Ian Nathan's Blog - Posts Tagged "peter-jackson"
Farewell then Peter Jackson
However well-intentioned Amazon's Young Aragorn* series without Peter Jackson it will never quite be the same
*As of yet unconfirmed
Peter Jackson has gracefully put paid to the lingering rumour — for some a lingering hope — that he would be involved in Amazon's expensive venture into Middle-earth. "I’m not involved at all in the Lord of the Rings series,” he made clear, honest to the last in an interview with French website Allocine. “I understand how my name could come up, but there is nothing happening with me on this project.”
When Amazon announced their ambition to go big with Game of Thrones-trouncing Tolkien TV, I started to perceive my recent book differently. For those who don't know, I have written the full filmmaking story behind Middle-earth with over 25 (non-consecutive) hours of brand new interviews with Jackson, cast and crew. It runs to over 500 pages, with a foreword by Gollum.
Anything You Can Imagine: Peter Jackson and the Making of Middle-earth
At that point, with the possibility — however remote — that Jackson would return to the Misty Mountains and Mirkwood, it served almost as a bridge between eras and reflecting the changing times in Hollywood. Where once there was wildly ambitious trilogies created by shooting back-to-back movies, now it is television shows, where length is never an issue. The road goes ever on as long you have an audience.
With Jackson's admission, I now like to think that Anything You Can Imagine (the title a reference to his ready mantra, "Anything you can imagine, you can put on film") stands as a capstone, the history of another age — a legendarium to a legendarium if we're getting into the thick of geek-speak. The likes of it which we will never see again.
As you may have read — and theonering.net have been avidly covering the story from every conceivable angle, and I have pitched in with some thoughts in the new issue of Empire — rumours lean toward a storyline focused on a young Aragorn, most likely his years quite literally in the wilderness. This hasn't yet been confirmed by Amazon, who have still to announce much of anything beyond their purchase of the rights and an assertion that they were not going to tamper with what has come before. No one is talking about the heresy of a remake. Not that they don't reserve the right to change their mind. Hey, if Sam Raimi or Benioff and Weiss or the Russo brothers (I hasten to emphasise that this is only my speculation) walk into Jeff Bezos' shiny office with a grand plan to being again from scratch, who is to say that they won't get a greenlight?
Jackson's was a swift, succinct, polite dismissal. He's moving on, thanks for the memories and the Oscars, the golden lustre it left him with. The Rings trilogy especially will always be "a great island" in his career — there was before Middle-earth and now, finally, there is after. He certainly didn't rule out the participation of Weta Workshop or Weta Digital. And it's not as if he gets to say who can or can't shoot in New Zealand. Quite the contrary, he has championed his country on a world stage. He would no doubt welcome the production as a neighbour. Although it would surely be strange to see hobbits and elves or even Sir Ian McKellen marching to another's beat.
Especially as the great fabric of his creative endeavour in Tolkien's realms may still be put to use, the accumulated IP of which now lies in Amazon's eager palms, right down to Gimli's codpiece, and there is every sense that they are positioning their show within the world that Peter built. There is an ever so slight hanging note to that use of the word "happening" isn't there? Isn't there?
Nevertheless, Jackson never entered into Lord of the Rings as a Tolkien zealot, and would never lay claim to any kind of ownership beyond the bounds of his own films. Way back then, keen to grow Weta in the wake of The Frighteners, he had been stirred by the potential of a fantasy film of the ilk created by his all-time hero Ray Harryhausen, only instead of the painstaking ritual of stop-motion he would utilise the growing potential of digital effects. He had only read Tolkien's trilogy once when he was a teenager, and largely forgotten the ins and outs of Frodo's quest.
The problem was that when he and his partner Fran Walsh sat down to brainstorm a cinematic fantasy, Walsh, whose memory is impeccable, began shooting down everything Jackson came up with: "That's Lord of the Rings... That's Lord of the Rings." "It was getting frustrating," Jackson told me. Indeed it got to the point where the squarely pragmatic side of his Kiwi personality came to the obvious conclusion: "Why don't we make Lord of the Rings then?"
Give or take four tortuous years of pre-production, that is pretty how it happened.
I think it helped that he wasn't a purist. He came at Tolkien without the reverence that would have crippled a disciple. It is quite because he was willing to face the inevitable flack of the book's army of followers that he found a way. It wasn't The Bible after all (The Bible didn't have Balrogs) I am making my version of Lord of the Rings he kept reiterating in interview. In other words, feel free to go and make your own. The strange thing was that the further he down went the road kept turning back toward Tolkien. Sure there was no Tom Bombadil or Fatty Bolger, but the films are recognisably Tolkien's world to a degree beyond which the faithful had any hope of seeing.
And yet, whoever Amazon find to run their show, and however mighty the ensuing lump of event television, something will undoubtedly be missing from the mix. When Jackson says he is not involved, we can safely assume this also includes Walsh and fellow writer Philippa Boyens too. And that working bond, led by the indomitable man of impeccable Bad Taste, was the rock on which those films were founded. More than that, though, they are imbued with his spirit as much as Tolkien's.
Will some poor soul have to emulate the stylistic curves, the black humour and the bold emotion that belong to this director alone? The Middle-earth we know and love is tuned to Jackson's vision, it is set in New Zealand in more ways than one: that wondrous, outrageous panoptic vision that could scale mountains and plunge down the flanks of obsidian towers, that could course over twisted forests and yet still showed Middle-earth through the eyes of its characters, and reflected the bitter twists of the story in the landscape of those fabulous faces. He staved off the absurdity of Tolkien by recognising it was there to begin with. Above all, he made the place breath.
