The trilogy was a great financial success, with the films collectively being the
sixth highest-grossing film series of all-time (behind
Harry Potter,
James Bond,
Star Wars,
Pirates of the Caribbean, and
Shrek). The films were critically acclaimed and heavily awarded, winning 17 out of 30
Academy Awards nominated in total. The final film in the trilogy,
The Return of the King, won all 11 of the Academy Awards for which it was nominated, tying it with
Ben-Hur and
Titanic for most Academy Awards received for a film. The trilogy received wide praise for the innovative special effects, both practical and
digital.
DEVELOPMENT
Director Peter Jackson first came into contact with The Lord of the Rings when he saw Ralph Bakshi's 1978 film. Jackson "enjoyed the film and wanted to know more."Afterwards, he read a tie-in edition of the book during a twelve-hour train journey from Wellington to Auckland when he was seventeen.
In 1995, Jackson was finishing The Frighteners and considered The Lord of the Rings as a new project, wondering "why nobody else seemed to be doing anything about it". With the new developments in computer-generated imagery followingJurassic Park, Jackson set about planning a fantasy film that would be relatively serious and feel "real". By October, he and his partner Fran Walsh teamed up withMiramax Films boss Harvey Weinstein to negotiate with Saul Zaentz who had held the rights to the book since the early 1970s, pitching an adaptation of The Hobbitand two films based on The Lord of the Rings. Negotiations then stalled whenUniversal Studios offered Jackson a remake of King Kong. Weinstein was furious, and further problems arose when it turned out Zaentz did not have distribution rights to The Hobbit; United Artists, which was in the market, did. By April 1996 the rights question was still not resolved. Jackson decided to move ahead withKing Kong before filming The Lord of the Rings, prompting Universal to enter a deal with Miramax to receive foreign earnings from The Lord of the Rings while Miramax received foreign earnings from King Kong. It was also revealed that Jackson originally wanted to finish King Kong before the Lord of the Rings began. But due to location problems he decided to start with The Lord of the Rings franchise instead.
When Universal cancelled King Kong in 1997, Jackson and Walsh immediately received support from Weinstein and began a six-week process of sorting out the rights. Jackson and Walsh asked Costa Botes to write a synopsis of the book and they began to re-read the book. Two to three months later, they had written theirtreatment. The first film would have dealt with what would become The Lord of the Rings: The Fellowship of the Ring, The Lord of the Rings: The Two Towers, and the beginning of The Lord of the Rings: The Return of the King, ending with the death of Saruman, and Gandalf and Pippin going to Minas Tirith. In this treatment,Gwaihir and Gandalf visit Edoras after escaping Saruman, Gollum attacks Frodo when the Fellowship is still united, and Farmer Maggot, Glorfindel, Radagast,Elladan and Elrohir are present. Bilbo attends the Council of Elrond, Sam looks intoGaladriel's mirror, Saruman is redeemed before he dies and the Nazgûl just make it into Mount Doom before they fall. They presented their treatment to Harvey andBob Weinstein, the latter of whom they focused on impressing with theirscreenwriting as he had not read the book. They agreed upon two films and a total budget of $75 million.
During mid-1997, Jackson and Walsh began writing with Stephen Sinclair. Sinclair's partner, Philippa Boyens, was a major fan of the book and joined the writing team after reading their treatment. It took 13–14 months to write the two film scripts,which were 147 and 144 pages respectively. Sinclair left the project due to theatrical obligations. Amongst their revisions, Sam is caught eavesdropping and forced to go along with Frodo, instead of Sam, Merry, and Pippin figuring out about the One Ring themselves and voluntarily going along after confronting Frodo about it, as occurs in the original novel. Gandalf's account of his time at Orthanc was pulled out of flashback and Lothlórien was cut, with Galadriel doing what she does in the story at Rivendell. Denethor attends the Council with his son. Other changes included having Arwen rescue Frodo, and the action sequence involving the cave troll. Arwen was even going to kill the Witch-king.
Trouble struck when Marty Katz was sent to New Zealand. Spending four months there, he told Miramax that the films were more likely to cost $150 million, and with Miramax unable to finance this, and with $15 million already spent, they decided to merge the two films into one. On 17 June 1998, Bob Weinstein presented a treatment of a single two-hour film version of the book. He suggested cutting Bree and the Battle of Helm's Deep, "losing or using" Saruman, mergingRohan and Gondor with Éowyn as Boromir's sister, shortening Rivendell and Moriaas well as having Ents prevent the Uruk-hai kidnapping Merry and Pippin. Upset by the idea of "cutting out half the good stuff" Jackson balked, and Miramax declared that any script or work completed by Weta Workshop was theirs. Jackson went around Hollywood for four weeks, showing a thirty-five minute video of their work, before meeting with Mark Ordesky of New Line Cinema. At New Line Cinema,Robert Shaye viewed the video, and then asked why they were making two films when the book was published as three volumes; he wanted to make a film trilogy. Now Jackson, Walsh, and Boyens had to write three new scripts.
