Lord of the Rings Fellowship of the Ring Extras (Part 4)

Lord of the Rings Fellowship of the Ring Extras (Part 4)

SUBTITLE'S INFO:

Language: English

Type: Robot

Number of phrases: 1205

Number of words: 8353

Number of symbols: 35901

DOWNLOAD SUBTITLES:

DOWNLOAD AUDIO AND VIDEO:

SUBTITLES:

Subtitles generated by robot
00:19
I think we're getting used to this in location it's not the easiest one to transport people and it takes us like 40 minutes to ship in 30 people and yes this is a big day 250 lots of its with the army we've got a few independents and they've traveled from all over the place like Napier and Palmerston North and we've got a whole heap of Wellington Elves who've come up to be elves here again so we've got a good strong bunch of regulars that kept coming back it's a good location it looks like the moon but
00:50
there's a lot of you know ankle twisting and good knee snapping to be done as the like the actual seat is so small we're making people run we've been using the army and we lost five orcs in the first day basically - - claustrophobia one two two two twisted ankles and one - yeah so and in title like seven down I think Stephen down seven to repay who nil to us yep so going through the night dives and the moss I've heard about docks
01:23
probably round but yes I didn't have to walk on the carpet and you've probably seen a lot of carpet round actually so it makes it a little bit difficult sometimes you've seen people go into war and then they're dodging moss instead of thinking about going on war so you try and keep an army but we're very environmental and everybody's very careful avoiding the moss guy want to
01:56
come avoiding the moss [Applause] [Music] anywhere in the world [Music] right in history [Music] we're gonna have music of the rain which is I kind of almost beautiful elvish music so it has this very sort of lyrical seductive babbling hideous evil
03:07
whispering staff which gets louder as it becomes more obvious what it is you know it's true nature becomes more now we're trying to attain some sort of mythical reality I think and it has to look like it's been lived in and sweated in and broken and repaired and if that feel can come across and I think something will come through it request again about people coming to view things as they're
03:38
having for instance today the makeup tests I had to say no I'm obviously going to have to do a memo it's wonderful that everybody's interested but we can have people standing around watching actors doing their thing never seen it before it might be highly amusing and very interesting but I just have to say again everybody the answer will always be no so please don't bring and bother asking any more because just so you know one debate we're gonna have with the Maori tribe there is the depiction of the peak and I'm sure we're gonna want to see it you know what to say well shall we just we just say well
04:10
I think we'd probably win it we just have to go through the argument yeah well it's it's interesting because I don't think we would see it because if we're seeing the peak we're gonna want it to put an exploding volcano because Mount Doom is erupting the whole time and if we're putting in spreading volcano and we probably make more interesting than peak because the pig doesn't look like [ __ ] from from here the peak just looks you can't even see it's a peak it just kind of just goes up to a sort of a Ridgeline and the roof and and if you were going out doing we just want a big cone blasting away on it
04:40
yes so in a funny kind of a way it's a situation where we'd point our cameras up there but we might might didn't replace everything up there with us with a miniature and a CD so I think in a way we could be very honest and accurate to say that the peak will not be appearing in the film we're knee-deep in a bit of a new miracle challenge we were talking about it yesterday we feel like we're drowning by numbers in this department it's because the complexity of it that we
05:15
need because we put so many shooting units and there are so many doubles both scale and big-rig double we had 64 Frodo outfits that we would need for the films and 32 aragorn's and we were up to a hundred and thirty three bags travel bags for each of the characters and it has a consequence the girls are feeling ever so slightly disheartened all that stuff was supposed to arrive today apart from radios is it either not in country
05:46
or is in Auckland with customs so they're scrambling trying to find replacements but I'm gonna have to wait tomorrow to sort of sort it all out so second unit out if two hi in the shop that dummy took these next week I just want to know what gig we've got the marquee they have two so it doesn't end up that they're being abused at the moment we've got everything it's gonna be borderline I'm waiting on some stuff to come over now where there were enough stuff for Monday but it's a bit of a [ __ ] fight but yeah just letting you
06:17
know that at the moment but at the moment I don't want you to work tomorrow I can't see you never a good time the one thing that we're obviously going to deliver is obvious we are just from seeing as we're in a sort of Iowa more digital digital domain level the quality probably better I mean it's a rehabilitation that Gollum is gonna be better on judge I think it's just in terms of his realism and his lip sync and everything everything else you know I mean you're sort of weird we're aiming at that level and we're gonna be using the radios that we've got on Monday yes
