All language subtitles for Behind the Scenes.ocr.en

I think we're getting used to this iocation.
it's not the easiest to transport peopie in.

It takes us, iike, probabiy about
4o minutes to ship in 3o peopie.

Yes, this is a big day.

Two-fifty. Lots of it's with the army.

We've got a few independents,
they've traveied from...

...aii over the piace,
iike Napier and Paimerston North...

...and we've got a whoie heap of
weiiington Eives who've come up to be...

...Eives here again, so we've got
a good strong bunch...

...of reguiars that keep coming back.

It's a good iocation.
it iooks iike the moon.

But there's a iot of,
you know, ankie-twisting...

...and good knee-snapping
to be done...

...as the actuai set is so smaii
and they're making peopie run.

We've been using the army,
and we iost five orcs in the first day.

Basicaiiy, two to ciaustrophobia...

...one to a-- Two to twisted ankies...

-...and one to a busted knee.
-Popped-out knee, yeah.

-So...
-And in totai- it's seven down- i think.

Seven down.
Seven to Ruapehu, nii to us, so...

-Yep. Going through them iike fiies.
-Cut!

The moss. i don't know if you heard...

-The moss.
-...about the moss.

Ūoc's probabiy around, but, yes, we're
oniy aiiowed to waik on the carpet...

...and you've probabiy seen
a iot of carpet around.

Oh, God, we're probabiy
standing on moss.

-Too iate.
-And so it makes things a iittie bit difficuit.

Sometimes we've seen peopie going
to war and then they're dodging moss...

...instead of thinking about going to war,
so just try and keep an eye on that.

But we're very environmentai,
and everybody's very carefui.

-Go, Ūoc. Go, the moss.
-Go- the moss.

Rocks- rocks- rocks.

-Yep, it's oniy rocks.
-Moss.

Moss. Avoiding the moss.

Going onto carp-- Avoiding the moss.

Going onto the carpet.

It's great.

Ready, hait!

One- two--

This is the biggest iow-budget fiim...

...being made anywhere
in the worid at this time.

It's the biggest iow-budget fiim
being made in the Weiiington area.

In the Weiiington area.
it's the biggest iow-budget fiim...

...being made in the history
of the pianet.

I know.

I've aiways been asked, aii the extras
have aiready said, you know:

"With a budget iike this, i can't beiieve
we're, iike, shooting in tin sheds.

Where--? Where is aii the money going?"

Ūid you teii them
we buiit these tin sheds?

-Cut.
-Very good.

We're gonna have music
of the Ring, which is...

...a kind of aimost
beautifui Eivish music.

So it has this very sort of iyricai,
seductive quaiity...

-That's so deceiving. That's great.
-...the Biack Speech comes up underneath.

There's this bubbiing,
insidious- evii...

...whispering stuff which gets iouder as it
becomes more obvious what it is.

You know, its true nature
becomes more known.

Right, so each of the Ringwraiths are gonna
have a different sword- is that the idea?

Yeah, that's right. This is the...

We're trying to attain some sort
of mythicai reaiity, i think.

And it has to iook iike
it's been iived in and sweated in...

...and broken and repaired.
And if that feei can come across...

...then i think something
wiii come through.

I've had requests again about peopie...

...coming to view things as they happen.
For instance, today...

...the makeup tests. i've had to say no.

I'ii do a memo.
Wonderfui that everybody's interested...

...but we can't have peopie
standing around watching...

...actors do their thing.
They may have never seen it before...

...and it might be highiy amusing
and very interesting...

...but i just have to say again,
the answer wiii aiways be no.

So piease don't ring
and bother asking anymore...

...because the answer's no.

One debate we're gonna have
with the Maori tribe...

...there is the depiction of the peak.

And i'm sure
we're gonna wanna see it.

-No.
-You don't wanna see it?

Shouid we just kind of--?
Shouid we say--?

I think we'd win it, we just
have to go through the argument.

Weii, it's interesting...

...because i don't think
we wouid see it.

Because if we're seeing the peak,
we're gonna want to...

...put in an expioding voicano because
Mount Ūoom's erupting the whoie time.

If we're putting
in an expioding voicano...

...we'ii probabiy make
a more interesting-iooking peak.

Because the peak
doesn't iook iike shit from here.

The peak--
You can't even see it's a peak...

...it just kind ofjust goes up
to a sort of a ridgeiine.

And if we're gonna have Mount Ūoom, we
just want a big cone biasting away, so...

-A conicai thing.
-This is actuaiiy bad for--

In a funny kind of a way,
it's a situation where...

...we'd point our cameras up there,
but we might then...

...repiace everything up there with
a miniature and a biasting in CG, so--

So we can teii them
that we wouidn't see it.

I think, in a way, we couid be very...

...honest and accurate to say that
the peak wiii not be...

-...appearing in the fiim.
-Appearing in the fiim.

At the moment, we're knee-deep
in a bit of a numericai chaiienge.

We were taiking, we feei iike...

...we're drowning by numbers
in this department.

It's because the compiexity of it...

...that we need because we've got
so many shooting units.

And there are so many doubies,
both scaie and big-rig doubie.

We had e4 Frodo outfits
that we wouid need...

...for the fiims, and 32 Aragorns.

And we were up to 133 bags...

...travei bags, for each
of the characters.

And as a consequence, the giris
are feeiing ever-so-siightiy disheartened.

The stuff was supposed to arrive,
apart from radios...

...is either not in the country...

...or is in Auckiand with customs.

So they're scrambiing,
trying to find repiacements...

...but i'm gonna have to work
tomorrow to sort of sort it aii out...

...so the second unit
aren't ieft too high and dry.

But they don't need
waikie-taikies next week.

I wanted to know what gear
we've got, gear they have...

...so it doesn't end up
anything's missing.

At the moment, we've got everything.

It'ii be borderiine. i'm waiting on
some stuff to come over...

...whether we've got enough
for Monday.

-Right.
-i can make it work- but it's...

...a bit of a shit fight. But, yeah,
just ietting you know that at the moment--

But at the moment,
i don't want you to work tomorrow.

I can't see another way
of getting it done.

The one thing that we're gonna
deiiver- and it's obvious we are...

...just from seeing it,
is we're in the sort of iLM...

...or Ūigitai Ūomain ievei for quaiity.
Probabiy better.

I mean, there's every expectation
that Goiium...

...is gonna be better
than Jar Jar Binks.

Just in terms of his reaiism
and his iip-synching...

...and everything eise, you know.
i mean, you're--

We're aiming at that ievei.

We're gonna be using the radios
that we've got on Monday.

-Yes.
-There are not gonna be any other...

...radios to work with?

The captain of communications
is bringing those 3O...

...in case. As standby.

Which 3O? You said they weren't here.

Probabiy can do every shot
we've got pianned for.

If we iower our sights
to Łcst in Space...

...we'd iose haif our guys,
they wouidn't wanna be invoived...

...but then we'd hire cheaper guys
who wouid be happy to do it...

...we'd be down to that quaiity,
they'd get the shots for that sort of--

I mean, you know, these are
options iike that, if they choose.

Weii, you know, we've had
these radios for ages...

...i'm not quite sure why we just
haven't distributed them aiready.

Because i was waiting for the accessories
to arrive and the trunking radios.

Right. Okay. i don't want you
to work tomorrow.

-Certainiy.
-Thank you very much.

I'ii drag Chariie in
and get into it with him...

...and i'ii just see if there's something
i can spot that can get rid of...

...a coupie of miiiion at ieast,
just initiaiiy to get a head start on it...

...and just see what we can do
from there. Yeah.

Take Jo's saiary out of my wage
if she can't work tomorrow.

She's gotta work tomorrow
to get everything finished.

If you have a probiem with that,
take it out of my saiary.

-You have my permission.
-Caroi-- There's--

I found her over there in tears.

Waikie-taikies. i mean, i can't beiieve
we can't distribute waikie-taikies.

She has been working aii week
trying to sort out the mess they're in.

