- hace 6 meses
- #senordelosanillos
- #documentalcine
- #tierramedia
El Señor De Los Anillos: La Comunidad Del Anillo – Un Viaje Épico
En este fascinante documental, exploraremos el universo de "El Señor de los Anillos: La Comunidad del Anillo", la primera entrega de la icónica trilogía dirigida por Peter Jackson. Acompáñanos a desentrañar los secretos detrás de la creación de esta obra maestra del cine basado en la obra de J.R.R. Tolkien. A lo largo del video, analizaremos los temas principales que se entrelazan en la historia, como la amistad, el sacrificio y la lucha entre el bien y el mal. Además, descubrirás cómo se diseñaron los impactantes efectos especiales y las impresionantes locaciones que dan vida a la Tierra Media. Este documental te llevará a través de entrevistas con el elenco y el equipo de producción, revelando anécdotas y detalles que seguramente no conocías. Al finalizar, tendrás una comprensión más profunda de la obra y su impacto cultural, así como de la importancia de cada personaje en esta narrativa épica. Prepárate para sumergirte en un mundo lleno de magia, aventura y lecciones de vida que resuenan hasta el día de hoy.
#SeñorDeLosAnillos, #DocumentalCine, #TierraMedia
señor de los anillos, la comunidad del anillo, documental, cine épico, J.R.R. Tolkien, Peter Jackson, efectos especiales, Tierra Media, amistad y sacrificio, impacto cultural
En este fascinante documental, exploraremos el universo de "El Señor de los Anillos: La Comunidad del Anillo", la primera entrega de la icónica trilogía dirigida por Peter Jackson. Acompáñanos a desentrañar los secretos detrás de la creación de esta obra maestra del cine basado en la obra de J.R.R. Tolkien. A lo largo del video, analizaremos los temas principales que se entrelazan en la historia, como la amistad, el sacrificio y la lucha entre el bien y el mal. Además, descubrirás cómo se diseñaron los impactantes efectos especiales y las impresionantes locaciones que dan vida a la Tierra Media. Este documental te llevará a través de entrevistas con el elenco y el equipo de producción, revelando anécdotas y detalles que seguramente no conocías. Al finalizar, tendrás una comprensión más profunda de la obra y su impacto cultural, así como de la importancia de cada personaje en esta narrativa épica. Prepárate para sumergirte en un mundo lleno de magia, aventura y lecciones de vida que resuenan hasta el día de hoy.
#SeñorDeLosAnillos, #DocumentalCine, #TierraMedia
señor de los anillos, la comunidad del anillo, documental, cine épico, J.R.R. Tolkien, Peter Jackson, efectos especiales, Tierra Media, amistad y sacrificio, impacto cultural
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TVTranscripción
00:00:00I think we're getting used to this location, it's not the easiest one to transport people
00:00:25in, it takes us like 40 minutes to ship in 30 people.
00:00:29Yes this is a big day, 2.50, lots of it's with the army, we've got a few independents and
00:00:34they've travelled from all over the place like Napier and Palmerston North and we've
00:00:39got a whole heap of Wellington elves who've come up to be elves here again so we've got
00:00:44a good strong bunch of regulars that keep coming back.
00:00:48It's a good location, it looks like the moon but there's a lot of, you know, ankle twisting
00:00:54and good knee snapping to be done as the actual set is so small and they're making
00:00:59people run.
00:01:00We've been using the army and we lost five orcs in the first day, basically two to claustrophobia,
00:01:06one to two twisted ankles and one to a busted knee.
00:01:10And in total like seven down I think.
00:01:14Seven down, seven to Ruapehu, nil to us.
00:01:16Yep, going through them like flies.
00:01:19And the moss, I don't know if you've heard about the moss, Doc's probably round but yes,
00:01:25we're only allowed to walk on the carpet and you've probably seen a lot of carpet round.
00:01:29Oh my god, we're probably standing on moss.
00:01:31Actually, ooh.
00:01:32So, it makes things a little bit difficult, sometimes we've seen people going to war and
00:01:36then they're dodging moss instead of thinking about going to war, so try and keep an eye on
00:01:41that.
00:01:42It's very environmental and everybody's very careful.
00:01:45Mm.
00:01:46Go to moss.
00:01:47Go to moss.
00:01:48Go to moss.
00:01:49Rocks.
00:01:50Rocks.
00:01:51Rocks.
00:01:52Moss.
00:01:53Ooh.
00:01:54Moss.
00:01:55Avoiding the moss.
00:01:56Going on to camp.
00:01:57Avoiding the moss.
00:01:58Going on to the...
00:02:00That's great.
00:02:03Ready?
00:02:04Pull!
00:02:05Start!
00:02:06One.
00:02:07Two.
00:02:08One.
00:02:09Two.
00:02:10This is the biggest low budget film being made anywhere in the world at this time.
00:02:19It's the biggest low budget film being made in the Wellington area.
00:02:23In the Wellington area.
00:02:24It's the biggest low budget film being made in the history of the planet.
00:02:28I know.
00:02:29I've always been asked, all the actors have already said, you know, with a budget like
00:02:33this I can't believe we're like shooting in tin sheds.
00:02:36Where is all the money going?
00:02:39Did you tell them we built these tin sheds?
00:02:51We're going to have music of the ring, which is a kind of almost beautiful, elvish music.
00:02:57So it has this very sort of lyrical, seductive quality.
00:03:02That's so weird.
00:03:03But black speech comes out underneath.
00:03:05There's this sort of bubbling, insidious, evil, whispering stuff, which gets louder as
00:03:10it becomes more obvious what it is.
00:03:12You know, it's true nature becomes more known.
00:03:15Right.
00:03:16So each of the ringwraiths are going to have a different sword, is that the idea?
00:03:19Yep.
00:03:20It's just the...
00:03:21We're trying to attain some sort of mythical reality, I think.
00:03:25And it has to look like it's been lived in and sweated in and broken and repaired.
00:03:30And if that feel can come across, then I think something will come through.
00:03:35I've had requests again about people coming to view things as they happen.
00:03:39For instance, today, the makeup tests.
00:03:42I had to say no.
00:03:43I'm obviously going to have to do a memo.
00:03:45It's wonderful that everybody's interested, but we can't have people standing around watching
00:03:49actors doing their thing.
00:03:50They may never have seen it before, and it might be highly amusing and very interesting.
00:03:54But I just have to say again, everybody, the answer will always be no.
00:03:57So please don't ring and bother asking anymore, because the answer's going to be no.
00:04:01So, you know, one debate we're going to have with the Maori tribe there is the depiction
00:04:04of the peak.
00:04:05And I'm sure we're going to want to see it.
00:04:07No.
00:04:08You don't want to see it?
00:04:09Well, should we just kind of...
00:04:10I think we'd probably win it.
00:04:11We just have to go through the argument, you know.
00:04:13Well, it's interesting, because I don't think we would see it.
00:04:17Because if we're seeing the peak, we're going to want it to put an exploding volcano,
00:04:22because Mount Doom's erupting the whole time.
00:04:24And if we're putting an exploding volcano in, we're probably going to make a more interesting
00:04:27looking peak.
00:04:28Right, yeah.
00:04:29It doesn't look like shit from here.
00:04:30Right.
00:04:31The peak just looks...
00:04:32You can't even see it's a peak.
00:04:33It just kind of goes up to a sort of a ridgeline.
00:04:36And if we're going to Mount Doom, we just want a big cone blasting away out there.
00:04:40The Chronicles.
00:04:41So, in a funny kind of a way, it's a situation where we'd point our cameras up there, but
00:04:46we might then replace everything up there with a miniature and a blast in a CG.
00:04:51So we can tell them that we wouldn't see it.
00:04:53I think, in a way, we could be very honest and accurate to say that the peak will not
00:04:57be appearing in the film.
00:04:58Appearing in the film.
00:05:01At the moment, we're knee-deep in a bit of a numerical challenge.
00:05:06We were talking about it yesterday.
00:05:07We feel like we're drowning by numbers in this department.
00:05:11It's because the complexity of it that we need because we've got so many shooting units
00:05:18and there are so many doubles, both scale and big rig double.
00:05:24We had 64 Frodo outfits that we would need for the films and 32 Aragorns.
00:05:30And we were up to 133 bags, travel bags, for each of the characters.
00:05:37And as a consequence, the girls are feeling ever so slightly disheartened.
00:05:41All of our stuff we're supposed to arrive today apart from the trunk radios is either
00:05:46not in the country or is in Auckland with customs.
00:05:49So they're scrambling, trying to find replacements, but I'm going to have to work
00:05:55tomorrow to sort of sort it all out so the second unit aren't left too high and dry.
00:05:59But they don't need walkie-talkies next week.
00:06:01I just wanted to know what gear we've got and what gear they have
00:06:04just so it doesn't end up there being anything missing.
00:06:06At the moment, we've got everything.
00:06:08It's going to be borderline.
00:06:09I'm waiting on some stuff to come over now, whether we've got enough stuff for Monday.
00:06:12I can make it work, but it's a bit of a shit fight.
00:06:16But yeah, just letting you know at the moment.
00:06:18But at the moment, I don't want you to work tomorrow.
00:06:21I can't see any other work in the meantime.
00:06:24The one thing that we're obviously going to deliver, and it's obvious we are,
00:06:27just from seeing is we're in a sort of ILM or digital domain level of quality.