The expansion to three films allowed much more creative freedom, although Jackson, Walsh, and Boyens had to restructure their script accordingly. The three films do not correspond exactly to the three volumes of the trilogy, but rather represent a three-part adaptation. Jackson takes a more chronological approach to the story than did Tolkien. Frodo's quest is the main focus, and Aragorn is the main sub-plot, and many sequences (such as Tom Bombadil and the Scouring of the Shire) that do not contribute directly to those two plots were left out. Much effort was put into creating satisfactory conclusions and making sure expositiondid not bog down the pacing. Amongst new sequences, there are also expansions on elements Tolkien kept ambiguous, such as the battles and the creatures.
Above all, most characters have been altered for extra drama: Aragorn, Théoden, and Treebeard have added or modified elements of self-doubt, while the personalities of Galadriel, Elrond, and Faramir have been darkened. Boromir andGollum are (arguably) relatively more sympathetic, while some characters such asLegolas, Gimli, Saruman, and Denethor have been simplified. Some characters, such as Arwen and Éomer, have been combined with lesser book characters such asGlorfindel and Erkenbrand, and as a general matter lines of dialogue have sometimes been switched around between locations or characters depending on suitability of the scenes. New scenes were also added to expand oncharacterisation. During shooting, the screenplays continued to evolve, in part due to contributions from cast looking to further explore their characters. Most notable amongst these rewrites was the character Arwen, who was originally planned as a warrior princess, but reverted back to her book counterpart, who remains physically inactive in the story (though she sends moral and military support).
To develop fight and sword choreography for the trilogy, the filmmakers employed Hollywood sword-master
Bob Anderson. Anderson worked directly with the talent including
Viggo Mortensen and
Karl Urban to develop the many sword fights and stunts within the film.
Bob Anderson's role in the Lord of the Rings Trilogy was highlighted in the film
Reclaiming the Blade. This documentary on sword martial arts also featured
Weta Workshop and Richard Taylor, Lord of the Rings illustrator John Howe and actors
Viggo Mortensen and
Karl Urban. All discussed their roles and work on the trilogy as related to the sword.
PRODUCTION DESIGN
Jackson began storyboarding the trilogy with Christian Rivers in August 1997 and assigned his crew to begin designing Middle-earth at the same time.Jackson hired long-time collaborator Richard Taylor to lead Weta Workshop on five major design elements: armour, weapons, prosthetics/make-up, creatures, and miniatures. In November 1997, famed Tolkien illustrators Alan Lee and John Howe joined the project. Most of the imagery in the films is based on their various illustrations.Grant Major, production designer was charged with the task of converting Lee and Howe's designs into architecture, creating models of the sets, while Dan Hennah worked as art director, scouting locations and organising the building of sets.
Jackson's vision of
Middle-earth was described as being "
Ray Harryhausen meets
David Lean" by Randy Cook.
Jackson wanted a gritty realism and historical regard for the fantasy, and attempted to make the world rational and believable. For example, the
New Zealand Army helped build
Hobbiton months before filming began so the plants could really grow.
Creatures were designed to be biologically believable, such as the enormous wings of the
fell beast to help it fly.
In total, 48,000 pieces of armour, 500 bows, and 10,000 arrows were created by Weta Workshop.
They also created many prosthetics, such as 1,800 pairs of Hobbit feet for the lead actors,
as well as many ears, noses, and heads for the cast, and around 19,000 costumes were woven and aged.
Every prop was specially designed by the Art Department, taking the different scales into account.
FILMING
Principal photography for all three films was conducted concurrently in many locations within New Zealand's conservation areas and national parks between 11 October 1999, and 22 December 2000, a period of 438 days. Pick-up shoots were conducted annually from 2001 to 2004. The trilogy was shot at over 150 different locations, with seven different units shooting, as well as soundstages aroundWellington and Queenstown. As well as Jackson directing the whole production, other unit directors included John Mahaffie, Geoff Murphy, Fran Walsh, Barrie Osbourne, Rick Porras, and any other assistant director, producer, or writer available. Jackson monitored these units with live satellite feeds, and with the added pressure of constant script re-writes and the multiple units interpreting his envisioned result, he only got around four hours of sleep a night. Due to the remoteness of some of the locations, the crew would also bring survival kits in case helicopters could not reach the location to bring them home in time. The New Zealand Department of Conservation was criticised for approving the filming within national parks without adequate consideration of the adverse environmental effects and without public notification. The adverse effects of filming battle scenes in Tongariro National Park later required restoration work.
CAST
The following is a list of cast members who voiced or portrayed characters appearing in the extended version of The Lord of the Rings film trilogy.
SPECIAL EFFECTS
The first film has around 540 effect shots, the second 799, and the third 1,488 (2,730 in total). The total increases to 3,420 with the extended editions. 260 visual effect artists began work on the trilogy, and the number doubled by The Two Towers. The crew, led by Jim Rygiel and Randy Cook, worked long hours, often overnight, to produce special effects within a short space of time. Jackson's active imagination was a driving force. For example, several major shots of Helm's Deep were produced within the last six weeks of post-production of The Two Towers, and the same happened again within the last six weeks on The Return of the King.