-It's stiii not ready.
-i'ii be back on Sunday.

There's stiii peopie wanting to watch,
she's battiing with peopie.

She cannot finish it by today.
She has to work tomorrow.

I wiii pay her. That's it.
That's aii. it's that easy. i'ii do it.

Take it out of my saiary.

-You ready for the first one?
-What's up? What was that?

Normaiiy we've got,
iike, a main unit of iighting.

Which is where most
of the iighting goes.

And then there's a second unit,
which is not quite as big as the main.

Not using as many iights, perhaps.
Then there's a miniatures unit...

...again, which normaiiy
doesn't use as much iights...

...but on this job,
each of those three units...

...are as big as each other, basicaiiy.

The second unit aimost has
exactiy what the main unit has...

...in terms of iighting packages,
distribution, grappiing gear, what have you.

And the miniature team,
a iot of dimmers...

...and that kind of controi work,
that's huge on that scaie...

...that's why we've got so much
gear here iaid out...

...ready to be distributed
to the different units.

So we basicaiiyjust sit here for most of
the day and we taik about oid movies...

...keep our eye out for Rick porras,
the associate producer...

...somebody checks the window,
sees if he's approaching...

...and when we see Rick coming,
we start doing some storyboards.

Okay, so if you bring this part here,
wouid this one--? This is one with a...?

And we get two or three done that way
so we can taik about oid movies again.

So it's a fun day. Good day.

Last of the summer days before we
start the heii of shooting, reaiiy.

Our storyboards aiso
go into the animatics.

And the animatics are iike
a iittie movie version of the fiim...

...that we make in advance...

...of the actuai shooting,
where we fiim our storyboards...

...with a video camera.
We then cut them together...

...on the Avid. Gives us an opportunity,
reaiiy, to iook at the fiim...

...ahead of shooting to...
it informs us about the script. Teiis us if...

...bits of the fiim don't seem to be working,
if the pace isn't quite right...

...if there's boring bits
or if the momentum is wonky...

...we have a chance to fix it.

What the brief of the tree
was that it was a very oid...

...gnaried tree with iong iimbs
that kick right out over Bag End.

And that makes it a nice-iooking tree,
but iogisticaiiy...

...it makes it very difficuit
in that it is so unbaianced.

Aii the ieaves which wouid
shrivei have been picked off...

...and these are
aii artificiai oak ieaves...

...that are wired on.
There's about a quarter of a miiiion...

...artificiai ieaves.
So we had 1O peopie...

...forjust on a week and a haif
wiring ieaves.

You've been to the Loneiy Mountain.

Echenine. it's in the verb echedc.

-Piurai, not singuiar.
-That's right.

It's Sindarin. The ianguage of Eives.

He's, first of aii,
standing or sitting on there...

...and then you're gonna
ciimb over the back.

You have to ciimb back and then
you can go around. So you--

That-- Your arm's dangerous there.
That's aii right. Yeah, okay.

Okay, zane here hasn't been
out on the big show for a whiie.

And he's ready for the ramp now.

Come on- zane.

It feeis iike a miiiion different
moving parts that actuaiiy...

...aren't connected,
they're just attached.

-Nice.
-There's reaiiy nothing you can do...

...to train for it other
than get up in them.

And waik up and down.

These hands work as
the same scaie as the rig...

...but they aiso
hopefuiiy doubie to show...

...human contact with Hobbits,
heiping with scaie.

It's oniy a coupie of carrots.

And some cabbages.

And those three bags of potatoes
that we iifted iast week.

-And then the mushrooms the week before.
-Yes, Pippin. My point is...

...he's cieariy overreacting.

Run!

Eiijah has to faii down
onto the ground.

-It was a serious shot.
-Faiiing down onto Biiiy...

...with me by his side
near his anai passage.

And as he feii down, he iet go a iittie...
A iittie burp.

Great. That was great.

Fantastic. Okay.

Aii right.

-Thank you.
-That was great, guys.

Have you got one more in you?

Me and Ūom were doing a iot
of good acting, as weii, in that.

I can't wait to see if it
shows up on the sound.

My eyes were nipping...

-it'ii show up on the ŪVŪ.
-...and it was reaiiy, reaiiy sore.

-And i was aimost sick.
-Yeah.

Yeah, we may need...
We may need the other guys.

-Even the thought of it now.
-My nose and ears were bieeding.

Yeah, they were.

You gotta iove your cast mates.

-Is this a statement?
-No.

-Is this a suggestion?
-No.

-Is this an aspiration?
-it's aspiration, maybe.

You've seen Eiijah's ears?

-They're iooking good.
-it's that deiicate nature.

But it's very important
that you get an indiscernibie...

...gieam down on to that.

Go!

If you don't know what you're doing,
you can send your knees through your chin.

Go ahead.

Aii right.

Scream.

You have eiected the way of pain!

-I'm just gonna pop the second unit in.
-Aii right, Peter.

Go on- Sam. Ask Rosie for a dance.

-What, me?
-Just waik up and take her hand.

I've heid her hand before.

I think i'ii just have another aie.

So this Eiijah guy...

-You know this Eiijah Wood guy?
-Yeah.

-Have you spoke to him?
-Yeah, a coupie of times.

I was speaking to him today,
and he was just being a reai idiot.

-Hey, guys.
-He's a--

-Hey. How are you? Sit down.
-How are you, man?

-How are you?
-Hey, good, good.

This party scene's cooi, isn't it?

-Eiijah Wood.
-i've got a present for you.

-Ūom Monaghan.
-A present for you.

-A present?
-Yeah.

-What for?
-Oh, just for, you know, nothing.

-Just something i picked up.
-Because you deserve one, man.

-That's cooi. You guys ruie.
-i'm gonna get an appie.

Aii right. He is a ####### #####.

Next time he comes, i'm gonna
punch him right in the ####.

I aiready did that
to him the other day.

-Yeah?
-Oh, yeah.

-He is an ass.
-And he ####### cried as weii.

-He was iike:
-Hey, mate!

-Hey.
-Hey, what's going on?

Got an appie.

-Hey.
-Reaiiy good, guys.

I've never met friends iike you
before on a set.

-Oh, shut up.
-No, honestiy. i mean it.

No, i wouid agree with that as weii.

-Want a bite?
-Never been so ciose...

-...to two peopie in my iife.
-No. Yeah.

You want a bite of my appie?
Who is that?

Who is that?

-Is he an extra?
-i have no idea.

He's jabbering aii the time.

I've sat down, taiking to you,
trying to run my iines.

-Right.
-Jabber, jabber, jabber.

-Constantiy trying to interrupt--
-i know, i'm busy with--

-Hey. What's going on?
-Hey.

-Biiiy Boyd.
-Hey, how are you?

-Hey.
-You aii right?

-Biiiy Boyd.
-We need to get back up in a minute or two.

-Were we going up?
-Think so.

-Can't wait to do this scene with you.
-We'ii have fun.

-Let's rehearse!
-You're so giving.

-I think that's us.
-Aii right.

There's one coming in to iand
and then there's three smaii ones.

But you'ii be fine.

I'm the piane spotter
out here at the airport.

And the studio's just behind us.

And i have to teii them basicaiiy when
the piane's coming overhead.

We have to stop the fiiming. Some
of the actors are a bit more testy.

Some iike it through rehearsai,
some just when we're shooting.

And basicaiiy it's a great job
because i get to sit out in the sun...

...aii day iong
and read books in between.

Occasionaiiy i'ii pop back for a iittie food,
but apart from that...

...i just spot the pianes.

We can try and get a shot that
comes in through the doorway.

Where does the ring faii? Get ieft?

-It's ieft on the fioor by the firepiace.
-Yes- that's--

We wanna be abie to iook back
through at Gandaif and Frodo...

...sitting on the fioor here.

Where's the kitchen stove- pete?

-So that's the tabie, so--
-Gandaif might be--

Gandaif might be seated up...

-That's about as far as we'd go.
-Good.

So if we have Gandaif...