06:49
so they're not going to be any other ideas to work with capital communications bringing those 30 in cases standby which 13 you said they weren't here we can do probably them do every shot that we've got planned for if we would lower our sights to lost in space we'd lose half our guys because they probably want to but when we hire cheaper guys and who would just be happy to do it anyway we'd have we'd be down to their quality they'd get the shots for that sort of I mean you know this is our options like they're that they choose but you know
07:19
we've had these radios for ages so not quite sure why we're just distributing cards I was waiting for the accessories to arrive in the trunking radios much okay I don't want it I don't want just work tomorrow remaining thank you very much that can get rid of a couple of William at least just initially do get a heads down on it and just see what we can do from there yeah take judge salary out of my wage because she come with her she's gotta work
07:52
tomorrow to get everything finished if you have a problem then take it out of my salary you have no power is i popular over there in tears normally we've got like a main unit of lighting which is which is where most of the lighting goes and then there's the second unit which is not quite as big as the main not using as many lights perhaps and then there's a miniatures unit again which normally doesn't use as much as much lights but on this job each of those three units are as big as each
08:50
other basically the second unit almost has exactly what the main unit is in terms of distribution Griffin here what if what have you and the miniature team a lot of donors and that kind of control work it's huge on that scale that's why we've got so much gear who laid out ready to be distributed to the different units [Music] keep their eye out for it for us the associate producer somebody just took the window to see if he's approaching and when we see Rick coming we started
09:25
doing some story applause okay so if you bring this when this one this is one with it then we get to as we down there William last of the summer days before we start the hello shooting our story ports also go into the animatics and the animatics are like a little movie version of the film that we make an advance of the actual shooting where we film our storyboards with a video camera we didn't cut them together on the average gives us an opportunity we
10:00
need to look at the film ahead of shooting to informing us about the script is wonky but the brief for the tree was that it was a very old nail tree with long limbs that click right over begin and it's a it makes it a nice looking tree but logistically it makes
10:32
it very difficult in that it was so imbalanced well the leaves which would shrivel and being picked off and these are all artificial oak leaves that are wired on there's about a quarter of a million artificial leaves so we had 10 people for just on a week and a half wiring leaves you printed a Lonely Mountain okay Nina the verb 1000 not singular that's right
11:04
it's seen dubbing language back and then you can go around so you that your arms dangerous there that's all right yeah okay okay Zane here hasn't been out at the big show for a while and he's ready for the ramp now come on Zane it feels like a million different readable connected they're just a team and there's really nothing these people is trained for it other than get up and run
11:39
and walk up and down these hands workers the same scale as the regular they also hopefully double to show human contact with the hobbits the scale [Music] Elijah has to fall down onto the ground rolling down onto Billy with me by side nears anal passage and as he fell down he let go if it shows up on the sound
12:52
[Music] even if my nose and ears were bleeding yeah you gotta love your castmates is this a statement is this a suggestion is this an aspiration you've seen alliances it's very important that you get an indiscernible blend down on to
13:27
that if you don't know what you're doing I'm just gonna pop the second universe [Music] [Applause] [Music] I suppose you for a dance so this is a larger guy you know that's the larger would go yeah you suppose
14:39
yeah things are speaking today present yeah just yeah nothing is something effective next time I already did that down [Applause] in extra jabbering talking to you trying
15:42
to run my lines this one coming to learn and in this three small ones but you'll be fine I'm the plants here and studios behind us and I tell them mostly when the planes coming overhead because they've just stopped the filming some of the actors are a little bit more to see than others that some like it through
16:27
rehearsal some just when we're shooting and basically it's a great job because I sit out in the Sun and day long and read books in between occasion our pop back for a little food but apart from that I just bought the plane if I try and get a shot that comes and through the doorway because the Rings all get left it's left on the floor by the fireplace namely we want to be able to look back through it Gandalf for
16:56