Finally, Jackson will be wanting to get past all this conjecture about Middle-earth as he is in the midst of midwifing a new universe with Mortal Engines, directed by his longtime compadre and Middle-earth fellow traveller Christian Rivers. It's a different jaunt entirely: a post-post apocalyptic vision taken from Philip Reeve's fast-paced YA series in which cities rove the devastated landscape on gigantic wheels hunting down smaller, weaker towns, while teens jostle with parents, mete out revenge and save the world. There is the potential for large-scale franchise if it works. And beyond that Jackson will have his plans. His WW1 doc is due, and that subject remains close to his heart. There will hopefully be something more epic in mind for himself some day soon. Or smaller, more intimate things. Maybe he'll finally get around to Bad Taste 2. That would be a blast from the past.
Ian Nathan 7/6/2018
Anything You Can Imagine: Peter Jackson and the Making of Middle-earth
*As of yet unconfirmed
Peter Jackson has gracefully put paid to the lingering rumour — for some a lingering hope — that he would be involved in Amazon's expensive venture into Middle-earth. "I’m not involved at all in the Lord of the Rings series,” he made clear, honest to the last in an interview with French website Allocine. “I understand how my name could come up, but there is nothing happening with me on this project.”
When Amazon announced their ambition to go big with Game of Thrones-trouncing Tolkien TV, I started to perceive my recent book differently. For those who don't know, I have written the full filmmaking story behind Middle-earth with over 25 (non-consecutive) hours of brand new interviews with Jackson, cast and crew. It runs to over 500 pages, with a foreword by Gollum.
Anything You Can Imagine: Peter Jackson and the Making of Middle-earth
At that point, with the possibility — however remote — that Jackson would return to the Misty Mountains and Mirkwood, it served almost as a bridge between eras and reflecting the changing times in Hollywood. Where once there was wildly ambitious trilogies created by shooting back-to-back movies, now it is television shows, where length is never an issue. The road goes ever on as long you have an audience.
With Jackson's admission, I now like to think that Anything You Can Imagine (the title a reference to his ready mantra, "Anything you can imagine, you can put on film") stands as a capstone, the history of another age — a legendarium to a legendarium if we're getting into the thick of geek-speak. The likes of it which we will never see again.
As you may have read — and theonering.net have been avidly covering the story from every conceivable angle, and I have pitched in with some thoughts in the new issue of Empire — rumours lean toward a storyline focused on a young Aragorn, most likely his years quite literally in the wilderness. This hasn't yet been confirmed by Amazon, who have still to announce much of anything beyond their purchase of the rights and an assertion that they were not going to tamper with what has come before. No one is talking about the heresy of a remake. Not that they don't reserve the right to change their mind. Hey, if Sam Raimi or Benioff and Weiss or the Russo brothers (I hasten to emphasise that this is only my speculation) walk into Jeff Bezos' shiny office with a grand plan to being again from scratch, who is to say that they won't get a greenlight?
Jackson's was a swift, succinct, polite dismissal. He's moving on, thanks for the memories and the Oscars, the golden lustre it left him with. The Rings trilogy especially will always be "a great island" in his career — there was before Middle-earth and now, finally, there is after. He certainly didn't rule out the participation of Weta Workshop or Weta Digital. And it's not as if he gets to say who can or can't shoot in New Zealand. Quite the contrary, he has championed his country on a world stage. He would no doubt welcome the production as a neighbour. Although it would surely be strange to see hobbits and elves or even Sir Ian McKellen marching to another's beat.
Especially as the great fabric of his creative endeavour in Tolkien's realms may still be put to use, the accumulated IP of which now lies in Amazon's eager palms, right down to Gimli's codpiece, and there is every sense that they are positioning their show within the world that Peter built. There is an ever so slight hanging note to that use of the word "happening" isn't there? Isn't there?
Nevertheless, Jackson never entered into Lord of the Rings as a Tolkien zealot, and would never lay claim to any kind of ownership beyond the bounds of his own films. Way back then, keen to grow Weta in the wake of The Frighteners, he had been stirred by the potential of a fantasy film of the ilk created by his all-time hero Ray Harryhausen, only instead of the painstaking ritual of stop-motion he would utilise the growing potential of digital effects. He had only read Tolkien's trilogy once when he was a teenager, and largely forgotten the ins and outs of Frodo's quest.
The problem was that when he and his partner Fran Walsh sat down to brainstorm a cinematic fantasy, Walsh, whose memory is impeccable, began shooting down everything Jackson came up with: "That's Lord of the Rings... That's Lord of the Rings." "It was getting frustrating," Jackson told me. Indeed it got to the point where the squarely pragmatic side of his Kiwi personality came to the obvious conclusion: "Why don't we make Lord of the Rings then?"
Give or take four tortuous years of pre-production, that is pretty how it happened.
I think it helped that he wasn't a purist. He came at Tolkien without the reverence that would have crippled a disciple. It is quite because he was willing to face the inevitable flack of the book's army of followers that he found a way. It wasn't The Bible after all (The Bible didn't have Balrogs) I am making my version of Lord of the Rings he kept reiterating in interview. In other words, feel free to go and make your own. The strange thing was that the further he down went the road kept turning back toward Tolkien. Sure there was no Tom Bombadil or Fatty Bolger, but the films are recognisably Tolkien's world to a degree beyond which the faithful had any hope of seeing.
And yet, whoever Amazon find to run their show, and however mighty the ensuing lump of event television, something will undoubtedly be missing from the mix. When Jackson says he is not involved, we can safely assume this also includes Walsh and fellow writer Philippa Boyens too. And that working bond, led by the indomitable man of impeccable Bad Taste, was the rock on which those films were founded. More than that, though, they are imbued with his spirit as much as Tolkien's.