00:06:34Probably better.
00:06:35I mean, there's every expectation that Gollum is going to be better than Jar Jar Binks
00:06:39just in terms of his realism and his lip sync and everything else, you know.
00:06:43I mean, you're sort of, we're aiming at that level.
00:06:46We're going to be using the radios that we've got on Monday.
00:06:49Yes.
00:06:50So there are not going to be any other radios to work with?
00:06:52Capital Communications bringing those 30 in case, as standby.
00:06:57Which 30? You said they weren't here?
00:06:59We can do, probably can do every shot that we've got planned for.
00:07:02If we lower our sights to Lost in Space, we'd lose half our guys,
00:07:07because they probably wouldn't want to be involved,
00:07:08but then we'd hire cheaper guys in who would just be happy to do it anyway.
00:07:11We'd be down to that quality.
00:07:13They'd get the shots for that sort of amount.
00:07:14I mean, you know, there are options like that if they choose.
00:07:18Well, you know, we've had these radios for ages.
00:07:21I'm not quite sure why we just haven't distributed them already.
00:07:24Because I was waiting for the accessories to arrive and the trunking radios.
00:07:28Right. Okay. I don't want you to work tomorrow.
00:07:32Certainly.
00:07:33Thank you very much.
00:07:34I'll drag Charlie in and really get and talk with them
00:07:36and I'll just see if there's something I can spot that can get rid of
00:07:40a couple of million at least, just initially to get a head start on it
00:07:44and just see what we can do from there, yeah.
00:07:49Take Jo's salary out of my wage if she can't work tomorrow.
00:07:52She's got to work tomorrow to get everything finished.
00:07:54If you have a problem with that, take it out of my salary.
00:07:57I've got her over there in tears.
00:08:04Listen, walk the talkers.
00:08:05I mean, I can't believe we can't distribute walk the talkers.
00:08:10She has been working all week trying to sort out the mess that they're in.
00:08:13It's still not ready to be done.
00:08:14There's still people wanting more.
00:08:16She's battling with people trying to work out what they want.
00:08:18She cannot finish it by today.
00:08:19If she has to work tomorrow, I will pay her.
00:08:22That's it. That's all. It's that easy. I'll do it.
00:08:25Take it out of my salary.
00:08:26You ready for the first one?
00:08:27What's up? What was that?
00:08:29Normally we've got like a main unit of lighting, which is where most of the lighting goes.
00:08:36And then there's a second unit, which is not quite as big as the main, not using as many lights, perhaps.
00:08:42And then there's a miniatures unit again, which normally doesn't use as much lights.
00:08:46But on this job, each of those three units are as big as each other, basically.
00:08:51The second unit almost has exactly what the main unit has in terms of lighting packages, distribution, gripping gear, what have you.
00:09:01And the miniature team, a lot of dimmers and that kind of control work.
00:09:05It's huge on that scale. That's why we've got so much gear here laid out, ready to be distributed to the different units.
00:09:12So we basically just sit here for most of the day and we talk about old movies.
00:09:17Keep our eye out for Rick Porras, the associate producer.
00:09:21Somebody just checks the window, sees if he's approaching.
00:09:23And when we see Rick coming, we start doing some story calls.
00:09:27Yeah.
00:09:28Okay, so if you bring this part here, with this one, this is one with a...
00:09:33We get two or three done, don't we?
00:09:34Yeah.
00:09:35And we talk about old movies again.
00:09:36Yeah.
00:09:37Come on.
00:09:38So it's a fun day, a good day.
00:09:39Last of the summer days before we start the hell of shooting, really.
00:09:45Our storyboards also go into the animatics.
00:09:48And the animatics are like a little movie version of the film that we make in advance of the actual shooting,
00:09:55where we film our storyboards with a video camera, we then cut them together on the Avid.
00:10:00It gives us an opportunity, really, to look at the film ahead of shooting,
00:10:04to inform us about the script, tells us if bits of the film don't seem to be working,
00:10:10if the pace isn't quite right, if there's boring bits of the momentum,
00:10:14if there's wonky, we have a chance to fix it.
00:10:17What the brief for the tree was, that it was a very old, gnarled tree,
00:10:25with long limbs that crept right out over Bag End.
00:10:28And that makes it a nice looking tree, but logistically, it makes it very difficult,
00:10:34in that it is so unbalanced.
00:10:37All the leaves which would shrivel have been picked off,
00:10:40and these are all artificial oak leaves that are wired on.
00:10:43There's about a quarter of a million artificial leaves.
00:10:46So we had ten people for, oh, just on a week and a half, wiring leaves.
00:10:51You've been to the Lonely Mountain.
00:10:57Echenin, it's from the verb Echedo.
00:11:01Pluron, not singular.
00:11:03That's right.
00:11:05It's Sindarin, the language of elves.
00:11:08First of all, standing or sitting on there,
00:11:11and then you're going to climb over the back.
00:11:13You have to climb back, and then you can go around.
00:11:16So you, that, your arm's dangerous there, that's all right, yeah, okay.
00:11:21Okay, Zane here, hasn't been out on the big show for a while,
00:11:23and he's ready for the ramp now.
00:11:26Come on, Zane.
00:11:30It feels a chameleon different, really, with hands.
00:11:33They aren't connected, they're just attached.
00:11:36Nice.
00:11:37There's really nothing you can always train for other than get up on them,
00:11:40and walk up and down.
00:11:44These hands work at the same scale as the rig,
00:11:46but they also hopefully double to show human contact with the hobbits,
00:11:50and helping with the scale.
00:11:52And only a couple of carrots.
00:11:53And some cabbages.
00:11:55And those three bags of potatoes that we left with last week.
00:11:58And then the mushrooms the week before.
00:12:00Yes, Pippin.
00:12:01My point is, he's clearly overreacting.
00:12:04Run!
00:12:05Run!
00:12:22Elijah has to fall down onto the ground.
00:12:24Falling down onto Billy with me by his side, near his anal passage.
00:12:28And as he fell down, he let go a little burp.
00:12:31What?
00:12:32Right.
00:12:33That was great.
00:12:34Fantastic.
00:12:35That was great, guys.
00:12:36Have you got one more on you?
00:12:37Me and Dom were doing a lot of good acting as well.
00:12:38I can't wait to see if it shows up on the sound.
00:12:39And my eyes were nipping.
00:12:40She's going to show up on the DVD.
00:12:41And I was really, really sore.
00:12:42And I was almost sick.
00:12:43Yeah.
00:12:44Even the thought of it now.
00:12:45My nose and a's were bleeding.
00:12:46Yeah, they were.
00:12:47You've got to love your cast, mate.
00:12:48Is this a statement?
00:12:49Is this a suggestion?
00:12:50No.
00:12:51Is this an aspiration?
00:12:52An aspiration?
00:12:53An aspiration?
00:12:54Yes.
00:12:55Yes.
00:12:56Yes.
00:12:57Yes.
00:12:58Yes.
00:12:59Yes.
00:13:00Yes.
00:13:01Yes.
00:13:02Yes.
00:13:03Yes.
00:13:04Yes.
00:13:05Yes.
00:13:06Yes.
00:13:07Yes.
00:13:08Yes.
00:13:09Yes.
00:13:10Yes.
00:13:11Yes.
00:13:12Yes.
00:13:13Yes.
00:13:14Yes.
00:13:15It seems worse then.
00:13:16Yes.
00:13:17Yes.
00:13:18Did you see Elijah's ears?
00:13:19Yes.
00:13:20Yes.
00:13:21Yes.
00:13:22Yes.
00:13:23Yes.
00:13:24It's very important …
00:13:25You get an indiscernible'd blend
00:13:28down onto that.
00:13:29Go!
00:13:35loaks yum
00:13:39If you don't know what you're doing,
00:13:40you can basically send your knees through
00:13:43I'm just going to pop the second unit of those.
00:14:13Go on, Sam. Ask Rosie for a dance.
00:14:26What, me?
00:14:27Just walk up and take her hand.
00:14:30I think I'll just have another hand.
00:14:34So this Elijah guy, you know this Elijah Wood guy?
00:14:38Yeah.
00:14:39Have you spoke to him?
00:14:40Yeah, a couple of times.
00:14:41I was speaking to him today and he's just been a real idiot.
00:14:45Hey, how are you?
00:14:46How are you, man?
00:14:47How are you?
00:14:48Hey, good, good.
00:14:49That's probably something's cool, isn't it?
00:14:50Elijah Wood?
00:14:51Hey, I've got a present for you.
00:14:52I've got a present for you.
00:14:54A present?
00:14:55Yeah.
00:14:56What for?
00:14:57Nothing.
00:14:58Just something I picked up.
00:14:59Just have one, man.
00:15:00That's cool.
00:15:01I'm going to go and get it up.
00:15:03All right.
00:15:04He is a .
00:15:05Next time you think, I'm going to quench him right this .
00:15:08I already did that to him the other day, man.
00:15:10That's right.
00:15:11Oh, yeah.
00:15:12And he cried as well.
00:15:13He was like, hey, mate.
00:15:14Hey.
00:15:15Hey.
00:15:16Hey.
00:15:17What's going on?
00:15:18Got an apple.
00:15:19Hey.
00:15:20Hey, guys.
00:15:21I've never met friends like you before on a set.
00:15:24Ah, shut up.
00:15:25Honestly, I mean it.