Frodo sitting on the floor here moving in and Gandalf sitting right on the chairs there the fact if we had if we turn the chair around so that he was in us back to the fire we might be slightly better we've had to build this facade three
17:55
times one for this set one for the large set and one for the large set up and Hobbiton so we've got to replicate it this part of it twice and then do the big set in Hobbiton as well all the food has got to be built in two sizes this is for mainly for Gandalf when he visited
18:18
Bilbo and Frodo I should have the check is standing by on the other doorway please Joe say why we brought the costume need to do checks and shoe and [Music] when we hold the tongs out it'll be a thing we you want you don't have to put
19:27
your hand out here on the talk to me over here give me your hands Rhoda it's quite cool sort of that's quite yeah okay all right all right I quickly go ping off this pocket shop so we can free up Richard the other camera you guys sit up this forehand hill now should we just try it with Kieran and Sean running the same lines off off camera here so you're sure that's possible places
20:46
semis Ganges you mean eavesdropping hi sir I was just cutting the grass under the window if you follow me for trimming hedges hi everybody's voices it's really telling the truth make sure no one else No another go but a future listen to yourself and when you hear
21:59
turn you can just you can just see us that spot so when you do it without the playback you'll be able to feel the position of the camera for when you should be turning around you know we put it away we keep it hidden we never speak of it again no one knows it's here Tenace so utterly complete leche here we go action alrighty
22:47
we put it away we keep it hidden we never speak of it again no one knows it's here do they do they Gandalf it is the master ring gone we had videos made by next but this man has studied the language he knows
23:34
how it sounds he's put it all down on tape for us and so we've used him and talking's worse talking's booked I mean last week he rode his woman started roaring with laughter it's much better for the actor to find the accent in finally before looking at the script from spontaneous thought and speech if
24:06
the actor can can use the accent illness or her spontaneous speech it means that it doesn't matter what's in the script wouldn't you think they can then do anything that it's thrown at them hi as I go over my lines in America Travie fries and smoking the scabbard all the swords have a very slightly rounded off point supposedly for safety but if you tried
25:03
hard enough they would still go through somebody it's just to reduce the risk to the actors a little bit actors don't like bleeding unless it's on cue I've been a professional sword maker for about 12 years now and six of those have been full-time since I started here I've been working on things that sort of the swords I've dreamed about working on and
25:33
I've also had nightmares about some of them since I started here I've probably made 40 or so hero swords 60 plus aluminium swords for the stunt work I've also worked on all sorts of other things like a hundred or so weapons made out of Eevee a foam for a background work [Music] [Music] I had a friend who was really into sword fighting and he tried it out that um his
26:18
one was pretty heavy and then for finding it quite difficult so it'll be interesting I haven't slept in just maybe two days a lot of two hours over the last 48 look to dance in about nine
26:34
hours and fully into God okay [Music] majority and people watching the sword film the action I am saying about sources through life you have a constant
28:04
struggle between good and evil and in the old days they used to settle that with the sword that means you're standing with a sharp sword eyeball to eyeball with the goodie or the baddie whichever you want to be and you need to have a lot of courage to carry out that act with the sword wow it really do work it's very amazing in that way can I get
28:38
some hey dude I was so excited because I'm been hanging out for about two years when I first hit the movie was going to production I'm actually rode a loser I've been about 16 or 17 asking to be part of it and now finally over here that's a good time you're most seasoned walking backwards and forwards suitors you can't get in unless you've got these these lovely pointed ears you know there are a requirement just how many can't got them you don't get in also handy trick movies
29:29
absolutely here trying to find um extras we really it's it's important to get people that are really into it and and that aren't I don't know when you have such specific physical types like elves and and things like that everybody can't be an L so therefore my Paul runs out we've got 300,000 people in Wellington and I'm trying to find a pool of very tall very beautiful aged between 16 and
30:01
30 supermodel available 24 hours for two years yeah go figure we're really 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 [Music] he's falling into the shadow world will soon become a race like that today we've got the historian who plays the part of a spell off power and horse it's his
30:34
first day on set we can train him for all sorts of things like noise and fans and smoke and lights and cameras we can't reproduce and paper ones here a little bit let's see what happens and I think you'll be pretty right though [Music] [Music] [Music]