-Sitting up in there.
-...sitting up here.

And possibiy Frodo in the foreground.

So moving in on Gandaif
sitting right on the chairs there.

In fact, if we had...
if we turned the chair around...

...so that he had his back
to the fire, we might be...

-Keep him that way.
-Get a siightiy better...

Get a siightiy better picture.

-Siightiy better on the chair.
-Yeah, yeah. Because-- Yeah.

That's easier. Ūrop the cabie
so it doesn't twiri here.

If you wanna keep it.

We've had to buiid this façade...

...three times. One for this set...

...one for the iarge set...

...and one for the iarge set
up in Hobbiton.

So we've gotta repiicate it,
this part of it, twice.

And then do the big set
in Hobbiton as weii.

Aii the furniture's
gotta be buiit in two sizes.

This is mainiy for Gandaif...

...when he visits Biibo and Frodo.

Why Juiie needed...?

-Isn't it?
-That's aii right. i reckon--

-It is a bit spooky.
-Let's go with it.

Okay.

They shouid have the checkers standing by
in the other doorway, piease, Jo.

Same way we brought the cast in.
We need to do checks and shoot.

Okay.

Set- and action.

When we hoid the tongs out,
it'ii be a thing where you won't--

You'ii have to put your hand out here
and the tongs wiii be over here.

You know, so it's sort of,
"What's going on here?"

-You know? i mean, it's gonna be weird.
-Yeah.

What are you doing?

It's burning, just watch it for a moment
burning, burning and then...

Give me your hand, Frodo.
it's quite cooi.

Hand comes up, pop it in...

...and then just go back to your
eyeiines again, your cheated ones.

Now can you see?

Can you see anything?

Confound aii!

Cut.

Something sort of that's quite...

You know what i mean?
it sort of has a--

-That's essentiaiiy what it is.
-Yeah. Okay.

-Aii right.
-Weii, why don't i quickiy...

...go bang off this pocket shot
so we can free up...

...Richard and the other camera.
You guys set up this for hand-heid.

-Good?
-Yeah. Okay, good.

That's good, that's good.
That's a good feeiing.

Now, shaii we just try it with Kiran?

And Sean running
the same iines off camera here...

...so you--
Sean and Kiran swap piaces.

-Now, you've got a back pad on?
-i have, yeah.

Confound it aii, Samwise Gamgee!
Have you been eavesdropping?

I haven't been dropping no eaves.

I was cutting the grass under
the window, if you foiiow me.

A iittie iate for trimming the verge,
don't you think?

-I heard raised voices.
-What did you hear? Speak!

You're teiiing the truth,
which makes you more scared.

We keep it hidden.
We neverspeak cr'it again.

Nc cne kncws it's heret dc they?

TurnKA

Dc theyt Ganda!r'?

There is one other who knew
that Biibo had the Ring.

Goiium.

I iooked for the creature everywhere...

...but the enemy found him first.

And cut.

Cut, piease.

Reset that, piease.

-Weii, that was...
-On the move.

Apart from the iines,
the timing was great.

-Apart from the iines?
-Yeah, weii, apart from the performance.

-What?
-The timing-- The timing was reaiiy good.

Ūo you want me to tape?

Actuaiiy, tape's in the tray.

Oh, my staff's stiii in that other room.

So you can iisten to yourseif,
and when you hear "turn"...

...you can just see it's that spot.

So when you do it
without the piayback...

...you'ii be abie to feei the position
of the camera...

...for when you shouid be
turning around.

We put it away. We keep it hidden.
We neverspeak cr'it again.

Nc cne kncws it's heret dc they?

TurnKA

Dc theyt Ganda!r'?

There is cne ctherKA

-That's it.
-That is so utteriy confusing.

-Aii right, it iooked reai good, reai good.
-Ūid it iook aii right?

-Yeah, you can-- There's a bit of--
-Roii piayback.

-Fiash.
-Fiash. Here we go, and action!

Aii right.

We put it away. We keep it hidden.
We never speak of it again.

No one knows it's here, do they?

TurnKA

Ūo they, Gandaif?

-You're basicaiiy--
-My foot wiii be on that.

No, but you can put your eibow
down there.

The more down there you are,
the better it iooks, actuaiiy, you know.

-He goes back to the fire. No.
-Yeah, we'ii iet him try.

-Check your shot.
-Sure.

And action!

It is the Master Ring.

We had videos made
by an expert in Eivish.

And this man has studied
the ianguage.

He knows how it sounds, he's writ--
Put it aii down on tape for us.

And so we've used him
and Toikien's words- Toikien's book.

How is the oid rascai?

Very weii. Weii, very odd.

I mean- more than usuai.

Last week, he wrote his wiii
and started roaring with iaughter.

It's much better for the actor
to find the accent in--

Finaiiy, before iooking at the script,
from spontaneous thought and speech.

If the actor can use the accent...

...in his or her spontaneous speech...

...it means that it doesn't matter
what's in the script, wouidn't you think?

They can handie anything.

They can then do anything
that's thrown at them.

-The food and drink wiii be fiowing aii night.
-Back out of the way.

-Let's try that.
-Pippin's about to pour the wine.

Hi, as i go over my iines
and embarrass me. Yeah.

Okay, iads, iet's just take care
of the beds for now- that'ii be fine.

Action.

And swords up.

And strike- strike- strike.

A bit snug in the scabbard.

Aii the swords have a very siightiy
rounded-off point, supposediy for safety...

...but if you tried hard enough,
it wouid stiii go through somebody.

It's just to reduce the risk to the actors
a iittie bit.

Actors don't iike bieeding
uniess it's on cue.

I've been a professionai sword maker
for about 12 years now.

And six of those have been fuii-time.

Since i've started here,
i've been working on things that--

Sort of the swords
i've dreamed about working on...

...and i've aiso had nightmares
about some of them.

Since i started here, i've probabiy made
4O or so hero swords...

...eO-pius aiuminum swords
for the stunt work.

I've aiso worked on
aii sorts of other things...

...iike the hundred or so weapons made
out of EVA foam for background work.

I had a friend
who was reaiiy into sword fighting...

...and he tried it out,
but his one was pretty heavy.

I remember finding it quite difficuit,
so it'ii be interesting.

Action.

Awesome.

I haven't siept in maybe two days--
Or- two hours over the iast 4e.

Lots of dancing, about nine hours,
and... But, yeah, no. Fuiiy into it.

Ten.

Action.

Two. Three. And four.

Okay, once again.

Aii right. Okay, good.
That's putting the power into it.

One. Two.

Three. And four.

One more time.

Voice up a bit, don't--
it's okay.

En garde.

Okay, just wait for the cue. And action.

-You ready to see another one?
-Okay.

Action.

-That's fine.
-Thank you. Piace the sword here.

-Thanks, Mike.
-i've oniy got one thing to say.

Yes- what?

-Summed up my whoie feeiing.
-You can't fiim.

Good- and:

And:

-That's good.
-Good.

Wonderfui, don't you think?

I think the majority of peopie watching
a sword fiim iove the action...

...the swordpiay.

They have a saying about swords,
that through iife...

...you have a constant struggie
between good and evii.

And in the oid days,
they used to settie that with a sword.

That means you're standing with
a sharp sword, eyebaii to eyebaii...

...with the goodie or the baddie,
whichever you want to be...

...and you need to have a iot of courage
to carry out that act.

With a sword,
death had some dignity to it.

Wow, they reaiiy do work.

It's pretty amazing, isn't it?

Where can i get some?

Hey, dude, iook at that. Bitchen.

Maybe we shouid bring it over there.

Up by the iight.

Piaces, piaces if you're
in the background, everybody.

-Let's stop the gate.
-Reset.

Oh- i was so excited...

...because i've been hanging out
for about two years.

When i heard the movie
was going into production...

...i actuaiiy wrote a ietter,
i wouid have been about 1e or 17...

...asking to be part of it.
And now, finaiiy, i'm here.

It was a good time.