Will some poor soul have to emulate the stylistic curves, the black humour and the bold emotion that belong to this director alone? The Middle-earth we know and love is tuned to Jackson's vision, it is set in New Zealand in more ways than one: that wondrous, outrageous panoptic vision that could scale mountains and plunge down the flanks of obsidian towers, that could course over twisted forests and yet still showed Middle-earth through the eyes of its characters, and reflected the bitter twists of the story in the landscape of those fabulous faces. He staved off the absurdity of Tolkien by recognising it was there to begin with. Above all, he made the place breath.
Finally, Jackson will be wanting to get past all this conjecture about Middle-earth as he is in the midst of midwifing a new universe with Mortal Engines, directed by his longtime compadre and Middle-earth fellow traveller Christian Rivers. It's a different jaunt entirely: a post-post apocalyptic vision taken from Philip Reeve's fast-paced YA series in which cities rove the devastated landscape on gigantic wheels hunting down smaller, weaker towns, while teens jostle with parents, mete out revenge and save the world. There is the potential for large-scale franchise if it works. And beyond that Jackson will have his plans. His WW1 doc is due, and that subject remains close to his heart. There will hopefully be something more epic in mind for himself some day soon. Or smaller, more intimate things. Maybe he'll finally get around to Bad Taste 2. That would be a blast from the past.
Ian Nathan 7/6/2018
Anything You Can Imagine: Peter Jackson and the Making of Middle-earth
They Have a Cave Troll: How Weta Digital Remade the Visual Effects Landscape
Inside a former panel beater's shop on Manuka Street, in the leafy suburb of Miramar that slides so serenely out into Wellington Bay, can be found the HQ of Weta Digital. Many moons ago, on a guided a tour, I was granted entry into the server room which hummed and blinked and hissed like the engine room of the Enterprise. At that point, as they strained to meet the demands of Return of the King, I was reliably informed that Weta Digital had the largest amount of processing power in the Southern Hemisphere.
Which was all a far cry from a small house on Tasman Street, near the cricket ground, with old furniture stacked against the walls upstairs while they created supernatural wonders for The Frighteners on the cramped ground floor. And back before then, right at the inception point on Heavenly Creatures, when they had a single computer, operated by a fellow named George Pond — the very first keyboard jockey in what is now a thousandfold operation filling buildings all over Wellington deeply embedded in the most ambitious digital project currently being mounted, a set of films that will surely redefine once again what a computer is capable of providing an artform: James Cameron's sequels to Avatar.
It may go relatively uncelebrated, but one of the themes I explore in my new book is how The Lord of the Rings trilogy marks the most important transition in visual effects since Jurassic Park. Not only in technical advancement, but in the strategies with which they are put to use in storytelling. Like so many blockbusters, the three films are built upon digital (and practical) spectacle, but such wonders never seem the point of the films. The point was Tolkien. Nonetheless, Weta Digital revolutionsed the way things were done and perhaps even more radically where they were done.
The responsibility Weta Digital were given in realising Tolkien's many creations (and Jackson's elaborations thereon) was New Line's biggest gamble. Even once the films had heaved into production like an ocean liner leaving dock, the studio still took convincing that Jackson's New Zealand outfit were up to the task of provisioning Middle-earth with visual effects of sufficient quality. There were teething problems. An early summit led to the arrival of the American Jim Rygiel (who'd worked on films as diverse as Multiplicity and Starship Troopers) to help establish of an efficient production line. Weta Digital as was needed to shake off its 'everyone trying their hand at everything' enthusiasm for the streamlined practices of ILM if they were going to achieve the volume of effects required. They needed departments, specialists. Even then, New Line's CEO Robert Shaye was determined Gollum, still at this point only to be animated in CGI, was wholly beyond their capabilities.
Effects were a real bone of contention between director and his backers.
Still, with Rygiel at the wheel, Weta Digital began making significant advances, not only in productivity but stylistically. In short, they began to do things their own way. Or more to the point, they became an enormously important constituent part of the holistic vision of the trilogy. Housed in the neighbourhood, within shouting distance of Weta Workshop, ten minutes by car from Stone Street Studios, fifteen from the director's house on Karaka Bay, they were part of a community.
The Cave Troll was the defining moment. This emphatic statement that Weta Digital was outpacing industry standards was revealed as part of the early trumpet blast of footage unveiled at the Cannes Film Festival in 2001. It had been a battle to get it ready in time, but Jackson was intent the press see a complete sequence from the films and the confrontation between the Fellowship and the monstrous Troll (only a baby according to Richard Taylor) in the bowels of Moria encapsulated both an iconic branch of Tolkien's subcreation and Jackson's thrilling embodiment of it.
Their approach has been to build the creature up from a skeleton, adding layers of digital muscles and ligament, giving it life. "I don't think many other people had approach it like that," Jackson explained to me. "They usually just made a digital puppet that they moved around on the computer." More than that, it was a creature capable of expressing emotion: a quizzical expression when he thinks he puts an end to Frodo; a childlike look of dismay on reaching his own demise.
They had based the look loosely on the Hunchback on Notre Damme, as well as a homage to the repertoire of Ray Harryhausen, with the skin of a rhino.
Incidentally, the battleground of Balin's Tomb was part set and part digital environment and Jackson had previsualised all the moves of the ensuing combat, demonstrating them to his actors, often filling in for the missing Cave Troll.
After that, every size and shape in Tolkien's bestiary was a matter of meeting the designs that fell from the book into the collective pool of Jackson, concept artists Alan Lee and John Howe, and the many sculptors and dreamers of the Workshop, who would walk around the corner with a monstrous maquette on a tray. When it came to Shelob the Digital crew caught a Funnel Web spider and studied its motion (before releasing it again).
Gollum, much debated, much extolled, is to my mind the chief accomplishment of the entire production. Shaye had finally been won over by the test footage, Weta Digital had hastily put together in advance of one of his rare visits. Joe Letteri was still transferred in from ILM to manage the slippery character, but he took to Jackson and Miramar, and ended up staying forevermore. Gollum's hitherto unthinkable fusion of actor, art and technology redefined what visual effects were capable of bringing to character, and for that matter how far acting could be extended into another dimension.