00:15:26Nah, I would agree with that as well.
00:15:28You know about Michael?
00:15:29Never been so close to two people in my life.
00:15:30No.
00:15:31Yup.
00:15:32You know about Michael?
00:15:33Who is that?
00:15:34.
00:15:35Being extra.
00:15:36I have no idea.
00:15:38He's jabbering all the time.
00:15:40I'm sat down, talking to you, trying to run my lines.
00:15:43Right.
00:15:44Jabba, jabba, jabba.
00:15:45Yeah, constantly trying to interrupt him.
00:15:46And I'm busy with it.
00:15:47Hey.
00:15:48What's going on?
00:15:49Billy Boyd.
00:15:50Hey.
00:15:51How are you?
00:15:52Hey.
00:15:53Billy Boyd.
00:15:54So we need to give back up in a minute or two, I think.
00:15:56Are we going back up?
00:15:57Yeah, I think so.
00:15:58I can't wait to do this scene with you.
00:15:59Yeah.
00:16:00That's it!
00:16:01I think this is.
00:16:02Alright.
00:16:10There's one coming in to land, and then there's three small ones, but you'll be fine.
00:16:15I'm the plane spotter here at the airport, and the studio's just behind us, and I have
00:16:20to tell them basically when the plane's coming overhead, because we have to stop the filming.
00:16:24Some of the actors are a little bit more testy than others.
00:16:27Some like it through rehearsals, some just when we're shooting.
00:16:29And basically it's a great job, because I get to sit out in the sun all day long, and
00:16:34read books in between.
00:16:36Occasionally I'll pop back for a little food, but apart from that, I just spot the planes.
00:16:40Yes.
00:16:46We could try and get a shot that comes in through the doorway.
00:16:49Where does the ring fall get left?
00:16:51It gets left on the floor by the fireplace, and then we want to be able to look back through
00:16:56at Gandalf and Frodo sitting on the floor here.
00:17:01Where's the kitchen stove there?
00:17:03So that's the table.
00:17:04So Gandalf might be seated up.
00:17:08That's about as far as we'd go.
00:17:11So if we have Gandalf sitting up here, and possibly Frodo in the foreground.
00:17:20So we're moving in, and Gandalf is sitting right on the chairs there.
00:17:25In fact, if we turned the chair around, so that he had us back to the fire, we might be
00:17:34getting a slightly better picture.
00:17:37Slightly better image.
00:17:38Yeah, yeah.
00:17:39Because, yeah, it's easier.
00:17:41We've had to build this facade three times.
00:17:56One for this set, one for the large set, and one for the large set up in Hobbiton.
00:18:03So we've got to replicate this part of it twice, and then do the big set in Hobbiton as well.
00:18:12All the furniture's got to be built in two sizes.
00:18:15This is mainly for Gandalf when he visits Bilbo and Fredo.
00:18:34It is a bit spooky.
00:18:36All three.
00:18:37You've got to go with it.
00:18:38You've got to go with it.
00:18:39You've got to go with it.
00:18:41Well, I should have the checkers standing by in the other doorway, please Joe.
00:18:44The same way we brought the cast in.
00:18:46We need to do checks and shoot.
00:18:48Okay.
00:18:51Set, and action.
00:18:53So let's go.
00:18:56So let's go.
00:18:57Let's go.
00:19:18When we hold the tongs out, it'll be a thing where you'll have to put your hand out here
00:19:28and the tongs will be over here.
00:19:30You know, it's a sort of, like, what's going on here?
00:19:32And then, oh, wait, you know, it's not here.
00:19:34What are you doing?
00:19:41And it's burning.
00:19:42You just watch it.
00:19:43It's burning, burning up there.
00:19:48Give me your hand, Frodo.
00:19:51It's quite cool.
00:19:53And comes up, pop it in, and then just go back to your eye lines again, your cheated ones.
00:19:58Oh, can you see?
00:20:03Can you see everything?
00:20:08Turn down at all!
00:20:10Captain!
00:20:11Something sort of that's quite, you know what I mean?
00:20:20It sort of has a, yeah, okay.
00:20:23All right.
00:20:24All right, well, why don't I quickly go bang off this pocket shot so we can free up Richard and the other camera.
00:20:28You guys set up this for handheld.
00:20:29Yep.
00:20:33Yeah, okay, good.
00:20:34That's good.
00:20:34That's good.
00:20:35That's good.
00:20:35That's a good feeling.
00:20:36Now, should we just try it with Kieran and Sean running the same lines off camera here so you, Sean and Kieran swap lasers.
00:20:43Now, you've got a back pen on, Kieran.
00:20:45Oh!
00:20:47Samwise Ganji.
00:20:49Have you been eavesdropping?
00:20:50I have been dropping noise, sir.
00:20:51I was just cutting the grass under the window, if you follow me.
00:20:54A little late for trimming ledgers in there, yeah.
00:20:56I heard Ray's voices.
00:20:58What did you do, yeah?
00:20:59It's me.
00:20:59You're actually telling the truth, which makes you even more scared.
00:21:01We keep it hidden.
00:21:02We never speak of it again.
00:21:04No one knows it's here.
00:21:06Who, then?
00:21:09Kurt.
00:21:11Who, then, Gandalf?
00:21:13There's one other who, you, have never had the ring.
00:21:21Got him.
00:21:23I look for the creature of our...
00:21:26...but for the, uh, for the assignment test.
00:21:29Right, go.
00:21:31Count this.
00:21:33Get set up, please.
00:21:36Well, that was, um...
00:21:37Is it on the move?
00:21:38Apart from the line, that was...
00:21:40The timing was great.
00:21:41Apart from the line, yeah.
00:21:42Yeah, apart from, well, apart from the performance.
00:21:45What?
00:21:45The timing, the timing was really good.
00:21:47Oh, my staff's still in the other room.
00:21:56So you can listen to yourself, and when you hear, turn, you can just, you can just sense that spot.
00:22:03So when you do it without the playback, you'll be able to feel the, the position of the camera for when you should be turning around, you know.
00:22:10We put it away.
00:22:12We keep it hidden.
00:22:14We never speak of it again.
00:22:16No one knows it's here.
00:22:18Do they?
00:22:20Turn.
00:22:22Do they, Gandalf?
00:22:26Good.
00:22:26That's what I love.
00:22:28That's it?
00:22:29That is so utterly confusing.
00:22:30Okay, they look good.
00:22:33Do they look all right?
00:22:34Yeah, you can, you can.
00:22:36Flash, here we go, and action.
00:22:45All right.
00:22:48We put it away.
00:22:49We keep it hidden.
00:22:50We never speak of it again.
00:22:52No one knows it's here, do they?
00:22:56Turn.
00:22:59Do they, Gandalf?
00:23:02And you're basically just, yeah.
00:23:03And I feel beyond that.
00:23:04No.
00:23:04But you can, you can put your, you can put your elbow down there.
00:23:07The more, the more down there you are, the better it looks.
00:23:09It looks excellent.
00:23:10It goes back to the fire.
00:23:11No.
00:23:12Yeah, well, I didn't try.
00:23:12No.
00:23:12Yeah, we've got a shot.
00:23:16And action.
00:23:19It is the master ring.
00:23:22In.
00:23:23Gone.
00:23:24E.
00:23:25Up.
00:23:26Run.
00:23:26We had videos made by an expert in Elvish.
00:23:30And this man has studied the language, he knows how it sounds, he's put it all down on
00:23:38tape for us.
00:23:38And so we've used him and Tolkien's words, Tolkien's book.
00:23:43How is it?
00:23:43Very well.
00:23:45Well, very, very hard.
00:23:48I mean, more than usual.
00:23:49Last week he wrote his will and started roaring with laughter.
00:23:53It's much better for the actor to find the accent in, finally, before looking at the script,
00:24:01from spontaneous thought and speech.
00:24:06If the actor can use the accent in his or her spontaneous speech, it means that it doesn't
00:24:14matter what's in the script, wouldn't you think?
00:24:17They can handle anything.
00:24:18They can then do anything that's thrown at them.
00:24:21Right now, the food and drink will be thrown at all night.
00:24:23Take me out of the way.
00:24:24Straight up.
00:24:24I can spot up all the wine.
00:24:26Hi, as I go over my lines in embarrassment.
00:24:29Yeah.
00:24:31Okay, lads, let's just check your beds for an ugly frame.
00:24:39Action.
00:24:45And towards upper.
00:24:48And strike.
00:24:51Strike.
00:24:52Strike.
00:24:55And it's snug in the scabbard.
00:24:58All the swords have a very slightly rounded off point.
00:25:01Supposedly for safety, but if you try it hard enough, it'll still go through somebody.
00:25:08It's just to reduce the risk to the actors a little bit.
00:25:12Actors don't like bleeding unless it's on cue.
00:25:14I've been a professional sword maker for about 12 years now, and six of those have been full-time.
00:25:27Since I've started here, I've been working on things that are sort of the swords I've dreamed about working on, and I've also had nightmares about some of them.
00:25:35Since I started here, I've probably made 40 or so hero swords, 60 plus aluminium swords for the stunt work, and I've also worked on all sorts of other things, like a hundred or so weapons made out of EVA foam for background work.
00:25:52I had a friend who was really into sword fighting, and he tried it out, but his one was pretty heavy.
00:26:20I remember finding it quite difficult, so it'll be interesting.
00:26:23Action.