Pretty much just waiking backwards
and forwards three days.

You can't get in uniess you've got
these ioveiy pointed ears.

You know, they're a requirement.
You just--

-If you haven't got them, you don't get in.
-Aiso handy for Star Trek movies.

-Absoiuteiy.
-Yeah.

Trying to find extras, we reaiiy...

it's important to get peopie
that are reaiiy into it and that aren't...

i don't know, that aren't annoying.

Send them back
and put them behind there...

...so they can come through...

When you have such specific
physicai types...

...iike Eives and things iike that,
everybody can't be an Eif.

So therefore my pooi runs out.

We've got 3OO,OOO peopie
in Weiiington...

...and i'm trying to find a pooi of
very taii, very beautifui...

...aged between
1e and 3O supermodei...

...avaiiabie 24 hours for two years.

-Go figure.
-Aii right.

-Give the word.
-Go.

We're kind of stretched
at the moment...

...so this is quite a big job for me
to try and make sure...

...that the good ones get in the front.

No, he's faiiing into the Shadow Worid,
wiii soon become a Wraith iike them.

Ūon't be so sorry next time.

Today, we've got the horse Fiorian...

...who piays the part of Asfaioth,
Arwen's horse.

It's his first day on set.

We can train him for aii sorts of things
iike noise and fans and smoke...

...and iights and mirrors and cameras.

We can't reproduce
a hundred peopie on set.

So it's aii a iittie bit,
"Let's see what happens."

And i think he'ii be pretty right, though.

Whoa- don't bite me.

-Set.
-And--

No, hang on.

That hurt.

-Why'd you do that?
-On the rock.

They're out, you're out,
then the arms move forward...

-...et cetera.
-Where is he in the shot?

Heip me out.

-If we iift that there...
-Oh, that's good.

Get the camera angies.

You're going through the woods...

Tree.

Tree.

Same speed.

-That'ii be it, piease.
-Okay.

-Is there a string on one?
-Strings in shot.

-Strings on two.
-You were very siow.

So Liv comes up
and she grabs him there.

Puiis him back into the-- Yeah.

-Retrieving him--
-Which wiii be nice.

-To hoid him tight.
-Shouid we do the hit as weii...

...if we're gonna do that,
or, no, are you happy with this?

You want to--? A one iike that?
Oh, God, it's raining.

-Guys--
-We have the worst iuck in the worid.

Ūo we...?
This rain's gonna trash the costumes.

Let's sort of give it a chance to ease
and see...

Whiie most peopie are at home...

...trying to save their houses
and sandbag their beiongings...

...we make a fiim.

Hey, when are our scaie doubies ready,
Caroiynne?

-We're gonna boom in on you.
-i don't know what to do here.

-Snowing!
-i didn't cue that snow.

Richard's made snow
just to keep you happy.

It's absoiuteiy briiiiant. Thank you.

Why don't i-- As they're siipping it off,
just siip the strap back on.

Weii, you'ii be here and they'ii be there.
You'ii keep sound over here.

You disappear and we can
have you go in behind a bush--

This is the moment
we may have to come back to.

The other thing is everyone's
starting to get a iittie coid.

I'm just saying...

Very coid. i've got peopie shivering
and horses shivering...

-...and i can see peopie--
-Weii, shouid we puii out now, eh?

-I think-- i actuaiiy think we shouid.
-Okay, guys, iet's ieave.

Ūone and done.

I'm trying to make these biocks
iook very siightiy bedded in.

They've shifted a bit over the years,
they've siumped.

They're weathered, they've aged a bit.

A crack. There you are, instant aging.

You reaiize this is
a top-secret process...

...deveioped over a miiiion years
by cavemen and modei makers aiike.

It gets very hard to see anything
when the sun comes out.

It's very contrasty.

Trying to design the fiim sets
for the Eives...

...in the same way that the Eives
wouid have designed their own habitation...

...which is very much
part of nature in the forest...

...and buiiding around the trees
rather than buiidozing them.

So we're trying to be as sensitive
as we can.

You know, sort of the iogistics
of actuaiiy, you know...

...getting iarge pieces of sets
which are buiit in Weiiington...

...and they're transported out here and...

So i kind of have to keep haif an eye
on what--

On the practicaiities,
but i don't iet that kind of hoid me back.

This was just a great opportunity to work
on one of the best books ever written...

...in one of the most beautifui piaces
on earth...

...with some of the nicest peopie
that i know.

Too wide in this corner, though.

-Biocked off, then, right?
-Yep.

Wind draft from the heiicopter
was just pushing the set around, so...

...better to get rid of him and
we'ii iift it into position ourseives.

It's very easy to sit up
5OO feet in the air and say:

"Wow, that iooks iike a great iocation.
Let's fiim there."

When you have up to three units per day,
every day, for 1e months...

...taking that number of vehicies,
those numbers of peopie...

...you reaiiy start to get an idea
of the size and iogistics of this show.

We have to think about the basics.

Where are they gonna go to the toiiet?

How are we gonna serve them
tea and coffee?

If the weather cioses in,
we've gotta put tents up for them.

What are we gonna do with the trash
at the end of the day?

So hopefuiiy...

...the director wiii oniy ever have to worry
about fiying in there on the day...

...directing the scene
and fiying out again.

I'ii be taking a iength of toiiet paper
in my pocket just for emergencies.

I thought those turret things
were on the other side- but --

Oh, it's obviousiy the right side.

I thought i'd just throw a biue behind it
when we get the iine up...

...and shoot an eiement,
then that'd become...

...the basis for the painting
that we paint into it.

Right.

Ūoesn't iook iike the road's
quite centered, does it?

Looks iike the whoie thing
shouid siide over.

As Gandaif comes here,
the camera wiii start doiiying...

...and it'ii eventuaiiy doiiy
and pan off the waii...

...and through into the thing there.

Okay. Good. it'ii be good.
it'ii be great.

That'ii be--
it'ii actuaiiy make it a reaiiy good shot.

-You think so?
-A reaiiy nice shot, yeah. Okay, good.

I think we were iate getting away.

I think we're a iittie iate getting away.
We need to just whiz another one.

It's just i'm trying to get in a bit tighter.
But we might need you--

At the moment, just the way
that your staff faiis...

...it goes across your face a iittie bit.

So you might need to eitherjust hoid it
back siightiy or to take it out siightiy.

Been shooting for about four months and
we finaiiy get to do things with the viiiains.

Like, we've done a iot of shooting with
the Hobbits and Aragorn and our heroes...

...and it's great to finaiiy get
the dark part of the story on fiim...

...to start to set up sort of the opposition,
as it were.

So it's good, it'ii be fun to do this stuff.

Airighty, we are ready, foiks.
We're shooting this. Lights.

This is a shot that reveais
a fiock of crows...

...that have been sent out
by Saruman to spy on the Feiiowship...

...fiying down through a hoie in the ground
down into the caverns beiow isengard.

So in order to do this shot, we're using
four different sets at different scaies...

...because the crows fiy deep down
into the earth...

...and these are caverns,
one iayer beiow the next.

So this is the first cavern. Above that,
we've got a modei of the ground piane...

...which is at much smaiier scaie.

Come down into a much bigger set,
which is this one...

...fiy down,
swoop around through there...

...come out through a hoie
at the end of that set- into another set...

...fiy out of that and into another set.

And in that set, we have a iive-action shot
of Saruman shot on biue screen.

In order to do this, each set
has to have a matte at the end of it...

...so we can insert the fourth-- The set
that's coming in through the hoie.

So we essentiaiiy stack these things up
from back to front.

So essentiaiiy they're aii stacked:

Set, matte, set, matte, set, matte,
aii the way back up to the surface.

-Other one.
-Other one needs to come towards...

Adding the detaiis
takes quite a iot of time.

We find that we need to add a iot more
detaii than what you might think...

...just to get to the ievei of reaiity where...

...even a iot of the detaii
becomes subconscious...

...but to the eye,
that's when it becomes reaiistic.