31:52
okay so spring on one string some shop [Laughter] [Music] [Applause] [Music] try to make these blocks look very slightly bedded in we've shifted a bit over the years they've slumped there whether they've aged a bit crack me up instant aging you realize this is a top
35:11
secret process developed over a million years by cavemen and model makers alike it's very hard to see anything when the Sun comes in it's very contrasting kind of design the film sets for the for the elves in the same way that the else would have designed their own their own habitation which is very much part of nature in the in the forest and building around the trees while Boo bulldozing them so we're
35:49
trying to be sensitive as we can the logistics of actually getting large pieces of sense built in in Wellington transport it out so I kind of have to keep keep half an eye on what I look on the practicalities but I don't let that kind of hold me back this is just a great opportunity to work on one of the best books ever written in one of the most beautiful
36:28
places on earth there's some of the nicest people that I know [Music] [Music] wooden draft from the helicopter just pushing the cedar on so it's paired to get rid of him and we just get some guys out there we'll lift it into position ourselves sit up 500 feet in the air and saying wow that looks like a great location let's film there when you have up to three units per day every day for 18 months taking that number of vehicles
38:01
those numbers of people you really start to get an idea of the size of logistics of this show we have to think about the basics where they're going to go to the toilet how are we going to serve them tea and then coffee if 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 so hopefully the director will only ever have to worry about flying in there on the day
38:33
directing the scene and flying out again I'll be taking a length of toilet paper in my pocket just for emergencies honestly I thought I just throw blue behind it when we get the line up and shoot an element and then that'll become the basis for a painting that we can Intuit right I know it doesn't look like the roads quite Center desert it looks like the whole thing should slide over as Gandalf comes here the camera will start dollying and it'll eventually dolly and pan off the wall it'll actually make it
39:32
a really good shot so try and give them a title but um we might need you at the moment that just the way that your staff Falls it goes across your face a little bit so why need to either just hold it back slightly or to take it out slightly I've been shooting for about four months now and we finally get to start to do things with the villains like we've done
40:17
a lot of shooting with the hobbits and Aragorn and our heroes and it's great to finally get the DAK part of the story on film to start to sit up the sort of the opposition as it were-- so it's good it'll be fun to the other stuff this is a shot that tuck reveals a flock of crows have been sent up by sarah man to spy on the fellowship flying down through a hole in the ground down into the caverns below Isengard so in order to do this we're using four different sets of different scales because the
40:48
crows fly deep down into the earth neither caverns alone one layer below the next so this is the first cavern above that we've got a model of the of the ground plane which is a much smaller scale coming out into a much bigger set which is this one fly down super round through there come out through a hole at the end of that set into another set just fly out of that and into another set in that set we have a live-action shot of sarah man 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 forth of the set that's coming up in
41:18
through the hole so we essentially stacked 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 adding the details takes quite a lot of time we find that we need to add a lot more detail than what you might think just to get to the level of reality where even a lot of the detail becomes subconscious both to the eye that's when it becomes realistic this is a smoke reader that we use to determine exactly
41:51
the density of smoke and also to make sure that the densities kept constant during these each of these passes because the passes take about 30 about 29 minutes to shoot so we have to keep the smoke absolutely constant during that whole time now the reason for the smoke is that of course this set is representing something that's extremely large and in order to get the feeling that the things that are actually only maybe a meter away are actually 15 meters away we have to build some kind of atmospheric perspective into and that's done by shooting the very light phasing of smoke over the whole set so I shoot it in the clean air and it also
42:22
shoot it in the in the smoky air and then when we put it together we can combine those so when we're far away from something it's quite hazy and those would get closer we could dissolve from the smoky pass to the to the clear pass you have a feeling that you're traveling much further than you actually are it's a it's a basic trick of miniature photography that you try to create the feeling that something's a lot bigger than it really is the intimus nobody
42:53