The battles were something else entirely. A challenge that worked in the opposite direction to Gollum, required termite sprawls of digital friend and foe that could somehow respond to direction. The answer was the development, virtually from scratch, of MASSIVE software. A fellow Wellingtonian named Stephen Regelous was the mastermind. He came with a facility for stretching the limits of traditional programs and a strange fascination with AI. He gave thousands of digital agents 'brains' enough to make decisions based on an increasingly detailed set of parameters (called "logic nodes") the programmers could set.
"What was wonderful to me was to watch people's reactions," Regelous recalled. "It is one thing to ascribe what agents are doing, but is a whole other thing to see what people think the agents are doing." When during one test battle one agent seemed to be running for the hills, he was in fact simply in search for his next opponent, they just hadn't programmed him to turn around if he was facing the wrong way. Through such unforeseen mistakes the software had begun storytelling.
The Hobbit trilogy was dominated by the prowess of Weta Digital, with so much of their achievement now taken for granted. "Full environments," Letteri told me keenly, "that was the evolution." They could control everything, even the weather — Olympian Gods breaking for lunch at The Larder on Darlington Road.
Let us not downplay the might of Smaug. The best sequence in the second trilogy going supra book as the dwarves and Bilbo do battle through the titanic halls of Erebor with a seething dragon mo-capped by Sherlock Holmes. The lithe camerawork was pre-ordained by the director working within the volume, in effect stepping into the mountain with his own camera to describe shots as freely as using a paintbrush.
For Jackson a key motivation in even taking on Tolkien was the future possibility of Weta Digital standing on its own two hairy feet. A portion of his motivation of even taking on Tolkien was to provide Weta Digital with work — to establish this visual effects kingdom on the other side of the world. So they wouldn't be reliant on his filmmaking choices. The work soon came, via Jackson and from elsewhere.
Weta Digital's work on Avatar (where Massive was used to populate an entire planet, the ecological opulence of Pandora left to grow and intertwine along the paths of life before it was ready for the film) took leaps and bounds, as did the mo-cap advances and filigree hair work that came with King Kong and then the revived Planet of the Apes franchise (with Andy Serkis never far from the action).
Today, Manuka Street, The Big House and the other sites are more than equal to ILM. They have put in years of R&D on Avatar 2, 3, 4 and is it 5? Produced by Jackson and directed by former Weta comrade Christian Rivers, Mortal Engines, with its far-flung future of mobile cities and airships, occupies different floors and buildings. Letteri presides over multiple productions. Middle-earth must seem a long time ago, but it is not forgotten. It is in their genes. And who knows, maybe a certain Amazon television series will knock on their door.
They are a marvellous bunch, proud of what they did, but pragmatic as they invented worlds. Every time I visited, they would bring laptops and explain their artistry with Power Point presentations, pointing out microscopic detailing, nearly impossible to detect amid the hurly burly of story, yet to their eyes vital to the whole.
Is there such a thing as a house style for Weta Digital? A different flavour to ILM or the other citadels of Hollywood's effects industry? I think there is. It is undoubtedly infused with the flights of Tolkien, the visions of Jackson and the reputation it gained from both. Weta Digital won Best Visual Effects at the Academy Awards three years on the bounce. Another reason why so many other productions came to them for more of that good stuff. Mo-cap would inevitable be a mainstay, the teasing representation of living matter and 'real' movements. But it is organic world-building, more dreamlike and poetic perhaps than the Sturm und Drang of ILM. Not that they cannot be gritty and realistic, but there is a strangeness in the New Zealand light that glows within their work. Something like magic.
Ian Nathan 19/6/2018
Anything You Can Imagine: Peter Jackson & The Making of Middle-earth is out now.
Which was all a far cry from a small house on Tasman Street, near the cricket ground, with old furniture stacked against the walls upstairs while they created supernatural wonders for The Frighteners on the cramped ground floor. And back before then, right at the inception point on Heavenly Creatures, when they had a single computer, operated by a fellow named George Pond — the very first keyboard jockey in what is now a thousandfold operation filling buildings all over Wellington deeply embedded in the most ambitious digital project currently being mounted, a set of films that will surely redefine once again what a computer is capable of providing an artform: James Cameron's sequels to Avatar.
It may go relatively uncelebrated, but one of the themes I explore in my new book is how The Lord of the Rings trilogy marks the most important transition in visual effects since Jurassic Park. Not only in technical advancement, but in the strategies with which they are put to use in storytelling. Like so many blockbusters, the three films are built upon digital (and practical) spectacle, but such wonders never seem the point of the films. The point was Tolkien. Nonetheless, Weta Digital revolutionsed the way things were done and perhaps even more radically where they were done.
The responsibility Weta Digital were given in realising Tolkien's many creations (and Jackson's elaborations thereon) was New Line's biggest gamble. Even once the films had heaved into production like an ocean liner leaving dock, the studio still took convincing that Jackson's New Zealand outfit were up to the task of provisioning Middle-earth with visual effects of sufficient quality. There were teething problems. An early summit led to the arrival of the American Jim Rygiel (who'd worked on films as diverse as Multiplicity and Starship Troopers) to help establish of an efficient production line. Weta Digital as was needed to shake off its 'everyone trying their hand at everything' enthusiasm for the streamlined practices of ILM if they were going to achieve the volume of effects required. They needed departments, specialists. Even then, New Line's CEO Robert Shaye was determined Gollum, still at this point only to be animated in CGI, was wholly beyond their capabilities.
Effects were a real bone of contention between director and his backers.
Still, with Rygiel at the wheel, Weta Digital began making significant advances, not only in productivity but stylistically. In short, they began to do things their own way. Or more to the point, they became an enormously important constituent part of the holistic vision of the trilogy. Housed in the neighbourhood, within shouting distance of Weta Workshop, ten minutes by car from Stone Street Studios, fifteen from the director's house on Karaka Bay, they were part of a community.
The Cave Troll was the defining moment. This emphatic statement that Weta Digital was outpacing industry standards was revealed as part of the early trumpet blast of footage unveiled at the Cannes Film Festival in 2001. It had been a battle to get it ready in time, but Jackson was intent the press see a complete sequence from the films and the confrontation between the Fellowship and the monstrous Troll (only a baby according to Richard Taylor) in the bowels of Moria encapsulated both an iconic branch of Tolkien's subcreation and Jackson's thrilling embodiment of it.
Their approach has been to build the creature up from a skeleton, adding layers of digital muscles and ligament, giving it life. "I don't think many other people had approach it like that," Jackson explained to me. "They usually just made a digital puppet that they moved around on the computer." More than that, it was a creature capable of expressing emotion: a quizzical expression when he thinks he puts an end to Frodo; a childlike look of dismay on reaching his own demise.
They had based the look loosely on the Hunchback on Notre Damme, as well as a homage to the repertoire of Ray Harryhausen, with the skin of a rhino.
Incidentally, the battleground of Balin's Tomb was part set and part digital environment and Jackson had previsualised all the moves of the ensuing combat, demonstrating them to his actors, often filling in for the missing Cave Troll.
After that, every size and shape in Tolkien's bestiary was a matter of meeting the designs that fell from the book into the collective pool of Jackson, concept artists Alan Lee and John Howe, and the many sculptors and dreamers of the Workshop, who would walk around the corner with a monstrous maquette on a tray. When it came to Shelob the Digital crew caught a Funnel Web spider and studied its motion (before releasing it again).
Gollum, much debated, much extolled, is to my mind the chief accomplishment of the entire production. Shaye had finally been won over by the test footage, Weta Digital had hastily put together in advance of one of his rare visits. Joe Letteri was still transferred in from ILM to manage the slippery character, but he took to Jackson and Miramar, and ended up staying forevermore. Gollum's hitherto unthinkable fusion of actor, art and technology redefined what visual effects were capable of bringing to character, and for that matter how far acting could be extended into another dimension.
The battles were something else entirely. A challenge that worked in the opposite direction to Gollum, required termite sprawls of digital friend and foe that could somehow respond to direction. The answer was the development, virtually from scratch, of MASSIVE software. A fellow Wellingtonian named Stephen Regelous was the mastermind. He came with a facility for stretching the limits of traditional programs and a strange fascination with AI. He gave thousands of digital agents 'brains' enough to make decisions based on an increasingly detailed set of parameters (called "logic nodes") the programmers could set.
"What was wonderful to me was to watch people's reactions," Regelous recalled. "It is one thing to ascribe what agents are doing, but is a whole other thing to see what people think the agents are doing." When during one test battle one agent seemed to be running for the hills, he was in fact simply in search for his next opponent, they just hadn't programmed him to turn around if he was facing the wrong way. Through such unforeseen mistakes the software had begun storytelling.
The Hobbit trilogy was dominated by the prowess of Weta Digital, with so much of their achievement now taken for granted. "Full environments," Letteri told me keenly, "that was the evolution." They could control everything, even the weather — Olympian Gods breaking for lunch at The Larder on Darlington Road.
Let us not downplay the might of Smaug. The best sequence in the second trilogy going supra book as the dwarves and Bilbo do battle through the titanic halls of Erebor with a seething dragon mo-capped by Sherlock Holmes. The lithe camerawork was pre-ordained by the director working within the volume, in effect stepping into the mountain with his own camera to describe shots as freely as using a paintbrush.
For Jackson a key motivation in even taking on Tolkien was the future possibility of Weta Digital standing on its own two hairy feet. A portion of his motivation of even taking on Tolkien was to provide Weta Digital with work — to establish this visual effects kingdom on the other side of the world. So they wouldn't be reliant on his filmmaking choices. The work soon came, via Jackson and from elsewhere.
Weta Digital's work on Avatar (where Massive was used to populate an entire planet, the ecological opulence of Pandora left to grow and intertwine along the paths of life before it was ready for the film) took leaps and bounds, as did the mo-cap advances and filigree hair work that came with King Kong and then the revived Planet of the Apes franchise (with Andy Serkis never far from the action).
Today, Manuka Street, The Big House and the other sites are more than equal to ILM. They have put in years of R&D on Avatar 2, 3, 4 and is it 5? Produced by Jackson and directed by former Weta comrade Christian Rivers, Mortal Engines, with its far-flung future of mobile cities and airships, occupies different floors and buildings. Letteri presides over multiple productions. Middle-earth must seem a long time ago, but it is not forgotten. It is in their genes. And who knows, maybe a certain Amazon television series will knock on their door.
They are a marvellous bunch, proud of what they did, but pragmatic as they invented worlds. Every time I visited, they would bring laptops and explain their artistry with Power Point presentations, pointing out microscopic detailing, nearly impossible to detect amid the hurly burly of story, yet to their eyes vital to the whole.
Is there such a thing as a house style for Weta Digital? A different flavour to ILM or the other citadels of Hollywood's effects industry? I think there is. It is undoubtedly infused with the flights of Tolkien, the visions of Jackson and the reputation it gained from both. Weta Digital won Best Visual Effects at the Academy Awards three years on the bounce. Another reason why so many other productions came to them for more of that good stuff. Mo-cap would inevitable be a mainstay, the teasing representation of living matter and 'real' movements. But it is organic world-building, more dreamlike and poetic perhaps than the Sturm und Drang of ILM. Not that they cannot be gritty and realistic, but there is a strangeness in the New Zealand light that glows within their work. Something like magic.
Ian Nathan 19/6/2018
Anything You Can Imagine: Peter Jackson & The Making of Middle-earth is out now.
A Boundless Will To Astound
Celebrating the 15th anniversary of The Return of the King
Do you remember the first time? Or, to be exact, the third first time? Watching The Return of the King was a different experience to encountering the first two parts of Peter Jackson's acclaimed adaptation of Tolkien's impossible triptych. We greeted the concluding part of the trilogy with expectation not anxiety. With Fellowship of the Ring desperate hope intermingled with the fear that the series would simply fail to match the books; with The Two Towers there was the concern the second film might not live up to the first with what was most likely to prove the most troublesome of the three parts to shape into a satisfying film.
By the finale, we were relaxed. We were ready. This would be the rousing crescendo we were due. We took a depth and plunged.
Even on the third film, billions of dollars to the good, New Line had fretted about length. Jackson had reached a state of zen bemusement with the studio's neuroses, assured the audience was with him — there was also a groundswell of opinion that the Academy were coming round too. But still the powers that be, trying at this late stage to assert some measure of ownership, insisted that his tame his magnum impulses. Think of those bums on seats, they railed. On the first movie they had issued an edict that the film could be no longer than two and a half hours. "Which we kind of ignored," laughed Jackson. With the third, an edict arrived saying it mustn't be longer than three hours. The final film came in at three hours 20 mins. On Oscar night, Billy Crystal joked about the endless endings, but this was a curtain call on nearly nine hours of epic and we needed epic closure.
By the third and final part of the trilogy, Jackson was only trying to keep up with himself. There was no backing down at this stage. Going bigger was what Tolkien demanded of him. The third film was "all pay off" he liked to joke. But he meant it. What nagged at him wasn't the pressure to surmount the spectacle of all that had come before — up his copious sleeve he had mighty battles, giant spiders, armies of the undead, a phalanx of super-sized elephants and a death scene in which a burning lord leaps from the rocky prow of a city like a flaming meteor. What he sought above all was the completion of a story. That was the strange nature of the third film: it reverse engineered a trilogy into a single film. One of the reasons, we had to go back to The Shire before the credits was to underline where it all began. To come full circle.
Incredibly, this week (December 3) marks the 15th anniversary of the famous, city-wide world premiere for The Return of the King in Wellington. Something Jackson had demanded — a final gift to a city and country that had stayed the course for so long. It felt like the whole of New Zealand lined the streets as the sun shone and Hobbits and wizards waved like royalty from the backseats of convertibles, flanked by Weta-dolled orcs and dancing Maoris as they inched up Courteney Place.
I was lucky enough to see the film at the European premiere which took place at the Odeon Leicester Square and the crowds outside roared the arrival of each cast member; there were screams at the sight of Orlando Bloom and ambulances were unassumingly on hand in case of fainting. Sat near the outer edge of the rows, I saw them line up in the dark awaiting their call to the stage to take a bow. Sir Ian McKellen giggled with Liv Tyler, Viggo Mortensen brooded, a man immersed in his own thoughts, but slipped into a goofy grin when Bloom, finally rescued from the fervent outside, mock punched him. They were nervous, even now, giddy like school children, the excitement and pleasure of one another's company still present, even now on the victory lap.
They came up one by one, invited by their friend and director, the man who had guided their lives for years — Peter Jackson. Last to the stage, fittingly somehow, was Sir Ian Holm, long experienced in what is required of these affairs: some good old-fashioned tomfoolery. At the top the steps he launched into a gallop, hurtling straight past the proffered hand of his director, skidding to a halt at the far end of the stage, then running back for a bear hug. The audience were delighted at his antics (not least, because they immediately sucked any pomposity out of the occasion) clapping and laughing, but honestly we wanted the introductions done with, the film awaited.
The third film is its own beast and yet the capstone on the whole (which you might say is true of the book too). There are less of the purely sensual New Zealand pleasures of the first two. The battlescape of the Pelenor Fields was ostensibly a digital landscape that utilised plates of real locations. Alan Lee, Tolkien artist in residence, was sent up in a helicopter to sample pieces of the South Island like fabrics from a department store. It was a reflection of changing processes — a signal of digital world-building to come. But pearl-white Minas Tirith was built from real sets, big as cathedrals, and models sculpted so finely the camera could close in to within inches of the walls and still not betray the scale. I remembered visiting the miniature studio, Minas Tirith was the same height as me. Only now it was like a mountain.
Everything about the final film was bathed in an assured magnificence. It was swaggering. I was in bits by the lighting of the beacons, the camera bounding across Middle-earth as if untethered from gravity. By the ride of the Rohirrim, Theoden's white horse unmistakeable at the spearhead, the gulps around me were audible. Such spectacle was raising grand emotions; looking back, Game of Thrones owes this trilogy a debt it can never repay.
That is not to deny the intimate, those lovely character moments that had set the first two films apart from the juvenalia of fantasy. Opening small was a big decision, and so indicative of Jackson's confidence with the material: a willingness to play subtle ironies against our expectations, shaking free from the grip of Middle-earth formula. Gollum's memory of first claiming the Ring, Andy Serkis' face briefly liberated from beneath his digital make-up as Smeagol strangled (thus locating the source of his anguish in his throat) his cousin for possession of the Ring was a startling, psychological move. Have you noticed how all three films begin with memories?
Serkis had fought to play the young Smeagol. There had been a prevailing thought to cast younger, but he wrote a lengthy letter to Jackson, passionately enforcing his desire to marry the CGI triumph with the human. His director had already come round. Serkis represented the conflicted heart of the trilogy. From a certain angle, he is the protagonist.
Something that could be said of Samwise too. Sean Astin's career-defining third-film performance, which flared up as a distinct Oscar possibility (alongside Serkis the Academy's big miss), embodied that stripe of English rectitude under fire that Tolkien brought with him from The Somme. Something so redolently captured in Jackson's superlative World War I documentary They Shall Not Grow Old. Screenwriter Philippa Boyens had marshalled the ADR (dubbing) sessions and remembered sobbing over still ungraded footage of Astin shouldering Elijah Wood to stagger up the flanks of Mount Doom. On set it had crossed the safety conscious Astin's mind that he was suddenly carrying the entire trilogy on his shoulders. On film that moment crystallises their entire filmic endeavour, the determination to complete the quest against all the odds.
Casting an eye back on the reviews from a decade and a half ago, the sense of wonder is palpable. It's as if critics were finally allowed to cut loose, to take the plunge and commit to Jackson's fantasy (eek) as a work worthy of high praise. There was nothing they had to be ashamed of in appreciating the work.
Keith Phipps in the AV Club, by reputation such a hard taskmaster, sang forth his praise: "The Return Of The King ultimately proves up to the series' increasingly difficult task: making movies that echo legends, making legends that reflect life, and reconciling it all with the fact that both legends and lives all eventually meet their ends."
"[The Lord of the Rings] restores faith in the idea that popular entertainment can soar to majestic heights," reported Andres O'Hehir of Salon, another venue that could hardly be dismissed as the nerd crowd.
"As I watched this film, an eager victim of its boundless will to astound, I found my loyal memories of the book beginning to fade," said Anthony Lane in The New Yorker. He makes a good point. By the third film Jackson and the audience were free from the hold of the books — the need to compare had been blown away. Tolkien was ever present but all but forgotten.
There were the doubters of course. Those that fretted on ideological grounds about the racial implications (notions bound into the novel from Tolkien's WWI experiences: the threat from the East). Those that simply liked to huff and puff.
True, the film isn't perfect. The extended edition is better — reinserting the Christopher Lee's death scene gives a more satisfactory trajectory to the Saruman story. The Hobbits trek across the hot sands of Gorgoroth so much more gruelling. It is less shapely than the first, less earthy than the second, you miss the Hobbit banter and Gandalf the Grey's curmudgeonly charms. I never quite get the emotional kick I need from the Fellowship's reunion scene that plays without dialogue. But from the flaring beacons to the Ring being devoured by the flames of Orodruin we gladly abandoned ourselves to the monumental surge of Jackson's storytelling. We left that premiere to head off to a party of special magnificence with the cycle complete but still not quite ready to admit it was all over. That unwillingness to let go is what drove me to write a book, to fathom how such miracles were accomplished.
Looking back so many years later, the film doesn't seem to have diminished. You might argue over technical details (Jackson surely would, unable to rewatch to the films for fear of those blemishes only he can see), but a classicism has taken hold. The great monument of The Lord of the Rings, now one story not three, has become timeless. What better time to clear an afternoon and return to The Return of the King.
Ian Nathan, December 4th, 2018
Anything You Can Imagine: Peter Jackson & The Making of Middle-earth is out now.
Anything You Can Imagine: Peter Jackson and the Making of Middle-earth
Do you remember the first time? Or, to be exact, the third first time? Watching The Return of the King was a different experience to encountering the first two parts of Peter Jackson's acclaimed adaptation of Tolkien's impossible triptych. We greeted the concluding part of the trilogy with expectation not anxiety. With Fellowship of the Ring desperate hope intermingled with the fear that the series would simply fail to match the books; with The Two Towers there was the concern the second film might not live up to the first with what was most likely to prove the most troublesome of the three parts to shape into a satisfying film.
By the finale, we were relaxed. We were ready. This would be the rousing crescendo we were due. We took a depth and plunged.
Even on the third film, billions of dollars to the good, New Line had fretted about length. Jackson had reached a state of zen bemusement with the studio's neuroses, assured the audience was with him — there was also a groundswell of opinion that the Academy were coming round too. But still the powers that be, trying at this late stage to assert some measure of ownership, insisted that his tame his magnum impulses. Think of those bums on seats, they railed. On the first movie they had issued an edict that the film could be no longer than two and a half hours. "Which we kind of ignored," laughed Jackson. With the third, an edict arrived saying it mustn't be longer than three hours. The final film came in at three hours 20 mins. On Oscar night, Billy Crystal joked about the endless endings, but this was a curtain call on nearly nine hours of epic and we needed epic closure.
By the third and final part of the trilogy, Jackson was only trying to keep up with himself. There was no backing down at this stage. Going bigger was what Tolkien demanded of him. The third film was "all pay off" he liked to joke. But he meant it. What nagged at him wasn't the pressure to surmount the spectacle of all that had come before — up his copious sleeve he had mighty battles, giant spiders, armies of the undead, a phalanx of super-sized elephants and a death scene in which a burning lord leaps from the rocky prow of a city like a flaming meteor. What he sought above all was the completion of a story. That was the strange nature of the third film: it reverse engineered a trilogy into a single film. One of the reasons, we had to go back to The Shire before the credits was to underline where it all began. To come full circle.
Incredibly, this week (December 3) marks the 15th anniversary of the famous, city-wide world premiere for The Return of the King in Wellington. Something Jackson had demanded — a final gift to a city and country that had stayed the course for so long. It felt like the whole of New Zealand lined the streets as the sun shone and Hobbits and wizards waved like royalty from the backseats of convertibles, flanked by Weta-dolled orcs and dancing Maoris as they inched up Courteney Place.
I was lucky enough to see the film at the European premiere which took place at the Odeon Leicester Square and the crowds outside roared the arrival of each cast member; there were screams at the sight of Orlando Bloom and ambulances were unassumingly on hand in case of fainting. Sat near the outer edge of the rows, I saw them line up in the dark awaiting their call to the stage to take a bow. Sir Ian McKellen giggled with Liv Tyler, Viggo Mortensen brooded, a man immersed in his own thoughts, but slipped into a goofy grin when Bloom, finally rescued from the fervent outside, mock punched him. They were nervous, even now, giddy like school children, the excitement and pleasure of one another's company still present, even now on the victory lap.
They came up one by one, invited by their friend and director, the man who had guided their lives for years — Peter Jackson. Last to the stage, fittingly somehow, was Sir Ian Holm, long experienced in what is required of these affairs: some good old-fashioned tomfoolery. At the top the steps he launched into a gallop, hurtling straight past the proffered hand of his director, skidding to a halt at the far end of the stage, then running back for a bear hug. The audience were delighted at his antics (not least, because they immediately sucked any pomposity out of the occasion) clapping and laughing, but honestly we wanted the introductions done with, the film awaited.
The third film is its own beast and yet the capstone on the whole (which you might say is true of the book too). There are less of the purely sensual New Zealand pleasures of the first two. The battlescape of the Pelenor Fields was ostensibly a digital landscape that utilised plates of real locations. Alan Lee, Tolkien artist in residence, was sent up in a helicopter to sample pieces of the South Island like fabrics from a department store. It was a reflection of changing processes — a signal of digital world-building to come. But pearl-white Minas Tirith was built from real sets, big as cathedrals, and models sculpted so finely the camera could close in to within inches of the walls and still not betray the scale. I remembered visiting the miniature studio, Minas Tirith was the same height as me. Only now it was like a mountain.
Everything about the final film was bathed in an assured magnificence. It was swaggering. I was in bits by the lighting of the beacons, the camera bounding across Middle-earth as if untethered from gravity. By the ride of the Rohirrim, Theoden's white horse unmistakeable at the spearhead, the gulps around me were audible. Such spectacle was raising grand emotions; looking back, Game of Thrones owes this trilogy a debt it can never repay.
That is not to deny the intimate, those lovely character moments that had set the first two films apart from the juvenalia of fantasy. Opening small was a big decision, and so indicative of Jackson's confidence with the material: a willingness to play subtle ironies against our expectations, shaking free from the grip of Middle-earth formula. Gollum's memory of first claiming the Ring, Andy Serkis' face briefly liberated from beneath his digital make-up as Smeagol strangled (thus locating the source of his anguish in his throat) his cousin for possession of the Ring was a startling, psychological move. Have you noticed how all three films begin with memories?
Serkis had fought to play the young Smeagol. There had been a prevailing thought to cast younger, but he wrote a lengthy letter to Jackson, passionately enforcing his desire to marry the CGI triumph with the human. His director had already come round. Serkis represented the conflicted heart of the trilogy. From a certain angle, he is the protagonist.
Something that could be said of Samwise too. Sean Astin's career-defining third-film performance, which flared up as a distinct Oscar possibility (alongside Serkis the Academy's big miss), embodied that stripe of English rectitude under fire that Tolkien brought with him from The Somme. Something so redolently captured in Jackson's superlative World War I documentary They Shall Not Grow Old. Screenwriter Philippa Boyens had marshalled the ADR (dubbing) sessions and remembered sobbing over still ungraded footage of Astin shouldering Elijah Wood to stagger up the flanks of Mount Doom. On set it had crossed the safety conscious Astin's mind that he was suddenly carrying the entire trilogy on his shoulders. On film that moment crystallises their entire filmic endeavour, the determination to complete the quest against all the odds.
Casting an eye back on the reviews from a decade and a half ago, the sense of wonder is palpable. It's as if critics were finally allowed to cut loose, to take the plunge and commit to Jackson's fantasy (eek) as a work worthy of high praise. There was nothing they had to be ashamed of in appreciating the work.
Keith Phipps in the AV Club, by reputation such a hard taskmaster, sang forth his praise: "The Return Of The King ultimately proves up to the series' increasingly difficult task: making movies that echo legends, making legends that reflect life, and reconciling it all with the fact that both legends and lives all eventually meet their ends."
"[The Lord of the Rings] restores faith in the idea that popular entertainment can soar to majestic heights," reported Andres O'Hehir of Salon, another venue that could hardly be dismissed as the nerd crowd.
"As I watched this film, an eager victim of its boundless will to astound, I found my loyal memories of the book beginning to fade," said Anthony Lane in The New Yorker. He makes a good point. By the third film Jackson and the audience were free from the hold of the books — the need to compare had been blown away. Tolkien was ever present but all but forgotten.
There were the doubters of course. Those that fretted on ideological grounds about the racial implications (notions bound into the novel from Tolkien's WWI experiences: the threat from the East). Those that simply liked to huff and puff.
True, the film isn't perfect. The extended edition is better — reinserting the Christopher Lee's death scene gives a more satisfactory trajectory to the Saruman story. The Hobbits trek across the hot sands of Gorgoroth so much more gruelling. It is less shapely than the first, less earthy than the second, you miss the Hobbit banter and Gandalf the Grey's curmudgeonly charms. I never quite get the emotional kick I need from the Fellowship's reunion scene that plays without dialogue. But from the flaring beacons to the Ring being devoured by the flames of Orodruin we gladly abandoned ourselves to the monumental surge of Jackson's storytelling. We left that premiere to head off to a party of special magnificence with the cycle complete but still not quite ready to admit it was all over. That unwillingness to let go is what drove me to write a book, to fathom how such miracles were accomplished.
Looking back so many years later, the film doesn't seem to have diminished. You might argue over technical details (Jackson surely would, unable to rewatch to the films for fear of those blemishes only he can see), but a classicism has taken hold. The great monument of The Lord of the Rings, now one story not three, has become timeless. What better time to clear an afternoon and return to The Return of the King.
Ian Nathan, December 4th, 2018
Anything You Can Imagine: Peter Jackson & The Making of Middle-earth is out now.
Anything You Can Imagine: Peter Jackson and the Making of Middle-earth