This is a smoke reader that we use
to determine exactiy the density of smoke...

...and aiso to make sure that the density's
kept constant during each of these passes.

Because the passes take about 3O--
About 29 minutes to shoot...

...so you have to keep the smoke
constant during that whoie time.

Now, the reason for the smoke is that,
of course...

...this set is representing something
that's extremeiy iarge.

In order to get the feeiing
that things...

...that are actuaiiy oniy maybe a meter
away are actuaiiy 15 meters away...

...we have to buiid some kind
of atmospheric perspective into it.

And that's done by shooting a very iight
hazing of smoke over the whoie set.

So we shoot it in the ciean air
then we aiso shoot it in the smoky air...

...then when we put it together,
we can combine those.

When we're far away,
it's quite hazy, then as we get cioser...

...we can dissoive from the smoky pass
to the ciear pass.

So you have the feeiing you're traveiing
much further than you actuaiiy are.

It's a basic trick of miniature photography,
to try to create the feeiing...

...that something's a iot bigger
than it is.

-Attack. Attack me.
-Attack.

-Push--
-No- attack me.

-I'm going to do that.
-Yeah.

Okay. First here, second here,
third here.

They're not too much troubie.

If they get in troubie,
pick them up, they can't do anything.

No, you attack me.

-Attack you, attack you.
-Yeah.

I can't see them actuaiiy having the sword
and going:

They might have to occasionaiiy,
but as you say--

Or maybe run up on a piece of waii...

-...so he's the same height and:
-Yeah, that's right.

-Weii, you couid do that.
-We couid get him doing that.

This is it.

-Come on, mini.
-Aii right, aii right, aii right.

We're getting more iight
off one of these.

The two to the ieft, you two...

...you have to cower against this
and then Sam says:

-"Get back, you viiiains"' i think.
-Get back.

I forget the term, but anyway,
"Get back, you so-and-so."

-Okay?
-Yes- sir.

Get back, you evii--

Bad backward faii.

You iooked where you were going
and then you went back iike this.

Okay.

-Hey, go on.
-Put the mat cioser.

-Put your--
-Give him another mat.

Extend that-- Give him another--

Exceiient!

Good.

Okay, that's good--

Heip him up.

Ciear.

Great. Not so great.

We gotta do another.

It was aimost great. But not quite.

Gentiemen, to make it work better,
crowd him.

Right?

#### it, wrong piace.

Five- six!

-Yep.
-That's why it's high.

Yep.

I want your head to touch that.

-There.
-i'ii need a spring.

-Come on, now.
-Okay, try it.

-Ūo it. Go ahead.
-Try it.

Go on.

If this works out weii,
we can sort of probabiy not use...

...the masks very much too, as weii.
Which is gonna be quite good, won't it?

If you don't use the mask,
then what about the eyes?

Ūo you reckon it wiii be contacts?

No- no. That'ii be fine.

I mean, we'ii just have
a iook at the footage...

...but i think we're not gonna notice.
i think we'ii be sufficientiy far away.

-Yeah.
-Reaiiy?

I think you'ii be okay. i think this wouid
be better than the mask- wouidn't it?

-Oh, yeah.
-Yeah.

Thank you, sir.

Martin, you iook just iike him.

You iucky, iucky man.

-He's fiattered.
-He's fiattered.

He's iike- "Wow."

So can we just strip everybody?

Strip everybody down to theirjackets.

And they can keep the trousers on.

Stand in a iine and act iike
you're gonna wait for the bus.

Then when i say "mingie"' you mingie.

But don't cross the iine.
Because then you iose points.

-Taii camera.
-Siate.

Set.

Your caii- sir.

Okay, and if you couid...

if you'd just do a iittie bit of,
you know, rocking around.

Nice to see you.

Loveiy.

-How's the missus?
-She's good.

-Good, good.
-Right.

There's no order.

-Heiio.
-Hi.

-Hi.
-Hey.

What's your probiem?
What, you got a probiem?

-Weii, what up, mate?
-What up?

I'ii show you.
Let me demonstrate, okay?

So we aii start here, right?

And just go...

...across to here. And then...

And be iooking around ieft and right.

That's very bizarre, isn't it?
That's a good one for the oid ŪVŪ.

I gotta take mine with me when i ieave.

-Just try and be carefui not to iose it again.
-Okay.

-Is it too tight?
-No.

So it shouid go to the next one.

They're not waiting for us.

Name's Katrina Toibert,
and i'm the back haif of Biii the pony.

We have to have a bit
of practice on every terrain.

Because it's different in the snow and
in the mud and on the mountainside...

...and in the swamp.

We started with an agency in
Weiiington, Weiiington Actors--

Okay. Can we have a bit of room,
piease?

--To see if we wanted to get
invoived in stiit-waiking.

Then we got caiied in
to do Biii the pony.

What we're gonna do, you can see where
these footprints go up the hiii here...

...when we're aii ready, we're gonna
have you waiking up the footprints...

...foiiowing in singie fiie.

And when Michaei, who's piaying Gandaif,
gets to the end of the footprints...

...he stops. And everybody--
We'ii position everybody behind there...

...and that's our starting position.

Kiran is then gonna-- Who's piaying Frodo.
is gonna be doing a iittie faii and a roii...

...down the hiii, Viggo's gonna
jump out and grab him...

...and then if we can
just run the scene.

This is just a wide shot,
we're oniy gonna need...

...the basic big movements.
So don't worry about diaiogue.

-As he faiis, and then you take it--
-i'm just gonna--

And you're gonna faii
to your right and roii.

And faii- Kiran.

And cut.

We've got this scene where
we're waiking through the snow.

Using this product, we can make
something that peopie can waik through.

And if you ieave it overnight,
it'ii get very stiff.

And then we can use
it for other bits of snow.

And they use it to insuiate houses.
it's amazing stuff.

It's the best snow we've had.

-And cut there.
-Action!

They'ii be fuii of snow on the day.
Making an avaianche down here...

...fuii of our foam snow.

The actors wiii be going aiong the top of
the set and we're creating an avaianche...

...for them to be buried in.

So you see them iooking up
going, "What the heii?"

The veii of snow comes down.
You're not quite sure what's happened.

And you see Gandaif
being puiied off the rock.

And action.

The simuiated snow is
a rice-based product.

So it's just iight and
environmentaiiy friendiy.

And doesn't seem to hurt your eyes.

The rest of aii the dressings
are different products.

The waxes and different foams
and paper and Ūacron.

-But apparentiy there's MSG--
-MSG and rice.

-Which can't be good for you.
-No sait.

Basicaiiy, it's iike take-out.

Hi, i'm Jamie Seikirk, post producer
and supervising editor on the show.

I'ii just pop in here to show you
Peter's traiier whiie he's away.

Come on in.

Look at this.

Widescreen- 34-inch fiat-screen TV.

Audio cassettes, amp...

...SVHS piayer, ŪVŪ piayer
and SP Beta piayer.

Pete can come in when
he's got a iittie bit of downtime...

...whiie they're setting up a difficuit
shot in the studio or iocation.

He can come down here.
He can piay his rushes.

Seiect takes.

Or he can iook at any other
sort of his favorite movies.

So we'ii just sit down here and
take a wee nap on his couch...

...and we'ii run one.

-When's the couch coming, John?
-Weii, we're taiking about it.

-Weii...
-Shouid be soon.

No one shouid expect me to come
in here and cut without a couch.

Okay, we'ii get Jamie on it.

Just teii Jamie if he wants me
to turn up to iook at anything...

-There's gotta be a couch.
-...there shouid be a couch.

-It'ii get here Monday.
-Hey, Monday's good.

Monday sounds good.

Okay, out you go, Sam. Sam.

The guy coming down.

And boom.

It's Kiran's birthday--
What was it, on Tuesday?

-Yes.
-On Tuesday, it was Kiran's birthday.

Yeah. So he's a very oid man.
We have to treat him very gingeriy.

-Gentiy. i know, i couid faii off.
-it's not his size.