just pick them up and I can't see them actually having a sort of the same the truth of the left you - you have to power against fish and then Samson get back I get the term but anyway get back east own joke ok bad backward fault
43:42
you'd look where you were going and then he went back like this ok hey come on [Laughter] right not your brain we're gonna do another it would all goes great but not quite gentleman but maybe it won't better crowd him right [Music] [Music] [Music] this works out well where you can sort of probably not use the master very much
45:10
to be fine I mean we'll just have a look at the the footage but I think we're not gonna notice I think we're we will be sufficiently far away yeah I think I think you'll be okay bingo bingo don't
45:58
cross the line okay if you just just do a little bit of you know rockin around I'll show you let me let me demonstrate okay we all start here right and just just go here and be looking looking around lift and right
46:49
[Music] it's a good one for the old DVD and I'm the back half of bill the pony we have to actually practice delivery terrain and it's different and the snow on the mountainside and in the swamp we sanded them with an agency in Wellington Wellington actors we want to get
48:06
involved and stilt-walking then we got called in to build a pony what we're gonna do you can see where these foot for these footprints go up the hill here winter when we're all ready we're just gonna have you to walk we're gonna have you walking up the footprints following in single file and when when Michael these brangäne off gets to the end of the footprints he stops and everybody will position everybody behind there and that's our starting position Fiona Zynga who's playing Frodo is gonna be doing a little full and a roll down the hill Vigo is gonna jump out and grab them and then if we can just run the
48:37
scene now this is just a wide shot of what only gonna need that the basic big movement so don't worry about dialogue and you're gonna form to your right and role for okay we've got the scene where we walking through the snow using this product we can make em make something that people can walk through and if you leave it overnight it'll get very stiff and then we can use it for other bits of snow and they use it to insulate houses it's amazing stuff it's the best snow we've
49:38
had I'll be full of snow on the day and making an avalanche down here full of our foam snow the actors will be going along the top of us in creating an avalanche for them to be buried and so you see them looking up game and worked out and the veil of snow comes down you're not quite sure what happens you see Gandalf he pulled off the rock the simulated snow is a rice-based direct this is just my tongue for immediately friendly and it doesn't seem to do yours
50:53
the rest of all the grease things are different products the waxes and different foams and paper and basically it's like takeout hi I'm Jamie selfish post producer and supervising it on the show I'll just pop you in here and show Pete strained his way on location come on look at this widescreen 34 inch flat-screen TV audio cassettes and it's
51:24
the VHS player DVD player and it's PBT Pat people compete can come in here when he's got a little bit of downtime while they're sitting at the difficult shot in the studio in for location and come down here can the players Rush's slip takes or we can look at any other sort of us favorite movies so what's the data here and take away met one honey's couch that will run one wins a couch coming John no one should expect me to come in here and
51:53
cut with a leather couch look anything they should be hey membership mother [Applause] [Music] [Applause] [Music] [Applause] securin birthday what was it on Tuesday on Tuesday was Karen's birthday yeah so he's a very old man so we have to treat
52:33
him very genuine either off it's not his size some people think his height makes him delicate it's not it's his age he's an old man look look at the the chiseled the edge the years of experience found on Karen's face and later you'll be able to see him wearing all of our faces is that true have you tried me on extra good yeah can you feel the dramatic overbite with my don't drool in that [Applause]
53:06
any particular shot we're gonna have a floating moon yes oh yeah yeah I mean they watched light coming into the car she screwed myself yeah I think I'm on the feeler that's really super seriously Kim yeah and just in terms of cuz it can
53:37
be there slide doesn't need the photo with the back of the Sam of the front yeah and on action they'll just slowly come down let's put bring their and the other two tallest in these two columns yep okay so the concept here guys there's gonna be a lot of wind and a lot of noise and you know we're not going to be able to talk
54:17
to you so when you hear action which is a toot on the airhorn 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 okay [Music] [Music] hello Jan so can you just prepare me a memo to the art department please can
55:21
you can the memo just say that Peter wants to see designs and sketches of all hand props before they appear on 7 and that boromir's bag that was presented to me today is rejected as a piece of design [Music] well Hermes bag is rejected as a piece of design I don't like it and that Boromir will need a bag within
55:53