00:26:28I haven't slept in maybe two days or two hours over the last 48.
00:26:34Lots of dancing, about nine hours, and...
00:26:36That's my favourite work.
00:26:37But yeah, no, fully into it.
00:26:39One.
00:26:40Ten.
00:26:42Action.
00:26:43One, two, three, and four.
00:26:51Okay, once again.
00:26:54Putting the power...
00:26:55One, two, three, and four.
00:27:03Okay, one more time.
00:27:03I'm going to bring the voice up a bit, don't...
00:27:08Yes, okay.
00:27:10Long guard.
00:27:10Okay, let's wait for the cue, and action.
00:27:19Okay, you didn't see the other one?
00:27:21Action.
00:27:26That's fine.
00:27:28Yeah, place it.
00:27:32I've only got one thing to say.
00:27:34Yes, one.
00:27:34Yeah, yeah, yeah.
00:27:36I've summed up my whole...
00:27:37You can't be able to...
00:27:38That's good.
00:27:51Wonderful.
00:27:52I think the majority of people watching a sword film love the action and the sword play.
00:27:59I have a saying about swords, that through life you have a constant struggle between good
00:28:06and evil.
00:28:08And in the old days, they used to settle that with the sword.
00:28:11That means you're standing with a sharp sword, eyeball to eyeball, with the goody or the baddy,
00:28:18whichever you want to be.
00:28:19And you need to have a lot of courage to carry out that act with a sword.
00:28:26Death has some dignity to it.
00:28:28Wow.
00:28:30Wow.
00:28:32It really do work.
00:28:35It's pretty amazing, isn't it?
00:28:37Where can I get some?
00:28:39Hey, dude.
00:28:41Look at that.
00:28:42Bitchin'.
00:28:42I was so excited because I've been hanging out for about two years.
00:29:05When I first heard the movie was going into production, I actually wrote a letter.
00:29:09I would have been about 16 or 17.
00:29:11I was asking to be a part of it and now I find it, woo, the air.
00:29:16It was a good time.
00:29:18Pretty much easier walking backwards and forwards, sweet days.
00:29:21You can't get in unless you've got these lovely pointed ears, you know, they're a requirement.
00:29:26You just, I mean, if you haven't got them, you don't get in.
00:29:28Also handy for the Star Trek movies.
00:29:30Absolutely.
00:29:31Trying to find extras, we really, it's important to get people that are really into it and that
00:29:38aren't, oh I don't know, that aren't annoying.
00:29:42Put them behind there so they can come through.
00:29:44When you have such specific physical types like elves and things like that, everybody
00:29:50can't be an elf so therefore my pool runs out.
00:29:52We've got 300,000 people in Wellington and I'm trying to find a pool of very tall, very
00:29:59beautiful, aged between 16 and 30, supermodel, available 24 hours for two years.
00:30:07Yeah.
00:30:08Go figure.
00:30:09We're really kind of stretched at the moment so this is quite a big jump for me to try
00:30:15and make sure that the good ones get in the front.
00:30:18Now, he's falling into the shadow world, we'll soon become a wraith like them.
00:30:25Don't be so sorry next time.
00:30:27Today we've got the horse Florian who plays a part of Asphaloth, Arwen's horse.
00:30:33It's his first day on set, we can train him for all sorts of things like noise and fans
00:30:40and smoke and lights and mirrors and cameras.
00:30:44We can't reproduce 100 people on set.
00:30:47So it's all a little bit, let's see what happens and I think he'll be pretty right though.
00:30:52Whoa, don't bite me.
00:30:54Set.
00:30:55Uh.
00:30:56Oh, hang on.
00:30:57Oh, ow, ow, ow.
00:30:58That hurt.
00:30:59Where'd you do that?
00:31:00All the rocks.
00:31:01Uh-oh, your arms.
00:31:02Now where is the shot?
00:31:03In The earthquake.
00:31:04In the earthquake.
00:31:05Oh my god.
00:31:06Don't bite me out.
00:31:07Okay ow.
00:31:08Let's see you.
00:31:09Oh that's the same thing, right?
00:31:10Give it, give it, give it, give it, give it.
00:31:12I'm just trying to see you.
00:31:13Oh my god.
00:31:14Oh my god, that's the same thing.
00:31:17Give it.
00:31:18Oh my god.
00:31:20Oh my god, give it another time.
00:31:25Give it another time.
00:31:26Yeah, I'll really see you.
00:31:272-3.
00:31:29I don't know what you're doing.
00:31:31No, I don't.
00:31:393-3.
00:31:453.
00:31:51Cut it there, please.
00:31:53Okay, sorry.
00:31:54Spring on one.
00:31:55It's not sharp, it brings on two and you can very slow...
00:32:14So Liv comes up and grabs him back, pulls him back into the...
00:32:18Retrieving him back up on...
00:32:20Should we do the hit as well if we're going to do that?
00:32:23Are you happy with this?
00:32:25You want a one like that?
00:32:27I'm glad it's raining.
00:32:29Guys...
00:32:30We have the worst luck in the world.
00:32:32We...
00:32:33This rain is going to fresh the costumes, just sort of give it a chance to ease.
00:32:53You know what?
00:32:56Wow, that's true.
00:33:04While most people are at home trying to save their houses and sandbag their belongings...
00:33:10While most people are at home trying to save their houses and sandbag their belongings,
00:33:15we make a film.
00:33:22Hey, where are our scale levels ready, Gary?
00:33:27Snowy!
00:33:33Richard's made snow just to keep you happy.
00:33:36It's just absolutely brilliant. Thank you.
00:33:41Well, you'll be here and they'll be there.
00:33:44You're disappearing. We could have you going behind the bush and then...
00:33:50The other thing is they're starting to get a little bit cold.
00:33:53I'm just saying everybody wants... Very cold.
00:33:55I've got people shivering and horses shivering and...
00:33:59Well, should we pull out now, eh?
00:34:02I actually think we should.
00:34:04OK, guys, let's see.
00:34:06Oh!
00:34:10I'm gonna die!
00:34:11Oh!
00:34:12I'm gonna die.
00:34:13Oh!
00:34:14Oh!
00:34:15Oh!
00:34:16Oh!
00:34:17Oh!
00:34:18Oh!
00:34:19Oh!
00:34:20Oh!
00:34:21Oh!
00:34:22Oh!
00:34:23Oh!
00:34:25Done and done.
00:34:29I'm trying to make these blocks look very slightly bedded in.
00:34:57They've shifted a bit over the years, they've slumped, they're weathered, they've aged a bit.
00:35:05Crack.
00:35:06Yeah, instant ageing.
00:35:10You realise this is a top secret process developed over a million years by cavemen and model makers alike.
00:35:22It gets very hard to see anything when the sun comes out.
00:35:26It's very contrasty.
00:35:28I wanted to design a film set for the elves in the same way that the elves would have designed their own habitation which is very much part of nature in the forest.
00:35:43And building around the trees rather than bulldozing them.
00:35:48So we're trying to be as sensitive as we can.
00:35:50The logistics of actually getting large pieces of sets which are built in Wellington and transported out here.
00:36:06So I kind of have to keep half an eye on the practicalities but I don't let that kind of hold me back.
00:36:21This is just a great opportunity to work on one of the best books ever written in one of the most beautiful places of one of us.
00:36:30With some of the nicest people that I know.
00:36:32I don't know.
00:36:33I don't know.
00:36:34I don't know.
00:36:39I don't know.
00:36:40I don't know.
00:36:41I don't know.
00:36:42I don't know.
00:36:43I don't know.
00:36:44I don't know.
00:36:46It's really good.
00:36:47But you can't find the stuff.
00:36:49Yeah.
00:36:50It's really great.
00:37:22Wind draft from the helicopter just pushing the seat around, so it's better to get rid of him, and we'll just get some guys up there and we'll lift it into position ourselves.
00:37:44It's very easy to sit up 500 feet in the air and say, wow, that looks like a great location, let's film there.
00:37:52When you have up to three units per day, every day, for 18 months, taking that number of vehicles, those numbers of people, you really start to get an idea of the size and logistics of this show.
00:38:07We have to think about the basics. Where are they going to go to the toilet? How are we going to serve them tea and coffee?
00:38:18If the weather closes in, we've got to put tents up for them. What are we going to do with the trash at the end of the day?
00:38:25So, hopefully, the director will only ever have to worry about flying in there on the day, directing the scene, and flying out again.
00:38:36I'll be taking a length of toilet paper in my pocket just for emergencies.
00:38:40I thought those turret things were on the outside, but maybe there's a tip of an owl. It's obviously the right side.
00:38:58Honestly, I thought I'd just throw a blue behind it when we get the line up and shoot an element, and then that would become the basis for the painting that we pin into it.
00:39:09Right.
00:39:17I know, it doesn't look like the road's quite centre, does it? It looks like the whole thing should slide over.
00:39:22As Gandalf comes here, the camera will start dollying, and it'll eventually dolly and pan off the wall and through the thing there.
00:39:29OK, good. Well, it'll be great. It'll actually make it a really good shot.
00:39:33I think so.
00:39:34A really nice shot, yeah. OK, good.
00:39:39I think we're a little late getting away. I think we're a little late getting away. We need to just whiz another one.
00:40:00Just to try and get in a bit tighter, but we might need you...
00:40:03At the moment, just the way that your staff falls, it goes across your face a little bit.
00:40:07Oh.