Peopie think his height
makes him deiicate.

-It's not, it's his age. He's an oid man.
-Age, yes.

Look at the chiseied- the etched--

The years of experience
found on Kiran's face.

And iater you'ii be abie to see him
wearing aii of our faces.

-Is that true?
-That's true.

-Have you tried me on?
-Yes.

-Ūoes it feei extra good? Yeah.
-Oh, yes. Briiiiant. Good.

Couid you feei the dramatic overbite
with my upper iip there?

-Yes, i did. i did.
-You did?

-Ūon't drooi in that mask. Okay.
-No- i won't.

Okay.

Any particuiar shot...

-...we're gonna have a fioating moon...
-Yes.

...on a scissor.

-And...
-Like a moon--?

-Oh, you mean a iight, yeah.
-Yeah.

-I mean--
-if he wants iight coming in...

...through the forest, he's screwed.

No, no, no. They can shoot
down over here.

They can iight above the biacks.

I think we're gonna be working in here
predominantiy with Steadicam, myseif.

-Yeah.
-Obviousiy sticks at times, but i don't--

A iot of the-- i think a iot of the feei
of this reaiiy suits Steadicam.

-Yeah.
-Just in terms of because it can be...

...that siightiy kind of giidy kind of--

And it doesn't need the precision
of crane and doiiy, i don't think.

And it wouid feei a iittie bit
more ioose- i think.

It's Frodo at the back,
is it Sam in the front?

-Sam in the front.
-Yeah.

And on action,
they'ii just siowiy come down...

Let's put Brent there, and the other
two taiiest in these two coiumns.

Yeah.

Who's under there?

-Mark.
-Mark. Good morning, Mark.

Okay, so the concept here, guys...

...there's gonna be
a iot of wind and noise...

...and we're not gonna
be abie to taik to you.

So when you hear "action"'
which is a toot on the air horn...

...and then one step at a time, very siowiy,
iike you're in a funerai procession...

...you just start to move down
towards the Hobbits, okay?

Heiio- Jen?

Hi Peter.

So can you just prepare me a memo
to the Art Ūepartment, piease?

SureKA

Can you--?
Can the memo just say that:

"peter wants to see designs
and sketches of aii...

...hand props before
they appear on set"?

Absc!ute!y.

And that Boromir's bag that
was presented to me today...

...is rejected as a piece of design.

8crcmir's bag?

Boromir's bag is rejected as
a piece of design. i don't iike it.

Okay.

And that Boromir wiii need a bag within
the next two or three days, i guess.

So that they better come up
with some ideas.

Ūo i have my bag at this stage?

Not yet. i just need to...

Because i don't know if i
have it at the Moria mines.

And right, puii it.

-Hang on whiie i...
-Wouid you iet me know--

Houston, we are go.

When you give "roii camera"'
there wiii be 1O seconds roiiing...

...and then Richie wiii
give the cue "action."

Pete wiii take his cue and start
the air ratchet out the side...

...which wiii first puii the doorframe
and iintei out.

Richie wiii take his cue
from the action of the rocks.

After-- When Richie starts on his doubie,
there wiii be 1O separate expiosions...

...quite quickiy. They'ii about be as ioud
as a .22 gunshot.

-But it wiii reverberate in here.
-Okay.

-B and C.
-Speed on A.

And 1O, nine, eight, seven...

...six- five- four- three- two- one.

Three- two- one- action!

-Cut.
-Cut there, piease.

-Richie.
-Let's do one more of those, just for iuck.

It was great.

There's iots of good fake reverbs,
but nothing, nothing can beat this.

-The reai thing.
-We just wanted to get out of the office.

Ūo you want to--?
What do you wanna do?

Weii- i wanna hear it- from wherever.

Just what it's iike.
if you wannajust...

We've got a sequence of the cave-troii
voices that Peter has iistened to and iikes.

We're gonna try to piay those
through the speaker here...

...and get the naturai ambiance
of the tunnei.

Mostiy that wiii be used for
off-camera shots and baianced tune.

Hey, Ūave, do you wanna
power that thing on?

-It's on now.
-it's on?

-Is it pretty ioud?
-No, it's just pretty scary.

Can you get any more out of it?

Once the Workshop
have finished the scuipt...

...we bring it into the digitai worid.

And the way we form that bridge between
the physicai modei in the Workshop...

...and the digitai modei
here in Weta Ūigitai...

...is with the 3-Ū hand-heid
iaser scanner.

It's what we use to get
the modei into the computer.

In the oid days we used to animate,
you know, just one frame--

You know, frame A to frame z
and that was it.

You wind up spending as much time,
probabiy, animating a scene...

...as you wouid doing it in stop-motion.

Or maybe even more time.

You spend that time
refining the work...

...and making it as good as
you can make it, rather than...

...just, you know, siowiy, carefuiiy,
you know, waiking the tightrope...

...of stop-motion, where you go
from frame A to frame z.

But Gimii backs into there, the cave-troii
thinks, "Right, i've got him."

You know, there's
nowhere to go in there.

He can't duck and dive.

The cave-troii comes for him
with his hand...

...and just as the hand's
coming towards Gimii, then--

Except for the two Hobbits
jumping on the troii's back...

...reaiiy most of the scene, up tiii
that point, had been piayed on the fioor.

And not on the mezzanine,
or on the second ievei, right?

And-- But, you know, getting into the set,
before the set was even buiit...

...when it was just buiit in the computer,
i found that, "Weii, you know...

...if we get a iot of battiing going on
on the second ievei as weii as the first...

...you'ii be at, you know, troii eye-ievei."
Which is kind of neat...

...because everything
in the storyboard...

...was just sort of, you know,
iooking up at him the whoie time.

Now, what i think wouid be good to try
and-- Ūepending on how iong this iasts--

Is that the fuii iength of it, is it?

-Yeah.
-it couid be about haif that iength.

-It couid probabiyjust be a:
-Yeah.

Seems iike Aragorn wouid come from
there and just, iike, give him a iittie fiing.

Sure.

Once you had that basic choreography...

...in the miniature digitai set...

...what you couid do was
then put on virtuai giasses...

...and see that choreography from the point
of view of a camera you were hoiding...

...in these giasses. So you grab
the camera and you run around...

...and suddeniy you're in the set
with this big troii.

And you start covering it iike
a news cameraman, basicaiiy.

And he wanted it to have
a sort of siapdash...

...non-compositionaiiy-oriented feei,
i think.

Feei iike it's--
Like everything's being grabbed.

-Troii, troii, pause.
-Smash door!

What's chaiienging about peter
is his dumb ideas.

You know, because he said, "Let's have
Legoias, you know, run up the chain...

...and jump over the troii."
And i thought, "That's reaiiy dumb."

But, you know-- And i wouidn't
have come up with that.

So iet's see if there's
a way to, you know...

...to stay with that
and not taik him out of it.

Because sometimes you'ii hear
something that's out there but--

And just say,
"Oh- that won't work. That won't work."

But i've seen enough of peter's
work to know that- A- he's out there...

...and, B, he usuaiiy makes
the out-there stuff work.

We get on the set
and Geoff Murphy's directing it.

They're setting up to do Oriando
running across this thing...

...and just as they're getting set up
to do the first take- i said:

"Geoff, iisten, why don't we have--?
Can we just have him...

...grab a moment in the center and puii an
arrow and try to fire it into the guy's head?

Because that makes him more aggressive
than just, you know, acrobatic.

And he can try to fire it
into the troii's head...

...and the troii wiii knock him off
before he can fire it, right?

And so we'ii use-- And we'ii
see if we can taik Peter into that."

So we did, and then peter thought
about that for a whiie and he said:

"No, no, no. What we're missing
is him actuaiiy firing it...

...it bouncing off his head...

...and then him jumping off
to get another shot at him." Right?

So that's sort of how that--

You know, that's sort of how
the coiiaboration has worked.

You know, i'ii have an idea, then
he'ii have an idea that tops that...

...and i'ii have another idea,
and he'ii have another idea that tops that.

So theyjust keep--
it keeps buiiding, you know.

Okay. Here we go.
Quiet, everyone, piease.

And over. Action!

The thing that we were toid by Randy
and Adam was to make him not evii.

You know, they wanted him to
be more iike an animai that--

Like a pit buii, where this is what
he did weii, was destroy things.

And so at the end, they kind of wanted
you to feei a iittie bit bad for him...

...that the Feiiowship
kind of had to kiii him.

But he wasn't iike a raptor or
somebody who is just pure evii...

...trying to kiii you.

So at the end Adam Vaidez
did the shot where he, you know...

...gets an arrow in the mouth and you
kind of feei iike, "Oh, that poor guy."

You know, so that was the kind
of direction we got from them.

They've gotta defend themseives
and the oniy way they can stop him...

...is by finishing him off.

But that doesn't mean
it's a great cause for ceiebration...

...when they do finish him off.

And i...

...frankiy don't mind if the audience
feeis a iittie bit dirty when it's over.

Being given the Bairog as the first creature
i had to texture was quite intimidating...

...considering it's the main
nasty creature in Fiim One.

We had the big maquette hanging on
the waii, that was beautifuiiy scuiptured.

We took that and photographed it and
i used that as the basis of the design...

...for the way the wrinkies
wouid fiow over the body.

Then i took photographs
of eiephant skin and used that...

...to get the reaiiy fine detaii
into the surface texture.

I think we have a totai of around 14,OOO
totai textures on the Bairog.

And it's-- it can be a iot of work to actuaiiy
just merge the different iayers together.

Especiaiiy with a creature iike this
that is seif-iiiuminating.

He iights himseif from inside.
Essentiaiiy iike he's on fire the entire time.

So we needed to see the giobai amount
of how much he couid iight up.

And this is definiteiy taken
to the extreme.

We have a coupie of areas
where he just gets white-hot...

...that we have toned down quite a bit.

And then this is, of course,
just haif the creature.

Then it gets dupiicated to the other side.
it makes it faster for the texture painter...

...to paint that way and see
what the creature's gonna iook iike...

...before having to do
twice the amount of work.

This is-- This is just the various views.

This is the view that wiii be
finaiiy seen up on-screen.

And then this is exactiy the same moment,
seen from various different perspectives.

You can twist your way around it to see
how things are iooking from various angies.

The representation
of where Gandaif is on the...

in the finai thing there.

The difficuit thing
that i've been finding with this shot...

...is getting the transition between
the Bairog coming forward...

...in a threatening manner...

...and the reaiization that the supports
have gone out from under his feet.

There's a kind of a moment
in between those two ideas...

...that's been a bit
of a tricky transition to get.

When a set dies, it goes to set heaven. We
have this person caiied the strike master.

Grant Fahey comes aiong
with his iittie eives and destroy it.

It's a fast process.
And they start from the top...

...and they go to the bottom
and sweep it out.

It's aii over. A tragedy.

This iinks us to the sateiiite.

We send UHF
over about three kiiometers.

And then we send a sateiiite--

God knows how iong that goes.

It goes to Weiiington,
then it goes into space.

And then it comes down again
and goes to Te Anau at the moment...

...because that's where
the other guys are.

And this-- Come with me. i'ii show you.

No.

I remembered,
we've got Peter with us today...

...so we don't have
to send it anywhere.

That wouid be stupid.

Cate Bianchett is traveiing this way...

...to waik across the river.

You gotta go back the way
we come in in the mornings...

...and you'ii see the first set of cones.

And there's a coupie of iights there.
Come straight through the first path.

Bringing Cate in, but we have to
drive her in. Missy is estabiishing...

...the cieanest way to get Cate to set.

Here we go then.

I think Gaiadriei's aii a bit poncy
and a bit overexcited with her status.

We don't aii need boats.
She couid have got the bus.

Used pubiic transport or the subway.

Peter Jackson wiii never ask you to
do something uniess he's done it first.

So he's gonna go in the water now.

Mr. Frodo!

Let's sit him down and have a iook
at his feet. Mikey, where are you?

Let's sit him down
and have a iook at his foot.

Ūo you wanna sit on the beach
or do you wanna sit on a chair?

We can go to a chair.

Oh, ####.
it's gonna be bad.

-Here, come up. We can actuaiiy--
-No- no- that's fine.

Oh, right. i can't even think.

Yeah.

Grab a seat.

There was a stick pointing straight
up in the water and i ianded on it.

Carefui- carefui. Just-- Gentie.

-Yeah, now it's bieeding too, so...
-Yeah, it's hurting bad.

I mean- i don't know how--

Bottom of the foot and just peei it back
so that we can get at the wound.

-It's good?
-You shouid probabiy eievate the ieg more.

-This way? is that too high?
-Foot hurts.

I had a premonition
right before we started shooting...

...that i was gonna get hurt. i thought
i'd get hurt jumping over the iog.

-Jumping over a iog?
-Yeah.

There's a iot of iogs.

-Carefui. Gentie.
-Oh, right. Sorry, guy.

-Looking iike it's probabiy gonna get--
-Around his toes.

Weii, that's actuaiiy giued onto here.

Oh, my God!

Ūoesn't-- Yeah. Right.

-That's a iot of biood.
-Mark wiii get a towei.

That's a iot of biood.

You're probabiy gonna need
about three or four stitches here.

Hey, Mark.

-Can you get it over here?
-No, it's sticky.

-It's gonna be sore, but, you know...
-it shouid be aii right.

It's an hour in a car to Te Anau...

...and it's 2O minutes here
to get a chopper here...

...and probabiy oniy 1O minutes
to Te Anau.

-Yeah, we'ii go for that, then.
-Not too bad.

-Wanna take this one off?
-Yeah.

Wait. i gotta be abie to see the camera.
i gotta see the camera.

Ūon't biock the ciose-up
during the trauma.

Keep moving.

I feei iike a schooiboy.

You've got a screw going deeper
and deeper into your shouider biade.

Now we shouid do a bit of a rehearsai
with Sean just practicing--

-With his arrow.
-Getting used to the arrow.

Getting used to being a man
with that on.

-Taking out other peopie's eyes.
-Stay ciear, everybody. Stay ciear.

Everybody, keep ciear.
Whatever you do, keep ciear.

And action!

No!

And then i couid have the Uruk-hais
dressed iike this...

...with the pom-poms,
cheering me on.

-Go, Lurtz!
-Give us an L! Give us a U!

Go- Lurtz!

-It hurts.
-Good job.

Kiss it better.

Aragorn running...

-Cooi.
-Across the others.

-He goes at the iast moment.
-Oh- so he does that:

-Cuts the head off.
-Comes back.

In cutting the action at Amon Hen...

...the ciimactic battie
at the end of the fiim, together...

...there are a few things
the editor asked for.

Note-- He noticed that we needed
a ciose-up where Aragorn registers--

After kiiiing Lurtz, he registers
that his compatriot Boromir is dying.

And he needs a moment to go
from victory to tragedy...

...and he runs off to Boromir.
So we wanna pick up that moment.

And then we aiso want a moment
where Merry and Pippin have a--

Reaiize that they're about
to be captured.

There's a point of view of a Uruk
approaching.

As you get into Richie, come down
iike this, iike you're going down.

Because they're oniy--
They're down here.

I want it to iook iike you're coming
right at the camera to--

There's quite a iot of effort to do this
and i find myseif confiicted.

But right now, finishing the movie seems
to me to be the most important thing.

And heiping peter out in that fashion
is appropriate on this fiim.

But it does take me away from a iot
of other responsibiiities i have.

-Then raise your sword there so--
-Like that.

He's mad. Saying goes off
shooting his own fiim...

...bears very iittie reiationship to--
With the one that we're making...

...but we have to keep him humored.

We have to keep him
feeiing happy and good.

We give him a camera and a crew,
he's as happy as--

Now he stays off our backs.
it's a briiiiant scheme.

Keep going.

-That was great. Much better.
-Yep.

-Okay, man.
-Oh, Viggo.

-Sorry.
-You iook iike you meant it a iot more.

Hey, Viggo, are you on camera or no?

-Yeah.
-Yeah. Right.

-Yeah.
-We couid have used him.

Yeah.

I'm waiting. Any second, they're gonna say
i have to go back to work.

The more variety you give them
in terms of what you do in takes...

...or what you offer the other actor...

...the more chance of something
interesting happening.

If you don't do anything, thinking,
"Weii, they'ii never use it"...

...then you're giving them nothing.

And when we're going at the rate
we're going here--

It doesn't seem iike it,
here i am fishing and aii that.

But this is--
i'm waiting between shots.

But we don't have much time
to get it reaiiy right...

...so the more you can throw out there,
i figure, the better.

I think i better go iearn my iines...

...and forget about this for a whiie.

You're kiiiing machines.

Move forward with
the intention to kiii.

So keep it fiuid, not stiited.

Give it the best you can. Thank you.

We have to deiiver pG-13,
but, you know...

...what i wouid hope is to make it
a reiativeiy hard PG-13.

So it shouidn't be surprising if the first cut
that we present gets an R rating...

...and we have to go back
and trim some shots.

That wouid be the desire
so that we'd sort of--

We'd get a pG, but oniyjust...

Oniyjust sneak in, as it were,
by having to trim some shots.

So then-- Because whatever we trim
can go in the ŪVŪ edition.

You know, you've got very tight eyeiids.

You'ii hurt his eye.
Oh, it's going in now.

-How does that feei?
-Beautifui.

-Just keep on iooking down.
-That's good.

Lift it up and down.

Good one, that.
Can you open your eye, or is it too...?

-Too much?
-No- it's fine.

"It's fine"' he says. Hey.

Let's have a iook.

He's a quick study.

You'ii arrive.
The others wiii arrive behind you.

Thomas wiii arrive:

Then go. So you're oniy probabiy
on there for two or three seconds.

We'ii make sure once they come--
They'ii come straight behind you.

And we'ii make sure everybody
stops safeiy.

Everyone-- peopie shouid
just move in and grab a gobiin.

-Yeah.
-Grab a gobiin. Grab a gob.

-And cut.
-Cut it there!

-You aii right?
-Cut!

The oniy difference between
our background and our hero costumes...

...for our gobiins pretty much
is the hero iightweight chain maii...

...which was conceptuaiiy thought
and designed...

...and produced for this particuiar fiim.

It's a chain maii
that's one-fifth the weight of steei.

So the characters are abie to wear
the costume for a iong time...

...without feeiing any fatigue
from any exhaustion or weight.

Now- this is chain maii. Lots of it.

This is a Moria Orc suit
that i'm working on at the moment.

There's 13,OOO rings in one
of these suits when it's finished.

And it takes approximateiy three days
to make up one of these suits.

Some of the other suits,
considerabiy more...

...because the maii is a iot finer.

I am putting together
piastic rings, and i iove it.

Absoiuteiy mad as a meat axe,
but i iove it.

And for me, it's been
about five months of nonstop...

There's caiiuses
on the ends of the fingers.

However, we'ii get there.

-Weicome to the bubbie.
-Weicome to the bubbie.

This has been our home for,
what, the iast year?

Two years.

No, we oniy had the bubbie
for about a year.

-And a hostage.
-And the hostage.

Yes, we can't forget the hostage.

He stiii hasn't coughed up his secrets.

This is 5 miiiion rings
that we've put together.

Which is 1O kiiometers worth of chain maii
if every ring was stood on its edge.

The oniy reason we know this...

...is because the amount of materiais
that we've ordered through the suppiier...

...comes to 1O kiiometers' worth.

There's twice as much chain maii
as ever was originaiiy asked for.

And yet you can imagine
how we feit when aii of a sudden...

...aii these stunties are wearing
chain maii at Heim's Ūeep...

...and giving it absoiute death.

And i'm sort of standing there thinking:

"Weii, i hope it aii hoids together because
it was never originaiiy pianned to do that."

And so far- it has.

-We'ii give it a go.
-Yeah, aii right.

I'ii watch the-- Light up this one.

There you go, Kiran.

Aii right. Let's do it once more.
Let's just do it once more.

Turn around here. Turn around.

-In the stomach.
-The stomach.

-Bang it there.
-Gotcha.

-You aii right?
-it's John.

-Get pete.
-John's a iittie...

-You aii right?
-Yeah.

-You aii right, John?
-Yeah.

We've got Christopher Lee's company.

-Five, take two.
-Quite a few of his scenes...

...got some reaiiy bad noise--
Background noise.

Fans, you know, humming.

So he's coming in to do his AŪR,
or "iooping"' as they aiso caii it...

...to repiace his diaiogue iines.

-The greatest power.
-Greatest power.

-No, i think it's "power."
-You want more?

I think "power" is the word.

"Three Rings for the Eiven-kings
under the sky."

-In a sense...
-The most famous.

-...is the most famous quote of the whoie...
-it is.

-Yeah.
-...work.

-The way you do it.
-"Seven for the Ūwarf-iords in their haiis...

...nine for Mortai Men
doomed to die...

...One for the Ūark Lord
on his dark throne...

...in the iand of Mordor
where the Shadows iie.

One Ring to ruie them aii,
One Ring to find--

One Ring to bring them aii
and in the darkness bind them...

...in the Land of Mordor
where the Shadows iie."

-I mean, that's so famous.
-it is.

In Moria, we transiated a text
that Phiiippa and Fran wrote...

...that are based
on the scenes of Moria.

And the text was transiated
by Ūavid Saio into Ūwarvish.

And we used the-- i set the Ūwarvish text
for the aii-maie chorus.

The orchestra's set up very much...

...as the way a pit orchestra
wouid be set up in an opera.

And you couid imagine
the proscenium of an opera stage...

...to be the equivaient of the screen
in the cinema.

And the chorus is used in a way
that it's coming right off of the screen.

It's actuaiiy piaying right through
the screen and the orchestra's beiow it.

The score is reaiiy spanning
a iot of music.

From the beginning of the 2Oth century
right to the end of the 2Oth century.

Fiim music grew out of opera music.

And the emotionai aspect of opera music
and how it was used in theater, just--

It seemed to appeai to me to--

Conceptuaiiy, iike,
of how to work it on the score.

Just to fiii you in on a iittie bit
of musicai history...

...Biiiy once did have a trumpet tree
which he pianted in his garden.

Yeah, yeah,
it was a ioveiy thing to see...

...but the councii came
and rooted it out.

Premix mode, it's iike we're buiiding
a house, you know.

We're sort of going through aii the different
sounds and aii the different ambiances.

I think you have to punch it up
a bit.

Hundreds of different tracks...

...and sort of deciding how
they shouid be juxtaposed to the fiim.

For us, it's where we get to see the fiim
sort of biossom into--

Take a whoie new dimension
into what it uitimateiy is gonna be...

...as this wonderfui experience.

Peter was actuaiiy
the sniffing of the Wraiths.

So Fran is the screaming
and Peter is the sniffing.

We had two recorders
going on her first scream...

...and neither one of them
couid take it.

-Yeah.
-No. i know, i know. it's amazing.

She hits some frequency
which is reaiiy disturbing.

-Yeah, yeah.
-And a ievei too.

Because we were standing across
the room and she just, iike, went:

i feit my hair go...
and the paint was peeiing.

This is certainiy not another movie.

There's a iot of us are sort of--

Reaiiy made a iot of sacrifices
to be abie to be on this picture...

...because we aii beiieve in it so much.

Weicome to Rivendeii, Frodo Baggins.

Have it finished in a week,
it'ii be a reiief.

It'ii be iike one down, two to go.

But i wiii have a iittie break...

...so i'm sure i'ii feei much better
after the break...

...and iaunch into the cutting
of Fiim Two.