the next 2 or 3 days I guess so that they better come up with some ideas do I have my baggage attached I don't know when you give roll camera will there be ten seconds rolling and then Richie will give the cue action people take this cue and start the e reach it out the side which will first
56:37
pull those the doorframe and Linda well Richie will take his cue from the action of the rocks when Richie starts on his double do routine separate explosions quite quickly that both be as lay out as a twenty two gunshot but it will be right in here seven six five four three
57:09
two one three two one action let's do one more of those just for lack great [Applause] we've got sequence of cave troll voices that Peter is listen to in likes we're gonna try to play those through the speaker here and get that not to allow me to the tunnel mostly that will be used for off-camera shots in balance - [Music]
59:18
once the workshop have finished the physical sculpt we bring it over into the digital world and the way we form their bridge between the physical model and the workshop from the digital model here and where the digital is with the 3d handheld laser scanner it's what we use to get the model into the computer in the old days we used an animate just one frame you know frame a two frames II and that was it you wind up spending as much time probably animating a scene as
59:48
you were 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 [Music] just you know slowly carefully you know walking the tightrope of stop-motion where you go from frame to frame see but Jim Lee backs into there and the cave troll thinks right I've got him yeah that's like there's no way to go in
01:00:19
there live the cave troll comes forward with his hand just as the hands except for the two hottest jumping on the trolls back really most of the scene up till that point had been played on the floor and not on the mezzanine or on the second level and but you know getting getting into the SAPS before the set was even built when I was just built in the
01:00:50
computer I found that well you know if we get a lot of battling going on on the second level as well as the first you'll be it you know you'll be at troll eye level which is kind of neat because everything elaqid everything the storyboards are sort of you know looking up at him the whole time now what what I think would be good to try depending on how long it lasts is that the full length of it [Music] once you have that basic choreography in
01:01:27
the miniatura digital set what you could do was then put on virtual glasses and see that choreography from the point of view of a camera you were holding in these glasses see grab the camera and you run around and suddenly you're in the set with his big troll and you start covering it like a news cameraman basically and he wanted it to have a sort of slap - non compositionally oriented feel I think feel like it's
01:01:58
like everything's being grabbed what's challenging about Peter is his his dumb ideas you know cuz he said and he said let's have Legolas you know run up the chain and jump over the troll I thought that's really dumb but you know and I wouldn't have come up with that so let's see if there's a way to you know to stay with that not talk him out of it because sometimes you'll you'll hear something that's that's out there but and and just say oh that won't work but
01:02:41
I've seen enough of Peters work to know that a he's out there and be he usually makes the out-there stuff work we get on the set and Jeff Murphy is directing it they're setting up to do Orlando running across this thing and just as they're getting set up to do the first take it did you listen why don't we have to just have him grab grab a moment in the center and pull an arrow and try to fire it into the guy's head because that makes it more aggressive than just than just you know acrobatic and he can try
01:03:13
to fire it into the trolls head and the troll knock him off before he can fire right and so we'll use and we'll see we can talk Peter into that so we did and then Peter thought about that for a while I said no no no no what we're missing is is him actually firing it it bouncing off his head and then him jumping off to get another another shot Adam right so that's sort of how that you know that's sort of how the collaboration has worked well he'll you know I'll have an idea then he'll have an idea of the top
01:03:43
set and I'll have another idea the top set and he'll have another idea that tops that so they just keep it keeps building you know [Music] [Music] [Applause] the thing that we were told by Randy and Adam was to make him not evil you know they wanted him to be more like an animal that like a pit bull where this is what he did well was destroyed things and so at the end they kind of wanted you to feel a little bit bad for him
01:04:25
that the fellowship kind of had to kill him but he wasn't like a you know like a raptor or somebody who was just pure evil trying to kill you so at the end there's Adam Valdez do this shot where he you know gets an arrow in the mouth and you kind of feel like oh that poor guy you know that was the kind of direction we got from them they've got to defend themselves and the only way they can stop him is by is by finishing him off but that doesn't mean it's a great cause for celebration when they do finish him off
01:04:55
