was tough for Jackman to portray because he had few lines, but a lot of emotion to convey in them. To prepare, he watched Clint Eastwood in the Dirty Harry movies and Mel Gibson in Road Warrior. "Here were guys who had relatively little dialogue, like Wolverine had, but you knew and felt everything. I'm not normally one to copy, but I wanted to see how these guys achieved it."^[7] Jackman was adamant about doing his own stunts for the movie. "We worked a lot on the movement style of Wolverine, and I studied some martial arts. I watched a lot of Mike Tyson fights, especially his early fights. There's something about his style, the animal rage, that seemed right for Wolverine. I kept saying to the writers, 'Don't give me long, choreographed fights for the sake of it. Don't make the fights pretty."^[7]

Jackman also had to get used to wearing Wolverine's claws. "Every day in my living room, I'd just walk around with those claws, to get used to them. I've got scars on one leg, punctures straight through the cheek, on my forehead. I'm a bit clumsy. I'm lucky I didn't tell them that when I auditioned."^[7]

Jackman, at 6 feet 2.5 inches (1.89 m),^[15] stands a foot taller than Wolverine, who is said in the original comic book to be 5 feet 3 inches (1.60 m).^[16] Hence, the filmmakers were frequently forced to shoot Jackman at unusual angles or only from the waist up to make him appear shorter than he actually is, and his co-stars wore platform soles. Jackman was also required to add a great deal of muscle for the role, and in preparing for the fourth film in the series, he bench-pressed over 300 pounds.^[17] An instant star upon the film's release, Jackman later reprised his role in 2003's X2: X-Men United, 2006's X-Men: The Last Stand, and 2009's X-Men Origins: Wolverine. He also cameos as Wolverine in 2011's X-Men: First Class.

2001[link]

Jackman starred as Leopold in the 2001 romantic comedy film Kate & Leopold, a role for which he received a Best Actor Golden Globe nomination.^[4] Jackman plays a Victorian English duke who accidentally time-travels to 21st-century Manhattan, where he meets Kate (Meg Ryan), a cynical advertising executive. In 2001, Jackman also starred in the action/drama Swordfish with John Travolta and Halle Berry. This was the second time Jackman worked with Berry, and the two have worked together twice more in the X-Men movies.

He hosted an episode of Saturday Night Live in 2001.^[18]

2002–2011 (Stage)[link]

Local advertising for the musical The Boy from Oz starring Jackman in New York City (2004)

In 2002, Jackman sang the role of Billy Bigelow in the musical Carousel in a special concert performance at Carnegie Hall with the Orchestra of St. Luke's.

In 2004, Jackman won the Tony Award and the Drama Desk Award for Outstanding Actor in a Musical for his 2003–2004 Broadway portrayal of Australian songwriter and performer Peter Allen in the hit musical The Boy from Oz, which he also performed in Australia in 2006.^[4] In addition, Jackman hosted the Tony Awards in 2003, 2004, and 2005, garnering positive reviews. His hosting of the 2004 Tony Awards earned him an Emmy Award for Outstanding Individual Performer in a Variety, Musical or Comedy program.

Jackman co-starred with Daniel Craig on Broadway at the Schoenfeld Theatre in a limited engagement of the play A Steady Rain, which ran from 10 September 2009 to 6 December 2009.^[19]

He returned to Broadway in a new show, Hugh Jackman, Back on Broadway at the Broadhurst Theatre, which began performances on 25 October 2011 and concluded on 1 January 2012.^[20]

2003–2008 (Films)[link]

After 2003's X2: X-Men United, Jackman played the title role of monster killer Gabriel Van Helsing in the 2004 film Van Helsing.^[4] Jackman and the film were noted in Bruce A. McClelland's book "Slayers and Their Vampires: A Cultural History of Killing the Dead".

Jackman was one of the choices to play James Bond in 2006's Casino Royale, but eventually lost out to Daniel Craig.^[21] Jackman starred in the 2006 film The Prestige, directed by Christopher Nolan and co-starring Christian Bale, Michael Caine, and Scarlett Johansson. As Robert Angier, Jackman portrayed a magician who built up a rivalry with contemporary Alfred Borden in attempt to one-up each other in the art of deception. Jackman stated that his main reason for doing The Prestige was to work with the musician David Bowie, who played scientist Nikola Tesla.

Hugh Jackman and Ryan Reynolds (right) at the X-Men Origins: Wolverine premiere in Tempe, Arizona (2009)

Jackman portrayed three different characters in Darren Aronofsky's science-fiction film The Fountain: Tommy Creo, a neuroscientist, who's torn between his wife, Izzi (Rachel Weisz) who is dying of a brain tumor, and his work at trying to cure her; Captain Tomas Creo, a Spanish Conquistador in 1532 Seville; and a future astronaut, Tom, travelling to a golden nebula in an eco-spacecraft seeking to be reunited with Izzi. Jackman said The Fountain was his most difficult film thus far due to the physical and emotional demands of the part.

Jackman also starred in Woody Allen's 2006 film Scoop opposite Scarlett Johansson. That year he also reprised the role of Wolverine in X-Men: The Last Stand. He rounded out 2006 with two animated films: Happy Feet, directed by George Miller, in which he voiced the part of Memphis, an emperor penguin; and Flushed Away, where Jackman supplied the voice of a rat named Roddy who ends up being flushed down a family's toilet into the London sewer system. Flushed Away co-starred Kate Winslet and Ian McKellen (Jackman's fourth time working with him).

In 2007, Jackman produced and guest-starred in the television musical-dramedy series Viva Laughlin, which was canceled by CBS after two episodes. Jackman's 2008 movies included Deception (which he starred in and produced), Uncle Jonny, and Australia.

[edit] Australia

In 2008, director Baz Luhrmann cast Jackman to replace Russell Crowe as the male lead in his much-publicized epic film, Australia, which co-starred Nicole Kidman. The movie was released in late November 2008 in Australia and the U.S.

Jackman played a tough, independent cattle drover, who reluctantly helps an English noblewoman in her quest to save both her philandering husband's Australian cattle station and the half-caste Aboriginal child she finds there.

Of the movie, Jackman said, "This is pretty much one of those roles that had me pinching myself all the way through the shoot. I got to shoot a big-budget, shamelessly old-fashioned romantic epic set against one of the most turbulent times in my native country's history, while, at the same time, celebrating that country's natural beauty, its people, its cultures.... I'll die a happy man knowing I've got this film on my CV."^[22]

2009 to present[link]

Jackman's X-Men sequel film, X-Men Origins: Wolverine, opened in 2009.

Jackman had a one-man show at the Curran Theatre in San Francisco from 3–15 May 2011.^[23] The production was a mixture of his favorite Broadway and Hollywood musical numbers, backed by a 17-piece orchestra, from shows including Oklahoma and The Boy from Oz. The show had a run-time of approximately 100 minutes, and also included slide shows of Jackman's youth, family, and work, as well as some one-on-one interaction with the audience. Jackman was backed by fellow musical theatre veterans Merle Dandridge and Angel Reda.^[24][25]

Future projects[link]

• Director Lee Daniels has confirmed Jackman has joined the cast of his upcoming film Selma, a film about Martin Luther King Jr. and Lyndon Baines Johnson and the civil rights marches.^[26]
• On 27 January 2011, DreamWorks announced that Jackman will star in the film Rise of the Guardians, scheduled to be released on 21 November 2012.^[27]
• Jackman has been cast in Movie 43, an upcoming 2012 ensemble comedy.^[28]
• Jackman will star as Jean Valjean in the film Les Misérables, an adaptation of the musical.^[29][30][31]
• Jackman will reprise his role as Logan/Wolverine from the X-Men film series in the 2013 film "The Wolverine"^[32]
• Jackman will feature in the film "The Greatest Showman on Earth"^[33]

Production company[link]

In 2005, Jackman joined with longtime assistant John Palermo to form a production company, Seed Productions, whose first project was Viva Laughlin in 2007. Jackman's wife Deborra-Lee Furness is also involved in the company, and Palermo had three rings made with a "unity" inscription for himself, Furness, and Jackman.^[34] Jackman said, "I'm very lucky in the partners I work with in my life, Deb and John Palermo. It really works. We all have different strengths. I love it. It's very exciting."^[35]

The Fox-based Seed label has grown in size to include execs Amanda Schweitzer, Kathryn Tamblyn, Allan Mandelbaum and Joe Marino, with Alana Free operating the Sydney-based production office whose goal is to mount modest-budget films to harness local talent in Jackman's home country.

Other interests[link]

Charity work[link]

Jackman aboard the amphibious assault ship USS Kearsarge in New York (2006)

As a philanthropist, Jackman is a longtime proponent of microcredit – the extension of very small loans to prospective entrepreneurs in impoverished countries. He is a vocal supporter of Muhammad Yunus, microcredit pioneer and the 2006 Nobel Peace Prize winner.^[36][37][38]

Jackman is a global advisor of the Global Poverty Project, for which he narrated a documentary;^[39] and he and the project's founder Hugh Evans visited the UN for the cause in 2009.^[40] Jackman hosted a preview of the Global Poverty Project Presentation in New York together with Donna Karran, Lisa Fox and his wife Deborra-Lee.^[41] He is also a World Vision ambassador and participated in the climate week NYC ceremony on 21 September 2009.^[42][43]

Jackman supports The Art of Elysium^[44] and the MPTV Fund Foundation,^[45] and he and his wife Deborra-Lee Furness are patrons of the Bone Marrow Institute in Australia.^[46] Jackman also narrated the 2008 documentary about global warming, The Burning Season.^[47]

Jackman also uses his Twitter account for charity. On 14 April 2009 Jackman posted on his Twitter page that he would donate $100,000 to one individual's favorite non profit organization.^[48] On 21 April 2009 he revealed his decision to donate $50,000 to Charity:Water and $50,000 to Operation of Hope.^[49][50]

Hugh Jackman and Daniel Craig made a unique place for themselves in the history of Broadway Cares/Equity Fights AIDS fundraising 8 December 2009, when it was announced that they had raised $1,549,953 in the 21st annual Gypsy of the Year competition, from six weeks of curtain appeals at their hit Broadway drama, A Steady Rain.^[51]

Sports and other activities[link]

Jackman and Furness at Mumbai International Airport to attend FICCI – Frames film convention, 2011^[52]

Jackman has shown keen interest in sports. In high school, he played rugby union and cricket, took part in high jumping and was on the swimming team.^[4] He enjoys basketball and kayaking.^[53] He has expressed an interest in football, committing his support to Norwich City FC.^[54] In the United States, Jackman supports the Philadelphia Union of Major League Soccer, attending a game at PPL Park in June 2010.^[55] On 22 June 2011, Jackman again attended a home Union match against Sporting KC, sitting in front of the Sons of Ben supporters section, nicknamed "The River End".

Jackman is a longtime fan and supporter of the Manly-Warringah Sea Eagles, a NRL club based in Sydney's north.^[56] He sang the national anthem at the 1999 NRL Grand Final.^[57]

Jackman also guest starred on the 19 September 2011 edition of WWE Monday Night Raw, assisting Zack Ryder in a win over WWE United States Champion Dolph Ziggler. Jackman helped "Long Island Iced Z" get the 3 count in a non-title match by punching the champion in the jaw whilst the referee was not looking.^[58][59]

Jackman plays the piano,^[60] does yoga,^[61] and has been a member of the School of Practical Philosophy since 1992.^[62]

Personal life[link]

Jackman married Deborra-Lee Furness on 11 April 1996. They met on Correlli, an Australian television series. Jackman personally designed an engagement ring for Furness, and their wedding rings bore the Sanskrit inscription "Om paramar mainamar", translated as "we dedicate our union to a greater source".^[63]

Furness had two miscarriages,^[64] following which she and Jackman adopted two children, Oscar Maximillian (born 15 May 2000)^[65] and Ava Eliot (born 10 July 2005).^[66]

Filmography[link]

Awards and nominations[link]

Awards[link]

Jackman's signature at Grauman's Chinese Theatre

• 1997 Variety Club Award for Best Actor in a Musical – Sunset Boulevard
• 1998 Mo Award for Best Actor in a Musical – Sunset Boulevard
• 1999 Australian Movie Convention, Australian Star of the Year
• 2000 Film Critics Circle of Australia Awards for Best Actor Erskineville Kings
• 2000 Saturn Award for Best Actor – X-Men
• 2001 Academy of Science Fiction, Fantasy & Horror Films - X-Men
• 2004 Drama Desk Award for Outstanding Actor in a Musical – The Boy from Oz
• 2004 Theatre World Award – The Boy from Oz
• 2004 Broadway Audience Award – The Boy from Oz
• 2004 Drama League Award for Distinguished Performance of the Year – The Boy from Oz
• 2004 Outer Critics Circle Award for Best Actor in a Musical – The Boy from Oz
• 2004 TDF-Astaire Award for Best Male Dancer in Theatre – The Boy from Oz
• 2004 Theater Fan's Choice Award for Best Leading Actor in a Musical – The Boy from Oz
• 2004 Tony Award for Best Leading Actor in a Musical – The Boy from Oz
• 2004 New York International Independent Film & Video Festival – Short Film Award for Best Actor – "Making the Grade"
• 2004 Australian Showbusiness Ambassador of the Year
• 2005 Emmy Award for Outstanding Individual Performance in a Variety or Music Program – 58th Annual Tony Awards Ceremonies
• 2006 ShoWest Award for Male Star of the Year
  