00:40:08Might need to either just hold it back slightly or to take it out slightly.
00:40:12We've been shooting for about four months now, and we finally get to start to do things with the villains.
00:40:16Like, we've done a lot of shooting with the hobbits and Aragorn and our heroes, and it's great to finally get the dark part of the story on film to start to set up the opposition, as it were.
00:40:27So it's good. It'll be fun to do this stuff.
00:40:29Alrighty, we are ready, folks. We're shooting this light.
00:40:32This is a shot that reveals a flock of crows that have been sent out by Saruman to spy on the Fellowship, flying down through a hole in the ground down into the caverns below Isengard.
00:40:43So in order to do this shot, we're using four different sets of different scales because the crows fly deep down into the earth, and these are caverns one layer below the next.
00:40:53So this is the first cavern. Above that, we've got a model of the ground plane, which is a much smaller scale, coming down into a much bigger set, which is this one.
00:41:01Fly down, swoop around through there. Come out through a hole at the end of that set into another set. Fly out of that and into another set.
00:41:07In that set, we have a live action shot, a Saruman shot on blue screen. In order to do this, of course, each set has to have a mat at the end of it so that we can insert the fourth set that's coming up in through the hole.
00:41:19So we essentially stack these things up from back to front, so essentially they're all stacked set, mat, set, mat, set, mat, all the way back up to the surface.
00:41:28Adding the details takes quite a lot of time. We find that we need to add a lot more detail than what you might think.
00:41:36Just to get to the level of reality where even a lot of the detail becomes subconscious, but to the eye, that's when it becomes realistic.
00:41:49This is a smoke reader that we use to determine exactly the density of smoke and also to make sure that the density is kept constant during each of these passes.
00:41:56Because the passes take about 30, about 29 minutes to shoot, so we have to keep the smoke absolutely constant during that whole time.
00:42:02Now the reason for the smoke is that, of course, this set is representing something that's extremely large.
00:42:08And in order to get the feeling that things that are actually only maybe a meter away are actually 15 meters away, we have to build some kind of atmospheric perspective into it.
00:42:16And that's done by shooting the very light hazing of smoke over the whole set.
00:42:20So we shoot it in the clean air, and we also shoot it in the smoky air, and then when we put it together, we can combine those.
00:42:26So when we're far away from something, it's quite hazy.
00:42:28And then as we get closer, we can dissolve from the smoky pass to the clear pass, so you have the feeling that you're traveling much further than you actually are.
00:42:35It's a basic trick of miniature photography to try to create the feeling that something's a lot bigger than it really is.
00:42:41You're not too much trouble. If they get too much trouble, you just pick them up and they can't do anything.
00:42:55No, you attack me.
00:42:58I can't see them actually having a sword and going, clam, clam.
00:43:02You might have to occasionally, but as you say...
00:43:05Or maybe run up on a piece of wall so it's the same height.
00:43:08Yeah, that's right. Well, you could do that, yeah.
00:43:10We could get in doing that.
00:43:22The two to the left, you two, you have to cower against this.
00:43:27And then Sam says, get back, you...
00:43:29Get back.
00:43:30You...
00:43:31Villains, I forget the term, but anyway, get back, you so-and-so.
00:43:35Yeah.
00:43:36Okay?
00:43:37Get back, you...
00:43:39Wow.
00:43:40A bad backward fall.
00:43:42You'd look where you were going and then you went back like this.
00:43:45Okay.
00:43:46Hey, come on.
00:43:48We'll put your...
00:43:49Give him another mech.
00:43:50Oh, it's been there.
00:43:55Excellent!
00:43:56Excellent!
00:43:57Last!
00:43:58Last!
00:43:59Last!
00:44:00Back!
00:44:01Back!
00:44:02Back!
00:44:03Back!
00:44:04Back!
00:44:05Back!
00:44:06Back!
00:44:07Back!
00:44:08Back!
00:44:09Okay, that's good.
00:44:10Half enough!
00:44:11Great!
00:44:12Not too great.
00:44:13We're going to do another.
00:44:15It was almost great, but not quite.
00:44:18Gentlemen, to make it work better, we're going to do another.
00:44:20It was almost great, but not quite.
00:44:23Gentlemen, to make it work better, crowd him.
00:44:28Right?
00:44:29Fuck it.
00:44:30Wrong place.
00:44:31Five, six!
00:44:32Yep.
00:44:33That's why it's high.
00:44:34Yep.
00:44:35Wise.
00:44:36All right!
00:44:38Wooah!
00:44:39Wooah!
00:44:40Wooah!
00:44:41Haaaah!
00:44:42Haaah!
00:44:43Haaah!
00:44:44Man!
00:44:45Wooah!
00:44:46Wooah!
00:44:47Wooah!
00:44:48Wooah!
00:44:50Wooah!
00:44:51Wooah!
00:44:52Wooah!
00:44:53I want you to hit the touch back.
00:44:56Here!
00:44:57Hit it!
00:44:58I'm just trying!
00:45:00You know what I know. Go on.
00:45:04Boom!
00:45:07This works out well where you can probably not use the mask too.
00:45:12If you don't use the mask, then what about your eyes?
00:45:17No, that'll be fine.
00:45:19We'll just have a look at the footage, but I think we're not going to notice.
00:45:24I think we'll be sufficiently far away.
00:45:27I think you'll be okay. I think this will be better than a mask, wouldn't it?
00:45:33Martin, you look just like him.
00:45:36Lucky, lucky man.
00:45:42So can we just strip everybody?
00:45:45Strip everybody down to their jackets.
00:45:49So keep the trousers on.
00:45:52Stand in the line and act like you're going to wait for the butts.
00:45:55When I say mingle, you mingle. Don't cross the line.
00:45:59Because then you lose points.
00:46:01Door camera.
00:46:03Set.
00:46:04Your call, sir.
00:46:06Okay, and if you could just do a little bit of, you know, rocking around.
00:46:13I'll show you. Let me demonstrate, okay?
00:46:15Continuing on.
00:46:16We all start here, right?
00:46:17And just go across to here.
00:46:19And then up.
00:46:20And be looking around left and right.
00:46:23And be looking around left and right.
00:46:27That's a good thing.
00:46:28Here, here, here, here.
00:46:29And you're not doing that.
00:46:30Here, here.
00:46:31And you're looking around left and right.
00:46:34One of the things you got, is the top of the top of the top of the top.
00:46:36So, you've got a problem.
00:46:37What up, mate?
00:46:38What up?
00:46:39I'll show you. Let me demonstrate.
00:46:40Okay?
00:46:41We all start here, right?
00:46:42And just go across to here.
00:46:44And then up.
00:46:45Here you go.
00:46:46And be looking around left and right.
00:46:48It's very bizarre, isn't it?
00:47:08It's a good one for the old DVD.
00:47:10I've got to take mine with me when I leave.
00:47:24My name's Katrina Talbot, and I'm the back half.
00:47:39I've built a pony.
00:47:46We have to have a bit of practice on every terrain, because it's different.
00:47:50In the snow and in the mud and on the mountainside and in the swamp.
00:47:59We started with an agency in Wellington, Wellington Actors.
00:48:03Can we have a bit of room, please?
00:48:05She said if we wanted to get involved in stilt walking.
00:48:08Then we got called in to do Bill the Pony.
00:48:10What we're going to do, you can see where these footprints go up the hill here.
00:48:14When we're all ready, we're just going to have you walking up the footprints,
00:48:18following in single file.
00:48:20And when Michael, who's playing Ganoff, gets to the end of the footprints, he stops.
00:48:25And everybody will position everybody behind there, and that's our starting position.
00:48:29And then Zengunna, who's playing Frodo, is going to be doing a little fall and a roll down the hill.
00:48:33Bego's going to jump out and grab him.
00:48:35And then if we can just run the scene.
00:48:38Now this is just a wide shot, and we're only going to need the basic big movement.
00:48:41So don't worry about dialogue.
00:48:43As he falls, and then you take it.
00:48:49And you're going to fall to your right and roll.
00:48:52And fall, Kevin.
00:48:55We've got the scene where we walk him through the snow.
00:49:22Using this product, we can make something that people can walk through.
00:49:26And if you leave it overnight, it'll get very stiff.
00:49:30And then we can use it for other bits of snow.
00:49:33And they use it to insulate houses.
00:49:35It's amazing stuff.
00:49:37It's the best snow we've had.
00:49:52I'll be full of snow on the day and making an avalanche down here full of our foam snow.
00:50:06The actors will be going along the top of this set and creating an avalanche for them to be buried in.
00:50:12So you see them looking up going, what the hell?
00:50:15And the veil of snow comes down.
00:50:17You're not quite sure what's happened.
00:50:18You see Gandalf be pulled off the rock.
00:50:20And action!
00:50:23The simulated snow is a rice-based product.
00:50:47This is just light and environmentally friendly and doesn't seem to hurt your eyes.
00:50:54The rest of all the dressings are different products.
00:50:56The waxes and different foams and paper and Dacron.
00:51:01But apparently there's MSG, MSG and rice.
00:51:04Which can't be careful.
00:51:06Basically it's like take-out.
00:51:08Hi.
00:51:09I'm Jamie Selker.
00:51:10Post producer and supervising editor on the show.
00:51:12I'll just pop you in here and show Pete's trailer while he's way on location.
00:51:15Come on in.
00:51:18Look at this.
00:51:19Widescreen, 34 inch flat screen TV.
00:51:22Audio cassettes.
00:51:23Amp.
00:51:24SVHS player.
00:51:25DVD player.
00:51:26And SPB to play.
00:51:28Pete can come in here when he's got a little bit of downtime while they're setting up a difficult shot in the studio.
00:51:33Or location.
00:51:34He can come down here, he can play his rushes, select takes.
00:51:37Or he can look at any other sort of his favourite movies.
00:51:40So we'll just sit down here and take a wee nap on his couch.
00:51:43And we'll run one.
00:51:45When's the couch coming, John?
00:51:47Well, we're talking about it.
00:51:49Well...
00:51:50Should be soon.
00:51:51No, no-one should expect me to come in here and cut without a couch.
00:51:55Okay, Jamie.
00:51:57Just tell Jamie if he wants me to turn up to look at anything, there should be a couch here.
00:52:03Hey, man, no, you're up.
00:52:05Money sounds big.
00:52:09Now, hold your gun, stand.
00:52:10Stand, stand.
00:52:11By coming back.
00:52:14Okay.
00:52:15Woo!
00:52:16Woo!
00:52:17Woo!
00:52:18Woo!
00:52:19Woo!
00:52:20Woo!
00:52:21Woo!
00:52:22Woo!
00:52:23Woo!
00:52:24Woo!
00:52:25Woo!
00:52:26Woo!
00:52:27It's Kieran's birthday.
00:52:28What was it on Tuesday?
00:52:29Tuesday, yeah.
00:52:30On Tuesday it was Kieran's birthday.
00:52:31Yeah, so he's a very old man, so we have to treat him very gingerly.
00:52:35It's not his size. Some people think his height makes him delicate.
00:52:38It's not. It's his age. He's an old man.
00:52:40Look at the chiseled, the years of experience found on Kieran's face.
00:52:45And later you'll be able to see him wearing all of our faces.
00:52:48Is that true? Have you tried me on?
00:52:50Does it feel extra good?
00:52:51Yeah.
00:52:52Can you feel the dramatic overbite with my upper lip there?
00:52:56I did.
00:52:56You did?
00:52:58Don't drool in that mask.
00:52:59No, boy.
00:53:01No, boy.
00:53:07Any particular shot, we're going to have a floating moon on a scissor.
00:53:13Like a moon? Oh, you mean a light, yeah.
00:53:16Yeah.
00:53:17If you watch light coming into the forest, you screw it, yeah?
00:53:20No, no, no. They can shoot down over here.
00:53:23They can light above the place.
00:53:25I think we're going to be working in here predominantly with Steadicam myself.
00:53:29Obviously sticks at times, but I don't, a lot of, I think a lot of the feel of this really suits Steadicam.
00:53:35Yeah.
00:53:36And just in terms of, because it can be that slight kind of glidey kind of, it doesn't need the precision of crack, crane and dog, I don't think, and feel a little bit more loose, I think.
00:53:47There's Frolo at the back, is it Sam in the front?
00:53:51Sam in the front.
00:53:52Yeah.
00:53:54And on action, they'll just slowly come down.
00:54:03Let's put Brent there and the other two tallest in these two columns.
00:54:06Yeah.
00:54:07Okay, so the concept here, guys, there's going to be a lot of wind and a lot of noise and we're not going to be able to talk to you.
00:54:17So, when you hear action, which is a toot on the air horn, and then one step at a time, very slowly, like you're in a funeral procession, you just start to move down towards the hobbits.
00:54:32Okay?
00:54:33Sure.
00:55:02Hello, Jan.
00:55:03Hi, Peter.
00:55:04So, can you just prepare me a memo to the art department, please?
00:55:17Sure.
00:55:19Can you, can the memo just say that Peter wants to see designs and sketches of all hand props before they appear on set?
00:55:32Absolutely.
00:55:33And that Boromir's bag that was presented to me today is rejected as a piece of design?
00:55:40Okay.
00:55:41Boromir's bag.
00:55:42Boromir's bag.
00:55:43Boromir's bag is rejected as a piece of design.
00:55:46I don't like it.
00:55:47Okay.
00:55:48And that Boromir will need a bag within the next two or three days, I guess, so that they'd better come up with some ideas.
00:55:56Do I have my bag at this stage?
00:55:59Yeah.
00:56:00I just need to.
00:56:01I don't know.
00:56:02Because I don't know if I have it at Memorial.
00:56:03Mine's.
00:56:05Houston, we are gold.
00:56:06When you give roll camera, there'll be 10 seconds rolling, and then Richie will give the cue action.
00:56:31Pete will take his cue and start the air ratchet out the side, which will first pull the door frame and lintel out.
00:56:39Richie will take his cue from the action of the rocks.
00:56:44When Richie starts on his novel, there'll be 10 separate explosions quite quickly.
00:56:49They'll both be as loud as a .22 gunshot, but it will reverberate in here.
00:56:5410, 9, 8, 7, 6, 5, 4, 3, 2, 1.
00:57:123, 2, 1.
00:57:14Action.
00:57:15Let's do one more of those, just for luck.
00:57:35It was great.
00:57:36All right.
00:58:06There's lots of good fake reverbs, but nothing, nothing can beat this real thing.
00:58:30I just wanted to get out of the office.
00:58:33If you want to, what do you want to do?
00:58:36Well, I want to hear it from wherever, just what it's like.
00:58:39If you want to just, we've got a sequence of cave troll voices that Peter has listened to and likes.
00:58:46We're going to try to play those through the speaker here and get the natural ambience of the tunnel.
00:58:52Mostly that'll be used for off-camera shots and balanced tune.
00:58:56Hey, Dave, do you want to power that thing on?
00:58:58On now.
00:58:59It's on?
00:59:00Is it pretty loud?
00:59:01No, it's just pretty scary.
00:59:07Can you get any more helmet?
00:59:08No.
00:59:09No.
00:59:10No.
00:59:11No.
00:59:19Once the workshop have finished the physical sculpt, we bring it over into the digital world.
00:59:23And the way we form that bridge between the physical model and the workshop and the digital model here,
00:59:28and we're digital, is with the 3D handheld laser scanner.
00:59:33It's what we use to get the model into the computer.
00:59:37In the old days we used to animate just one frame, you know, frame A to frame Z, and that was it.
00:59:44You wind up spending as much time probably animating a scene as you would doing it in stop motion,
00:59:52or maybe even more time.
00:59:54You spend that time refining the work and making it as good as you can make it,
01:00:02rather than just, you know, slowly, carefully, you know, walking the tightrope of stop motion where you go from frame A to frame Z.
01:00:13But Gimli backs into there, the cave troll thinks, right, I've got him.
01:00:17You know, that's like, there's nowhere to go in there.
01:00:19You can't dive.
01:00:20The cave troll comes for him with his hand, and just as the hand's coming towards Gimli, then...
01:00:31Except for the two hobbits jumping on the troll's back, really most of the scene up till that point had been played on the floor,
01:00:39and not on the mezzanine, or on the second level, right?
01:00:42And, but, you know, getting into the set, before the set was even built, when it was just built on the computer,
01:00:50I found that, well, you know, if we get a lot of battling going on on the second level as well as the first,
01:00:56you'll be at, you know, you'll be at troll eye level, which is kind of neat,
01:01:00because everything else, everything in the storyboard is just sort of, you know, looking up at him the whole time.
01:01:04Now, what I think would be good to try and, depending on how long this lasts, is that the full length of it, is it?
01:01:12Yeah.
01:01:13It could probably be about half that length.
01:01:14Yeah.
01:01:15It could probably just be a...
01:01:16Yeah.
01:01:17Seems like everyone would come from there and just, like, get him in the plank.
01:01:20Sure.
01:01:21Once you have that basic choreography in the miniature digital set, what you could do was then put on virtual glasses
01:01:36and see that choreography from the point of view of a camera you were holding in these glasses.
01:01:42So you grab the camera and you run around and suddenly you're in the set with this big troll
01:01:46and you start covering it like a news cameraman, basically.
01:01:51And he wanted it to have a sort of slapdash, non-compositionally oriented feel, I think.
01:01:58Feel like it's, like everything's being grabbed.
01:02:10What's challenging about Peter is his dumb ideas, you know,
01:02:15because he said, let's have Legolas, you know, run up the chain and jump over the troll.
01:02:20And I thought, that's really dumb.
01:02:22But, you know, and I wouldn't have come up with that.
01:02:25So let's see if there's a way to, you know, to stay with that and not talk him out of it,
01:02:31because sometimes you'll hear something that's out there.
01:02:36But, and just say, oh, that won't work, that won't work.
01:02:39But I've seen enough of Peter's work to know that, A, he's out there,
01:02:45and, B, he usually makes the out there stuff work.
01:02:49We get on the set, and Jeff Murphy's directing it.
01:02:53They're setting up to do Orlando running across this thing.
01:02:56And just as they're getting set up to do the first take, I said, Jeff, listen,
01:03:00why don't we have, can we just have him grab a moment in the center
01:03:05and pull an arrow and try to fire it into the guy's head?
01:03:08Because that makes him more aggressive than just, you know, acrobatic.
01:03:12And he can try to fire it into the troll's head,
01:03:14and the troll will knock him off before he can fire it, right?
01:03:17And so we'll use, and we'll see if we can talk Peter into that.
01:03:20So we did, and then Peter thought about that for a while.
01:03:24He said, no, no, no, no, no.
01:03:26What we're missing is him actually firing it, it bouncing off his head,
01:03:31and then him jumping off to get another shot at him, right?
01:03:35So that's sort of how that, you know, that's sort of how the collaboration has worked.
01:03:39Well, he'll, you know, I'll have an idea, then he'll have an idea that tops that,
01:03:43and I'll have another idea that tops that, and he'll have another idea that tops that.
01:03:46So they just keep, it keeps building, you know?
01:03:49Okay, here we go. Try another one, please.
01:03:52And cover!
01:03:55Action!
01:04:08The thing that we were told by Randy and Adam was to make him not evil.
01:04:12You know, they wanted him to be more like an animal that, like a pit bull,
01:04:17or this is what he did well, was destroy things.
01:04:20And so at the end, they kind of wanted you to feel a little bit bad for him,
01:04:25that the Fellowship kind of had to kill him.
01:04:27But he wasn't like a, you know, like a raptor or somebody who was just pure evil trying to kill you.
01:04:33So at the end, there's, Adam Valdez did the shot where he, you know, gets an arrow in the mouth,
01:04:38and you kind of feel like, oh, that poor guy, you know?
01:04:41So that was the kind of direction we got from them.
01:04:44They've got to defend themselves, and the only way they can stop him is by,
01:04:47is by finishing him off.
01:04:49But that doesn't mean it's a great cause for celebration when they do finish him off.
01:04:55And I frankly don't mind if the audience feels a little bit dirty when it's over.
01:05:03Being given the Balrog as the first creature I had to texture was quite intimidating,
01:05:09considering it's the main nasty creature in film one.
01:05:16We had the big maquette hanging on the wall that was beautifully sculptured.
01:05:21We took that and photographed it, and I used that as the basis of the design
01:05:25for the way the wrinkles would flow over the body.
01:05:29Then I took photographs of elephant skin and used that to get the really fine detail into the surface texture.
01:05:37I think we have a total of around 14,000 total textures on the Balrog.
01:05:42And it can be a lot of work to actually just merge the different layers together,
01:05:47especially with a creature like this that is self-illuminating.
01:05:50He lights himself from inside essentially like he's on fire the entire time.
01:05:54So we needed to see the global amount of how much he could light up,
01:05:58and this is definitely taken to the extreme,
01:06:00and we have a couple of areas where he just gets white-hot that we have toned down quite a bit.
01:06:05And then this is, of course, just half the creature, and then it gets duplicated to the other side,
01:06:10and it makes it faster for the texture painter to be able to paint that way
01:06:13and see what the creature is going to look like before having to do twice the amount of work.
01:06:18Well, this is just the various views.
01:06:23This is the view that we've finally seen up on screen.
01:06:27And this is exactly the same moment seen from various different perspectives.
01:06:36You can twist your way around it to see how things are looking from various angles.
01:06:42A little representation of where Gandalf is in the final thing there.
01:06:48The difficult thing that I've been finding with this shot is getting the transition between the bellrog coming forward in a threatening manner,
01:06:57and the realisation that the supports have gone out from under his feet.
01:07:03There's a kind of a moment in between those two ideas that's been a bit of a tricky transition to get.
01:07:09When a set dies, it goes to set heaven.
01:07:16We have this person called the strike master.
01:07:19Grant Fahey comes along with his little elves and destroy it.
01:07:25It's a fast process, and they start from the top, and they go to the bottom and sweep it out.
01:07:34It's all over. Tragedy.
01:07:49This links us to the satellite.
01:07:51We send UHF over about three kilometres,
01:07:55and then we send a satellite... God knows how long that goes.
01:07:59It goes to Wellington, and then it goes into space.
01:08:03And then it comes down again and goes to Tianao at the moment,
01:08:07because that's where the other guys are.
01:08:11This, come with me, I'll show you.
01:08:19Nope.
01:08:20I just remembered, we've got Peter with us today, so we don't have to send it anywhere.
01:08:24That would be stupid.
01:08:26Kate Blanchett is travelling this way to walk across the river.
01:08:31Hi. Now you've got to go back the way that we come in in the mornings,
01:08:34and you'll see the first set of cones,
01:08:36and there's a couple of lights that come straight through the first path.
01:08:40Bringing Kate in, but we have to drive her in.
01:08:42So Missy is establishing the cleanest way to get Kate to set.
01:08:46I think Galadriel's all a bit fancy and a bit overexcited with his status.
01:08:53We don't all need boats.
01:08:55You could have got the bus, used public transport, or the subway.
01:08:59The thing about Peter Jackson is he'll never ask you to do something
01:09:02unless he's done it first, so he's gonna go in the water now.
01:09:05Mr. Frodo!
01:09:10Let's sit him down and have a look at his foot. Marky, where are you?
01:09:27Let's sit him down and have a look at his foot.
01:09:34Do you want to sit on the base or do you want to sit on the chair next?
01:09:37Uh, we can go with you.
01:09:50Yes, come on.
01:09:51No, no, it's fine.
01:09:52All right, come on, I think.
01:09:53Are you done?
01:09:54Yeah.
01:09:55Good for it.
01:09:56Have a seat.
01:09:59Just there was a stick pointing straight up in the water and I just landed right off.
01:10:02Careful!
01:10:03Careful!
01:10:04Yeah, now it's bleeding too, so...
01:10:05Yeah, I'll tear you back.
01:10:06I mean, I don't know how...
01:10:07Bottom of the foot will just peel it back so that we can get out of the wound.
01:10:11Good?
01:10:12We should probably elevate the leg more.
01:10:15Point?
01:10:16Is that too high?
01:10:17Foot hurts.
01:10:18I actually had a premonition right before we started shooting that I was gonna get hurt,
01:10:21I thought I was gonna get hurt from jumping over the log.
01:10:23Jumping over the log?
01:10:24Yeah.
01:10:25Well, no, I just...
01:10:26Careful.
01:10:27Gentle.
01:10:28There we go.
01:10:29It's looking like it's probably going anywhere.
01:10:31Foot separation glued on to the wood.
01:10:34Oh, my God!
01:10:36That doesn't...
01:10:37Yeah.
01:10:38Right.
01:10:39It's a lot of blood, man.
01:10:40So, Mike will get a...
01:10:41It's a lot of blood.
01:10:42It's a lot of blood.
01:10:43Probably gonna need about three or four stitches there.
01:10:45Yes, sir.
01:10:47Hey, Mark.
01:10:48It's gonna be sore in a bit, um, you know.
01:10:49It should be all right.
01:10:50There's an hour in a car to Tiana, and it's 20 minutes here to get a chopper here, and
01:10:55probably only ten minutes to Tiana.
01:10:56Yeah, we'll go for that then.
01:10:57Yep.
01:10:58Wait, I gotta be able to see the camera.
01:10:59I gotta see the camera.
01:11:00Don't block the close-up during the trauma.
01:11:01You're close to Tiana.
01:11:02Yeah, we'll go for that then.
01:11:03Yep.
01:11:04I can do this one out.
01:11:05Yeah.
01:11:06Wait, I gotta be able to see the camera.
01:11:07I gotta see the camera.
01:11:08Don't block the close-up during the trauma.
01:11:10Now, we should do a bit of a rehearsal with Sean, just practicing...
01:11:23With his error.
01:11:24I'm used to being a man with an arm.
01:11:30Everybody, stay clear.
01:11:31Everybody, keep clear. Whatever you do, keep clear.
01:11:34And action!
01:11:36And then I can hear the Iroquois, just like this, of the pom-poms, cheering me on.
01:11:56Goodness!
01:11:57Who's the owl? Who's the you?
01:12:00Go lurch!
01:12:06I'm dying.
01:12:09It hurts!
01:12:13This is better.
01:12:16Aragorn, running...
01:12:21Well, see, he goes to the list.
01:12:23How's that? He does that.
01:12:25He comes back.
01:12:26In cutting the action at Ammon Hand, the climactic battle at the end of the film,
01:12:30together, there are a few things the editor asked for.
01:12:34He noticed we needed a close-up where Aragorn registers.
01:12:39After killing lurch, he registers that his compatriot Boromir is dying,
01:12:45and he needs a moment to go from victory to tragedy, and he runs off Boromir.
01:12:51So we want to pick up that moment.
01:12:53And then we also want a moment where Mary and Pippin realize they're about to be captured.
01:12:59There's a point of view of Eric approaching them.
01:13:01As you get into Richie, come down like this, like you're going down.
01:13:06Because they're down here.
01:13:08I want it to look like you're coming right at the camera to pull him.
01:13:11There's actually quite a lot of effort to be able to do this.
01:13:14And I find myself conflicted.
01:13:16But right now, finishing the movie seems to me to be the most important thing,
01:13:20and helping Peter out in that fashion is appropriate on this film.
01:13:25It does take me away from a lot of other responsibilities I have.
01:13:29Raise your thought. That's it.
01:13:31Like that. He's mad.
01:13:33Sane goes off shooting his own film.
01:13:36There's very little relationship with the one that we're making,
01:13:39but we have to keep him humored.
01:13:41We have to keep him feeling happy and good.
01:13:43So we just give him a camera and a crew, and he's as happy as Larry.
01:13:46Stays off our backs. It's a brilliant sketch.
01:13:48Keep going.
01:13:49Yeah.
01:13:54That was great. Much better.
01:13:55Yep.
01:13:56Um...
01:13:57Hello, Viggo.
01:13:58Sorry.
01:13:59Hey, Viggo, are you on camera? No.
01:14:02Yes.
01:14:03Yeah.
01:14:04We could have used him.
01:14:06I'm waiting any second. They're gonna say, I have to go back to work.
01:14:22The more variety you give them in terms of what you do and takes,
01:14:25or what you offer the other actor,
01:14:27the more chance of something interesting happening.
01:14:30If you don't do anything thinking, well, they'll never use it,
01:14:33then you're giving them nothing.
01:14:35And when we're going at the rate we're going here,
01:14:38it doesn't seem like it. Here I am fishing and all that,
01:14:40but that's because I'm waiting between shots.
01:14:43But we don't have much time to get it really right,
01:14:46so the more you can throw out there, figure the better.
01:14:50I think I better go learn my lines
01:14:53and forget about this for a while.
01:14:59You're killing machines.
01:15:00Move forward with the intention that you're going to kill.
01:15:03So keep it fluid, not stilted.
01:15:06Give it the best you can. Thank you.
01:15:08We have to deliver PG-13, but what I would hope is to make it a relatively hard PG-13,
01:15:13so it shouldn't be surprising if the first cut we present gets an R rating,
01:15:18and we have to go back and trim some shots.
01:15:20That would be the desire, so that we'd sort of get a PG,
01:15:21but it shouldn't be surprising if the first cut we present gets an R rating,
01:15:23and we have to go back and trim some shots.
01:15:24That would be the desire, so that we'd sort of get a PG,
01:15:25but only just sneak in as it were having to trim some shots.
01:15:32And then, of course, whatever we trim can go in the DVD edition.
01:15:39Oh, you've got total highlights.
01:15:40Yes, eh? Oh, it's going in now.
01:15:42How's that feel?
01:15:43How's that feel?
01:15:44Just keep on looking down.
01:15:45Oops.
01:15:46That's good.
01:15:47Lift the bottom down.
01:15:48Good one, Barts.
01:15:49Can you open your eyes?
01:15:51I'm sorry, I'm sorry.
01:15:52Let me bring it back in there.
01:15:53I don't know where it is.
01:15:54But we'd only just sneak in as it were having to trim some shots.
01:15:57And then, of course, whatever we trim can go in the DVD edition.
01:16:02Oh, you've got little tie highlights.
01:16:05Yeah, did I.
01:16:06Oh, it's going in now.
01:16:07It's good.
01:16:08How's that feel?
01:16:09Just keep on looking down.
01:16:10That's good.
01:16:11Lift the bottom down.
01:16:13Good one, Bart.
01:16:16Can you open your eyes?
01:16:17Can you open your eye or is it too much?
01:16:21No, it's fine.
01:16:22It's fine, he said!
01:16:24Let's have a look.
01:16:44You'll arrive, the others will arrive behind you,
01:16:46Thomas will arrive and then go.
01:16:49So you're only probably on there for two or three seconds.
01:16:51And we'll make sure once they come, they'll come straight behind you
01:16:54and we'll make sure everybody stops safely.
01:16:57People should just move in and grab a goblin.
01:17:00Grab a goblin.
01:17:08The only difference between our background and our hero costumes
01:17:11for our goblins pretty much is the hero lightweight chainmail,
01:17:15which was conceptually thought and designed and produced for this particular film.
01:17:20It's a chainmail that's one-fifth the weight of steel,
01:17:23so the character's able to wear the costume for a long period of time
01:17:26without feeling any fatigue from any exhaustion or weight.
01:17:33So this is chainmail.
01:17:35Lots of it.
01:17:37This is a Moria AUK suit that I'm working on at the moment.
01:17:40There's 13,000 rings in one of these suits when it's finished.
01:17:45And it takes approximately three days to make up one of these suits.
01:17:50Some of the other suits are considerably more
01:17:54because the nail is a lot finer.
01:17:56Here I am putting together plastic rings and I love it.
01:18:01Absolutely mad as a meat axe, but I love it.
01:18:05And for me it's been about five months non-stop.
01:18:10Just calluses on the ends of the fingers.
01:18:15However, we'll get there.
01:18:17Welcome to the bubble.
01:18:26Welcome to the bubble.
01:18:27This has been our home for what, the last year?
01:18:30Two years.
01:18:32No, we only had the bubble for about a year.
01:18:33And the hostage.
01:18:34Oh, and the hostage, yes.
01:18:35We can't forget the hostage.
01:18:37He still hasn't coughed up his secrets.
01:18:40This is five million rings that we've put together.
01:18:42Which is ten kilometres worth of chain mail if every ring was stood on its edge.
01:18:47The only reason we know this is because the amount of materials
01:18:51that we've ordered through the supplier comes to ten kilometres worth.
01:18:56There's twice as much chain mail as ever was originally asked for.
01:19:01And you can imagine how we felt when all of a sudden
01:19:05all these stunties are wearing chain mail at Helm's Deep
01:19:08and giving it absolute death.
01:19:12And sort of standing there thinking,
01:19:14well, I hope it all holds together.
01:19:15Because it was never originally planned to do that.
01:19:18And so far it has.
01:19:20Let's go.
01:19:22I'm just going to watch the flat off the side of the trigger.
01:19:27Right, just do it once more.
01:19:29Just do it once more.
01:19:31Turn around, yep.
01:19:32Turn around.
01:19:33In the stomach.
01:19:34In the stomach.
01:19:35There you are.
01:19:36Gotcha.
01:19:38Attention.
01:20:02You all right, John?
01:20:03Good feet.
01:20:04All right, John?
01:20:08Well, it's afternoon we've got the pleasure of Christopher Lee's company.
01:20:12Quite a few of his scenes with some really bad background noise fans, you know, humming.
01:20:19So he's coming in to do his ADR, or looping, as they also call it,
01:20:25to replace his dialogue lines.
01:20:29Greatest power. No, I think it's power.
01:20:32Do you want more?
01:20:33I think power is the word.
01:20:34Three rings for the elven kings under the sky.
01:20:39In a sense, it's the most famous quote of the whole work.
01:20:45And not only the way that you're doing it.
01:20:47Seven for the dwarf lords in their halls of stone, nine for mortal men doomed to die,
01:20:50one for the dark lord on his dark throne in the land of Mordor where the shadows lie,
01:20:54one ring to rule them all, one ring to ring them all,
01:20:57one ring to ring them all in the darkness, bind them in the land of Mordor where the shadows lie.
01:21:01I mean, that's so famous.
01:21:03It is.
01:21:07In Moria, we translated a text that Philippa and Fran wrote that are based on the scenes of Moria.
01:21:15And the text was translated by David Sallow into Dwarvish.
01:21:22And we used the, I set the Dwarvish text for the all male chorus.
01:21:28The orchestra set up very much as the way a pit orchestra would be set up in an opera.
01:21:38And you could imagine the proscenium of an opera stage to be the equivalent of the screen in the cinema.
01:21:45And the chorus is used in a way that it's coming right off of the screen.
01:21:50It's actually playing right through the screen and the orchestra is below it.
01:22:01The score is really spanning a lot of music from the beginning of the 20th century right to the end of the 20th century.
01:22:08Film music grew out of opera music and the emotional aspect of opera music and how it was used in theatre just seemed to appeal to me conceptually, like, of how to work on the score.
01:22:26Just to fill you in on a little bit of musical history, Billy once did have a trumpet tree which he planted in his garden.
01:22:48Yeah, yeah, it was a lovely thing to see, but the council came and rooted it toot.
01:23:00Premix mode, it's like we're building a house, you know, we're sort of going through all the different sounds and all the different ambiences.
01:23:08You just have to punch it up a little bit.
01:23:10Hundreds of different tracks and sort of deciding how they should be juxtaposed to the film.
01:23:15For us, it's where we get to see the film sort of blossom into, take a whole new dimension into what it ultimately is going to be as this wonderful experience.
01:23:30Peter was actually the sniffing of the rates.
01:23:32So Fran is the screaming and Peter is the sniffing.
01:23:37We had two recorders going on our first scream and neither one of them could take it.
01:23:41No, I know, I know. It's amazing that she hits some frequency which is really disturbing.
01:23:48Yeah, and a level too.
01:23:50Because we were standing across the room and she just like went...
01:23:53You felt my hair go...
01:23:56The paint was peeling.
01:23:57This is certainly not another movie.
01:23:58A lot of us are sort of really made a lot of sacrifices to be able to be on this picture because we all believe in it so much.
01:24:09Welcome to Rivendell, Frodo Baggins.
01:24:11We'll have it all finished in a week and it'll be a release.
01:24:21One down, two to go.
01:24:23But I will have a little break so...
01:24:26I'm sure I'll feel much better after the break and launch into the cutting of film too.
01:24:41You can...
01:24:42Again, I'll be able to...
01:24:43You can see if you were people who were able to get a little bit.
01:24:45You wouldn't feel much better.
01:24:47You wouldn't feel the touch with anyone else.
01:24:49But you would feel good about it.
01:24:50You're perfectly good.
01:24:52You never can see if you were able to get paid for $25.
01:24:54You don't feel good about that.
01:24:56I can see if you were able to get paid for $25.
01:24:57The room by myself is in this room of $25.
01:25:00The room is in this room of $75.
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