and I frankly don't mind if the audience feels a little bit dirty when it's over being given the Balrog as the first creature I had texture was quite intimidating considering it's it's the main nasty creature in film 1 we had the big maquette hanging on the wall that was beautifully sculptured we took that and photographed it and I used that as the basis of the design for the way the
01:05:27
wrinkles would flow over the body and then I took photographs of elephant skin and used that to get the really fine detail into the surface texture I think we have a total around 14,000 total total textures on the balrog and it's it can be a lot of work to actually just merge different layers together especially with a creature like this that is self-illuminating he lights himself from inside essentially like he's on fire the entire time so we needed to see the global amount of how much he could light up and this was
01:05:59
definitely taken to the extreme and we have a couple of areas where he just gets white-hot that we have toned down quite a bit and then this is of course just half the creature and then it gets duplicated to the side and makes it faster for the texture painter to be able to paint that way and see what the creature is gonna look like before having to do twice the amount of work this is this is just the various views the surfaces the view that finally seen up on the screen and this is exactly the
01:06:29
same moment seen from various different perspectives twist your way around up to see how things are looking from various angles representation where we're Gandalf is on a difficult thing that I've been finding with the shot as getting the the transition between coming forward in a threatening manner and the realization that the supports have gone out from under his feet there's a kind of a moment in between those those two ideas
01:07:06
that's being a bit of a tricky transition to get when it dies it goes to sit heaven yeah this person called the strike master grant Fahey comes along with his little elves and destroy it it's a it's a fast process and they start from the top they go to the bottom and sweep it out it's all over tragedy
01:07:48
this links us to the satellite we send you a chief over about three kilometers then we send a satellite god knows how long that goes goes to Wellington then it goes into space and then it comes down again and goes to TR now at the moment it's really like that this come with me I'll show you nope I just remembered we've got Peter with us today so we don't have to send it anywhere that would be stupid
01:08:26
hey blanket is travelling this way hi now you got to go back the way that we come in in the mornings and you'll see the first set of cones and there's a couple of lights that come straight through the first path bringing Kate in but we have to drive her in so Missy is established thing the cleanest way to get Kate to said I think Galadriel Oliver upon sea and a bit overexcited with her status we don't all need boats you could have got the bus he's public
01:08:58
transport or the subway the thing about Peter Jackson is he'll never ask you to do something unless he's done it first so he's gonna go in the water now Oh let's get him down and have a look at his port [Music] stick plate spread up in the water and I explained it right off careful I mean I don't know how elevate the leg words I
01:10:17
actually had a premonition right before we start shooting they're gonna get hurt but I thought I was gonna get hurt [Music] what's an hour on a car that you are now 20 minutes here to to get a chopper here probably only 10 minutes we could do a
01:11:21
bit of rehearsal is Shawn just practicing with these are getting used to the [Applause] [Music] you know created Iroquois just like this as the pom-poms [Music] so well see in cutting the action in hand the climactic battle at the end of the film together there are a few things the editor asked for no you know so we needed a close-up we're going registers
01:12:39
after killing ler to registers that his compatriot Boromir is dying and he he needs a moment to go from victory to tragedy and he runs off so we want to pick up that moment and then we also want a moment with merry and pippin have realized they're about to be captured there's a point of view of a Erik approaching I want to look like you're
01:13:10
coming right at the camera cool actually quite a lot of effort to be able to do this when I find myself conflicted but right now finishing the movie seems to me to be the most important thing and helping Peter out in that fashion is appropriate on this film took me away from a lot of other responsibilities saying goes off shooting his own film business relationship to the one that we are making but we have to keep him humid
01:13:40
have to keep her feeling happy and good so we just give him a camera crew and he's happier there he stays off our backs of Koreans care you go maybe go are you on camera no yes [Music] waiting any second we're gonna go back to Mars the more variety you give them in terms of what you do in takes or what you offer the other actors are more chance of something interesting happening if you don't do anything thinking well they'll never use it and then you're
01:14:34