  

  Jackman and Halle Berry visiting with sailors and Marines during the opening day of Fleet Week New York 2006
• 2006 Mo Award for Australian Performer of the Year
• 2008 WAAPA – Chancellor's Alumni Award for Excellence, UTS Towering Achievement Award
• 2008 Australian Dance Award for Outstanding Performance in a Stage Musical – The Boy from Oz
• 2008 Australian Film Institute Award Readers' Choice
• 2008 People Magazine's Sexiest Man Alive Award
• 2008 Australian GQ Man of the Year
• 2008 Teen Choice Award for Choice Actor in an Action Adventure X-Men Origins: Wolverine
• 2009 Jackman had his hand and footprint ceremony on the Hollywood Walk of Fame on 21 April 2009.^[68]
• 2009 Best Performance By A Human Male at the 2009 Spike Video Game Awards as Wolverine in X-Men Origins: Wolverine
• 2010 People's Choice Award for Favorite Action Star – X-Men Origins: Wolverine
• 2011 Scream Award for Best Cameo - X-Men: First Class
• 2012 People's Choice Award for Favorite Action Movie Actor - Real Steel

Nominations[link]

• 1997 Mo Award for Best Actor in a Musical – Beauty and the Beast
• 1998 Olivier Award for Best Actor in a Musical – Oklahoma!
• 1999 Australian Film Institute for Best Performance by an Actor in a Leading Role - Erskineville Kings
• 2001 Golden Globe for Best Actor in a Motion Picture Musical or Comedy – Kate & Leopold
• 2001 CFCA Award for Most Promising Actor
• 2001 Blockbuster Entertainment Awards for Favorite Male - X-Men
• 2001 MTV Movie Awards for Best On-Screen Team - X-Men
• 2001 MTV Movie Awards for Breakthrough Male Performance - X-Men
• 2002 Golden Globes for Best Performance by an Actor in a Motion Picture - Kate & Leopold
• 2003 Teen Choice Award for Choice Movie Actor - X-Men 2
• 2004 Empire Awards for Best Actor - X-Men 2
• 2004 MTV Movie Awards for Best Fight - X-Men 2
• 2004 Teen Choice Awards for Choice Movie Actor - Van Helsing
• 2004 Teen Choice Awards for Choice Movie Chemistry - Van Helsing
• 2005 People's Choice Awards for Favorite Male Action Movie Star
• 2005 Emmy Award for Outstanding Individual Performance in a Variety or Music Program - [[58th Tony Awards|58th Annual Tony Awards Ceremonies
• 2006 Emmy Award for Outstanding Individual Performance in a Variety or Music Program – 59th Annual Tony Awards Ceremonies
• 2006 Green Room Award for Best Male Artist in a Leading Role – The Boy from Oz
• 2006 Teen Choice Awards for Choice Actor - X-Men: The Last Stand
• 2006 Teen Choice Awards for Choice Liplock - X-Men: The Last Stand
• 2007 Academy of Science Fiction, Fantasy & Horror Films for Best Actor - The Fountain
• 2007 Australian Film Institute for Best Actor - The Prestige
• 2009 Emmy Award for Outstanding Special Class Programs - 81st Academy Awards
• 2009 Teen Choice Awards for Choice Movie Drama Actor - Australia
• 2009 Teen Choice Awards for Choice Movie Hissy Fit - X-Men Origins: Wolverine
• 2009 Teen Choice Awards for Choice Movie Rumble - X-Men Origins: Wolverine
• 2010 MTV Movie Awards for Best Fight - X-Men Origins: Wolverine
• 2010 People's Choice Awards for Favorite Movie Actor
• 2010 People's Choice Awards for Favorite On-Screen Team - X-Men Origins: Wolverine
• 2010 SFX Awards for Best Actor - X-Men Origins: Wolverine
• 2012 People's Choice Awards for Favorite Movie Actor

Mentions in popular culture[link]

• Jackman was chosen as People magazine's Sexiest Man Alive of 2008.^[2]
• In the ABC comedy-drama Scrubs, one of the more prominent running gags is Dr. Cox's (John C. McGinley) seemingly irrational hatred of Jackman.
• In the 7th season of Punk'd, Jackman was led to believe that he had accidentally blown up director Brett Ratner's house.^[69]
• On the Season 6, Episode 13 of Will & Grace, which aired on 10 February 2004, the character Jack McFarland (Sean Hayes), mentions he is going to see The Boy From Oz, because he can not wait to see Hugh Jackman.^[70] He later discusses wanting to sue Jackman for stealing some of his dance moves.

References[link]