giving them nothing and when we're going at the rate we're going here doesn't seem like it Here I am fishing and all that push with this because I'm waiting between shots but we don't have much time to get it really right so the more you can throw out figure the better I think I better go learn my lines and forget about this for a while killing machines move forward with the intention that you're going to kill so keep it
01:15:04
fluid not stilted the other the best you can [Music] we helped to deliver pg-13 but you know what I would hope is to make it a relatively hard pg-13 so shouldn't be surprising as the first tapping we presume gets higher rating and we have to go back and trim some shots there will be the desire so that we'd sort of we get a P P G but I only just are you just sneak in as I where we're having to trim some shots and then because
01:15:54
whenever we trim can go in the DVD edition oh it's going down good one that's too much that's fine it's fine you'll arrive and we'll make sure once they can they'll come straight behind you we'll make sure everybody stops safely everyone people should just move
01:16:58
in and grab grab a goblin difference between background and our hero costumes for our goblins that pretty much as the hero lightweight chainmail which was conceptually thought and designed and produced for this particular film it's a chainmail it's one-fifth the weight of steel so the character is able to wear a costume for a long period of time without feeling in fatigue from any exhaustion or weight this is chainmail lots of it this is a
01:17:38
Moria orcs suit that I'm working on at the moment there's thirteen thousand rings in one of these suits when it's finished and it takes approximately three days to make up one of these suits some of the other suits considerably more because the male is a lot finer um putting together plastic rings and I love it absolutely mad as a media expert I love it and for me it's been about
01:18:07
five months non-stop just calluses on the ends of the fingers but we'll get there welcome to the bubble this has been our home for what last year two years no really did the problem for about a year I'm the hostage yes we can't forget the hostage he still hasn't coughed up his secrets this is five million reasons that we put together which is ten kilometers with a chain maille if every ring will stood on this edge the only reason we know this
01:18:48
is because the amount of materials that we've ordered through the supplier comes to ten kilometers worth but there's twice as much chain mail as everyone was originally asked for and you can imagine how we felt when all of a sudden all these studies are wearing chainmail Elms deep and giving it absolute death sort of standing there thinking well I hope it all holds together because it was never originally planned to do that
01:19:46
[Music] [Music] the Southland we've got the pleasure of Christopher Lee's company quite few offices seem to get some really bad noise background noise fans know humming so he's coming in to do his ADR or looping as they also call it - replaces
01:20:27
dialogue lines from the dwarflords always has turned nine for mortal men doomed to die one for the Dark Lord and his dark throne in the land of Mordor where the shadows lie one ring to rule them all one ring but one ring to bring them all and in the darkness bind them in the land of Mordor where the shadows lie I mean that's so famous in Moria we
01:21:09
translated a text that Philippa and friend wrote that are based on the scenes of Moria and that the text was translated by David sallow into dwarvish and we used it I set the dwarvish text for the all-male chorus the orchestra set up very much as the way a pit orchestra would be set up in an opera and you could imagine the proscenium of an opera stage to be the equivalent of the screen and the cinema
01:21:45
and the chorus is used in a way that it's coming right off of the screen it's actually playing right through the screen and the orchestra is below it the score is really spanning a lot of music from the beginning of the 20th century right to the end of the 20th century emotional aspect of our music and how it was used in theater just it seemed to appeal to me to conceptually like have how to work upon this for [Music]
01:22:41
just just to fill you in a little bit of musical history Billy once did have a trumpet tree which he planted in his garden yeah yeah it's a lovely thing to see but and the council came and rooty-toot-toot premix 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 ambience hundreds of different different tracks
01:23:12
and sort of deciding how the day they should be juxtaposed to the film for us it's where we get to see the film sort of blossom and to take a whole new dimension into what it ultimately is gonna be is just wonderful it's warm Peter was actually the sniffing of the race so Fran is the screaming in Peters distance we had we had two recorders going on our first Scream and either one of them could could take it it's amazing she hits some frequency which is really
01:23:47
disturbing this is certainly not another movie there's a lot of us who sort of really made a lot of sacrifices to be able to be on this picture because we all believe in it so much we do look into Rivendell Frodo Baggins [Music] we're all finished in a week and it'll be a relief one down two to go but I will have a little break so I'm sure
01:24:27
I'll feel much better after the break and Morgan to the cutting of film too you

DOWNLOAD SUBTITLES: