Czytaj książkę: «Anything You Can Imagine: Peter Jackson and the Making of Middle-earth»

Contents

Cover

Title Page

Copyright

Dedication

Epigraph

Foreword by Andy Serkis

Prologue: Journey's End

1: Sillification

2: An Unexpected Director

3: Many Meetings

4: Words and Pictures

5: Concerning Hobbits

6: Heavenly Creatures

7: Jamboree

8: Miramar’s Mecca of Merry Souls

9: Proof of Concept

10: The Monsters and the Critics

11: To the Edge of the World

12: Junkie

13: MASSIVE

14: Return to the Edge of the World

15: The Music of Middle-earth

16: King of a Golden Hall

17: Legacy of the Ring

18: There and Back Again

19: Augmented Reality

Afterword

Picture Section

Footnotes

Bibliography

Index

Acknowledgements

Picture Credits

About the Author

Also by Ian Nathan

About the Publisher

Foreword

It feels like there was life before and life after.

I can remember the first time I saw Gollum. A finished Gollum. It was the sequence by the Forbidden Pool where he turns around to see Frodo, and he knows that something’s going on. It’s almost like an animal instinct; he can sense it. It was absolutely extraordinary.

You don’t know, you could never know. Here, finally, was the first proof that a level of psychological and emotional detail could be conveyed through ones and noughts. That thought could be conveyed through the combination of my performance and what they were doing at Weta Digital. I could sense that thought. I could feel that was exactly as I played it. That was incredibly gratifying.

Then I remember seeing The Two Towers for the first time. It was in New York, I was with Miranda Otto, Bernard Hill and Karl Urban. It was mind blowing. I knew every single frame.

I sensed that my life was never going to be the same again.

I supposed that was true for everyone who shared in The Lord of the Rings. The actors, the crew, everyone. None of us really knew what we were letting ourselves in for. And we went through so much together. Filmmaking is life. Every day you’re making a film is as important as the end result, because it feeds into the fabric of that film. That counts tenfold for The Lord of the Rings. That’s what attracted me to go back and do so many projects with Peter, Fran and Philippa, and all those guys down there, because it is a way of life. You don’t go to work; you’re living and breathing it.

Nevertheless, it certainly wasn’t the journey I was expecting for a second. Not for a second. Adding together both The Lord of the Rings and The Hobbit, I have celebrated seven different birthdays in New Zealand. The first one was literally only days after I arrived. We were up at Ruapehu, shooting Mount Doom. That was pretty cool. We were staying at the Powderhorn, which looked like an alpine chalet. It was lovely. They made me a cake. The most memorable one was when Pete gave me the Ring for my birthday and on the same day asked me to be in King Kong. That was on an Easter Sunday. Other ones came and went, in so many beautiful places.

I still feel deeply connected to New Zealand. The beauty there is almost overwhelming. I was very into the outdoor life, walking, hiking and kayaking whenever I could. The whole experience was very spiritual. That country, root and branch, mountain and valley, is the soul of the films.

Moreover, I also can’t express how honest and open the people are. How much they made us part of their community and gave us such a good time. I made so many great friends.

So many people migrated there to take up jobs on The Lord of the Rings, it created a film industry there.

In the end, though, all roads lead back to Pete. And Fran and Philippa, of course. Pete is the most fearless director I’ve ever met. He has shared so much with me, taught me so much. I have said it often, but there is something truly maverick about him, an indie filmmaker working on the biggest scale possible. That’s what it always felt like. We were shooting these personal little indie films. These extraordinary films are an expression of who a person is. Pete is also such a visionary, just breaking barriers all the time with this marriage of technology and artistry.

I remember the glint in his eye when I first met him, so many years ago, in London. I could sense, even then, his vision for Gollum; neither of us really knew what we were letting ourselves in for but it was definitely going to be an unexpected journey. After principal photography on The Lord of the Rings ended, Pete signed a poster for me, which said “Many thanks for all the fun … and the fun to come.” It was then, and for the next decade, and hopefully always will be just that …

Andy Serkis

PROLOGUE
Journey’s End

Monday, 1 December, 2003 was a typical summer’s day in Wellington. The sun was doing its level best, but the eternal, maddening winds were already scuffling over the bay and muscling their way inshore to ruffle pennants and hairdos but never spirits. Not on this day.

The red carpet was less familiar but not unexpected. Over 500 feet of imitation velvet swerved up Courtenay Place to the doors of the Embassy Cinema, recently refurbished at a cost of $5 million to a fetching cream and caramel Art Deco scheme. One of the myriad cinematic gifts Peter Jackson had bestowed upon his hometown. Fittingly, fifteen years earlier, his debut film, Bad Taste, had premiered at the Embassy, albeit with less salubrious décor and a smaller turnout.

Less in keeping with the old movie-palace aesthetic was the cowled Nazgûl astride a fell beast that had landed on top of the cinema virtually overnight to take up silent watch over the day’s festivities.

That full-size model, or maquette, with its great-scooped neck and outspread wings, sculpted by the imperious talents of Weta Workshop, still exists. Like so many Middle-earthian relics, it has been squirrelled away for posterity in one of Jackson’s dusty warehouses, the Mines of Moria of the Upper Hutt Valley.

Jackson might have to still undertake the mandatory global press tour on behalf of his new film, with its procession of glad-handing and crowd waving, but he had been adamant that the official world premiere for The Return of the King was to be in Wellington, the city at the heart of the production. This was the victory lap for a filmmaking triumph that, even in his innermost fantasies, he could never have imagined, and he wanted to share the moment with the people who had contributed so much.

Naturally, it was to be a party of special magnificence.

The good folk of Wellington were beginning to line the streets, bringing picnics and an unusual air of excitement for such an imperturbable race. Some had even camped out overnight. It felt like a public holiday, or a homecoming parade. And in some senses that is exactly what it was. By the afternoon, over 125,000 locals were crammed ten rows deep on either side of the streets — quite something for a city with a population of 164,000 — their ranks swelled by out-of-towners (decreed honorary Wellingtonians for such an occasion), many wearing homespun wizard hats and Elf-ears, who had crammed themselves onto long-haul flights from every corner of the world just to be here on this day. You could hear the noise halfway to Wanganui.

Soon enough the stars and filmmakers would glide through the city, setting off from Parliament House on Lambton Quay in a fleet of Ford Mustang convertibles, soaking up the adoration of the crowd with a royal wave, flanked by Gondorian cavalry, enshrouded Nazgûl on stoic horses, pug-ugly Orcs hefting Weta-made swords, beefcake Uruk-hai, supermodel Elves, and dancing hobbits trying not to trip over their outsized feet. At their head, in deference to the country that had become Middle-earth, was an outlier of Māori warriors with florid tā moko tattoos and waggling tongues. They might as well have been another extraordinary tribe dreamed up in leafy Oxford, a million miles away, in the mind of a pipe-smoking don.

When Orlando Bloom wafted past accompanied by Liv Tyler, there was screaming of a kind that was once the preserve of Beatlemania. There exists a framed photo of the four young actors who played the heroic hobbits — Elijah Wood, Sean Astin, Billy Boyd and Dominic Monaghan — that they had made for Jackson’s birthday. They are in their hobbit wigs, Shire garments and prosthetic feet, but playing instruments and posed exactly like John, Paul, George and Ringo. ‘The Hobbits’ is emblazoned on the bass drum. The Beatles are Jackson’s favourite band, and had themselves once pondered making their own version of Tolkien’s epic as a musical extravaganza.

New Line had reputedly spent millions on the last official world premiere of the film trilogy they had staked their future on. What an inspired decision that seemed now. Had any film in history received a welcome like this? Bob Shaye, the tall, graceful, slightly bohemian CEO of New Line, would sit alongside Jackson in the lead car, the man who had taken the chance on this young director. It hadn’t been the easiest relationship. Hollywood’s risk-averse mentality was not an ideal mix with the natural Kiwi courage to take on the odds. There would be further tensions to come. For now, Shaye and his partner Michael Lynne’s gamble on the impossible book, which had seemed so foolhardy if not outright suicidal to their peers, had that shimmer of Hollywood history about it. That sense of divine obsession on which the movie industry was built, where for every Gone with the Wind there was a Heaven’s Gate.

Figurative tickertape was raining down on Wellington; it was the stuff of dreams with the city’s favourite son capturing it all on his video camera. He knew he would never remember it all, it would pass in a blur.

They had made it to the Moon and back again in filmmaking terms. The Return of the King, a fantasy epic, that laughably unsophisticated genre, would soon pick up eleven Oscar nominations. This was the culminating chapter in a staggering, and staggeringly successful, adaptation of J.R.R. Tolkien’s The Lord of the Rings, considered for so long as impossible to capture on film.

Helen Clark, New Zealand’s prime minister, the day’s host, would give her thanks for all the films had brought to this country. Not only Hollywood dollars and employment — when the accounting was done the films would have utilised the talents of 23,000 Kiwis — but the tourism boom his trilogy of marvels had launched. With the help of a different world Jackson had put New Zealand onto the map.

How proud his country was of him, she said. How much she hoped his success would continue on into the future.

Jackson too would address the crowd, giving his thanks and saying how humble he felt that so many of them would turn out. He wasn’t even an All Black.

Everyone would give speeches. Each roared on by the crowd. It was like a wedding or a coronation, with 2,500 specially invited guests. Only this time Viggo Mortensen wasn’t expected to sing.

*

Earlier that day, amid the bustle of party business, with various planners and executives clamouring into walky-talkies and lumpen Nokias, Jackson had dutifully arrived on time at his allotted meeting point. Then, he hadn’t had to travel far. His home in Seatoun was barely ten minutes away, twenty if you caught Wellington at rush hour when the tailbacks can stretch to as many as ten cars long.

Seatoun lies on the seaward side of the quiet Wellington suburb of the Miramar Peninsula that plays home to Jackson’s filmmaking empire — studio, offices, post-production facilities, Weta Workshop, Weta Digital. Hollywood visitors still had trouble seeing past the corrugated iron roofs, brick warehouses, and general disrepair of the former paint factory on Stone Street. Outwardly, barring the immediate beauty of the landscape, everything here seemed so … Well, so unlikely.

How unlikely too that, in all their planning, no one had thought what to do with their director, the man who had made all this happen, while the final arrangements for the premiere were being made. So it was that Jackson had been guided to a perfectly nice hotel suite to wait in a celebrity holding pattern while the more rigorous demands of readying film stars for a public appearance took place elsewhere.

The memory still strikes Jackson as strange. ‘I thought, well, that sounds nice. I thought there would be the actors, but it was just me, and they shut the door. And I was sitting in this hotel room for at least an hour and a half. I was lying there thinking, this is pretty weird. Why aren’t we having a drink down in the bar?’

He was as nervous as anyone would be about to speak in front of hundreds of thousands of people. A drink, a laugh, simply passing the time with someone would have helped.

What might have struck him as strangest of all, however, was that he had been left to his own devices. As long as he stayed put. New Line’s army of wedding planners weren’t going to let their prize catch wriggle free. They virtually put him under lock and key. Gandalf imprisoned on the roof of Orthanc.

Only hours before, with the eleventh hour disappearing in the rear-view mirror, had he completed his adaptation of The Lord of the Rings trilogy. With a running time of three hours twenty-one minutes, long even by his own extended standards — and even then he knew that fans would bemoan the loss of lovely sequences that wouldn’t be retrieved until the Extended Edition a year from now — The Return of the King was ready for its heroic debut. For the first time in five years, maybe longer, Jackson didn’t need to worry about his films.

There was no need to approve any fresh artwork from the peerless and tireless pencils of John Howe or Alan Lee; or clear an effects shot, a music cue, a sound edit, a costume alteration, a set that had sprung up overnight, a mooted location or schedule, a poster design, or indeed head to the edit suite, because when all else was done he always needed to head to the edit. No actors would need to call upon his wisdom; no lighting set-up or shot trajectory was open for discussion. No stunt team needed marshalling. No new script pages needed to be wrestled into submission; as he no longer needed to fine-tune the sometimes-cumbersome complexities of Tolkien’s world toward the dynamic world of cinema — to choose this path or that, often depending on which one smelled the better. Even those public relations folk, who had called upon him to speak to the press when he could least afford the time, were now busy elsewhere.

The constant background noise inherent in this awesome undertaking had finally been silenced — all he could hear was the crowd a few blocks away, cheering even the carpet sweepers.

Jackson was left alone with his thoughts.

He turned on the television and found a telemovie, whatever was playing. He can’t remember what it was about let alone what it was called; he doubts it was any good.

Lying there on the bed, some cheesy, low-budget melodrama in the background, his mind must surely have wandered back through the forest of days, the miraculous events and unaccountable toil that had brought him here to this moment of triumph and farewell.

CHAPTER 1
Sillification

In June 1958, John Ronald Reuel Tolkien put pen to paper. Without letting his scrupulous English manners slip, he still made his feelings quite clear. The story, he claimed, swelling in his indignation as the letter wound on, had been ‘murdered’.

The year before, three American producers sounding not unlike a law firm from a film noir movie — Forrest J. Ackerman, Morton Grady Zimmerman and Al Brodax — had approached Tolkien’s publishers, Allen & Unwin, proposing a feature film of The Lord of the Rings. Having decried the ‘sillification achieved’ by the BBC in a 1955, twelve-part radio serial based upon his epic, written and produced by the poet Terrence Tiller (a close friend of Tolkien admirer W.H. Auden) — since lost to the mists of BBC deletion — he couldn’t see that dealing with a film version would be any less painful.

However, if not won over, he had begun to be persuaded that these filmmakers were at least responsive to the needs of the book. In the box of notes sent to the author’s house in the Oxford suburb of Headington, the trio outlined an ambitious mix of live action and animation running to three hours, including two intermissions, with the aim of shooting among the untamed expanses of the American landscape. Tolkien had been especially impressed at the quality of the concept art. How unlike Walt Disney it was, he noted appreciatively.

A few weeks later, as he had begun to read the story treatment, his heart had sunk. He simply couldn’t detect ‘any appreciation for what it was about’. Gandalf does not ‘splutter’, he contended, the Balrog does not speak and Lothlórien does not have shiny minarets. All moral import had been lost. The entire tone was childish, more of a fairy tale. And his book was most certainly not a fairy tale. The treatment did, incidentally, include Tom Bombadil.

His response goes on for several pages. Each documenting a significant narrative failing in the laissez-faire approach Zimmerman, the nominal screenwriter, had taken with the original text.

Wizards can be quick to anger.

Such a maladroit effort, if not rank trivialisation of Tolkien’s great adventure, is disappointing for fans of the genre. Not that the book wouldn’t suffer an arduous journey through a litany of scrambled attempts before it would be done justice. It was more that one of the prospective producers was meant to have had a keen respect for fantasy fiction.

Ackerman is known as the godfather of geek. He had helped fashion the concept of the fan convention; arriving at the First World Science Fiction Convention in New York in 1939 clad in a ‘futuristicostume’, he effectively invented cosplay to boot. On a business footing, he served as agent for many of the great Fifties horror and science fiction writers whose imaginations were running rife beneath the shadow of the nuclear age (and the influence of Tolkien). Writers like Ray Bradbury, Marion Zimmer Bradley and Isaac Asimov, the latter of who would create the star-spanning Foundation trilogy.

In 1958, Ackerman began his lifelong tenure as editor of Famous Monsters of Filmland, a lavish, bustling monthly devoted to genre movies. Within its awe-struck pages were features celebrating King Kong, the 1933 classic, including the discovery of a fabled shot of a spider lurking on the cavern roof that fans had thought to be the stuff of myth. It also curated the kind of pun-heavy vernacular that saw the letters page christened ‘Fang Mail’.

For Tolkien, used to the unhurried discussion of philological esoterica among collegiate friends and the woody scent of pipe smoke at The Eagle and Child, he may as well have been from Mars.

For Peter Jackson and those filmmaking peers who shared a taste for the fantastic and the macabre, kindred visionaries like Guillermo del Toro, Fantastic Monsters of Filmland would become a friend in the dark. Here was proof that there were likeminded, monster-mad souls everywhere. Without it they may never have discovered their calling. In his old office, the secret one behind the bookcase that contained his most prized memorabilia, Jackson had his collection of back issues proudly on display.

With a rakish, pencil-thin moustache, high forehead and large horn-rimmed glasses, Ackerman suggested Vincent Price playing an insurance salesman, and he would appear in many of his beloved B-movies. He also dabbled a little in film production. And, together with his partners, was the first recorded prospector to engage with Tolkien about a film version of his great work.

We should respect the fact that Ackerman was ahead of the curve. In 1958, The Lord of the Rings was only four years old. While selling respectably, it was a long way from the cult prominence that made it a fixture of late-1960s campuses across America. An unauthorised ACE paperback edition had wriggled through America’s insubstantial copyright rules in 1965 and sold in phenomenal quantities. Indeed, by 1966 it was out-selling The Catcher in the Rye at Harvard. Students formed Tolkien societies, dressing up as their favourite characters and feasting on mushrooms. A scholarly lapel was naked without badges exclaiming ‘Frodo Lives’ or ‘Gandalf for President’.

Once official editions were issued (through the paperback imprint Ballantine Books) Tolkien would taste remarkable success. This in turn led to conspicuous quarters of the literary establishment scoffing at something they saw as childish. Among academics, to express affection for Tolkien was deemed as ‘professional suicide’.

In 1956, in his sarcastic essay, ‘Oo, Those Awful Orcs!’ Marxist critic Edmund Wilson called it ‘balderdash’.

Decades on, Germaine Greer claimed that the book’s popularity was like a ‘bad dream’.

Tolkien had never expected to start, as he put it, a ‘tide’. He only wrote the book for those who might like it.

Nevertheless, Frodo’s quest to rid the world of a magical ring by tossing it back into the volcanic fires from which it was forged had touched readers around the world. By 1968, three million copies of The Lord of the Rings had been sold worldwide. A 1999 poll conducted by Amazon judged it to be the Book of the Millennium. By 2003, once again much to the chagrin of the literary establishment, and perhaps catching a tailwind from Jackson’s films, a poll on behalf of the BBC’s Big Read named it Britain’s Favourite Read. According to recent calculations the book has sold upwards of 100 million copies.

Let us not tarry too long on the history of Tolkien and his literary genius. Reams have been written on the provenance of hobbits and the entirety of Middle-earth. Reams more will come. Born in Bloemfontein, South Africa in 1892, where his father died when he was three, he was raised by his mother in the bucolic Worcestershire village of Sarehole (since consumed by greater Birmingham). She would die when he was only twelve, leaving him and his brother, Hilary, orphans. An early fascination with ancient languages and their mythological roots would lead to his creating his own, and eventually to an Oxford professorship in English Language and Literature, a journey interrupted by enlistment and the First World War.

In the dreadful lulls between fighting on the Somme (where Jackson’s grandfather also fought), and while recuperating from trench fever in Staffordshire, Tolkien began to conceive of the vastness of his fictional world, a world that would have its origins in the languages he had devised. He never felt he was writing fantasy but a form of history, a record that would reveal who might have spoken such words and where they might have lived. He saw his book as an attempt to recover a mythology for Britain, which lacked the equivalent lore to that of the Germanic, Nordic and Icelandic sagas he loved. Through a process he called ‘sub-creation’ grew a backdrop for his later books, a world of intricate construction: races, languages, myriad tales of wars and upheaval and a vast, vital geography against which it all played out.

‘I always had the sense of recording what was already “there”, somewhere, not of “inventing”,’ recalled Tolkien.

Philippa Boyens, who would work so closely with Jackson and Fran Walsh on the writing of the adaptation to come, always valued the ‘wholeness’ of Middle-earth. ‘That you can escape into something that feels utterly real,’ she says. ‘I like that obsession. I like all the detail.’

Laughing, she recalls that whenever any questions from the cast or crew became too entangled in the brambles of Tolkien’s mythos they were always fielded to Boyens as the trio’s Tolkien nerd. She always impressed upon her fellow filmmakers how much underpinned the books.

‘It’s such an immersive thing, because as much as he delved into and loved those languages, he loved them because of their connection with who the British are as a people. And that profoundly affected him, and that probably has a lot to do with his childhood.’

Watching the encroachment of industry and the concomitant loss of a tradition; the stark impressions of the battlefront that stripped bare notions of class; the devotion to nature (especially trees); learning; fine company; a dignified, if antiquated properness in his relationship with women: all were ingredients in the wholeness of the book. But deeper still, in Tolkien’s early loss of his parents, Boyens sees the loneliness of Frodo expelled from the childlike idyll of the Shire to venture into the adulthood of Middle-earth.

Composed first for his children, Tolkien would publish The Hobbit in 1937, a lighter, charming prelude to The Lord of the Rings, which would eventually follow in 1954. He never intended his second novel to be divided into three books, or considered a trilogy. This was a necessity brought on by soaring paper costs following the Second World War (another global conflict that overshadowed his writing). It was a single, epic story, over 1,000 pages in length, made up of more than half a million words.

His response to Ackerman and co. provides an insight into how the author generally perceived the idea of transforming his work into film entertainment.

Tolkien had visual sense. In among the treatment’s atrocities, he could appreciate, ‘A scene of gloom lit by a small red fire with the wraiths approaching as darker shadows.’

He revealed actorly qualities too. In the 1950s, disappointed by that 1955 BBC version, he recorded his own radio play The Homecoming of Beorhtnoth, Beorhthelm’s Son, in the poem’s full alliterative Anglo-Saxon metre. There is a little existing footage of him from a BBC documentary from 1968. He plays well to the camera: warm, curious and knowingly dotty, throwing in an occasional faraway look in his eye as he gazes off into the distance, perhaps to Middle-earth.

Even so, Tolkien didn’t regard movies, or drama in general, as legitimate art. We are left to wonder if Sir Ian McKellen’s wry Gandalf or Viggo Mortensen’s robust Aragorn might have swayed him, but he considered the idea of acting to be a ‘bogus magic’. It was pretending.

Nevertheless, as early as 1957 he had written to his publisher Stanley Unwin that he wasn’t opposed to the idea of an animated version of the book — evidently having no faith that live action would stand up to the exotic creatures and fantastical locations therein. In another oft-quoted letter to his publisher, in his qualified way he even welcomed the idea.

‘And that quite apart from the glint of money,’ he added, ‘though on the brink of retirement that is not an unpleasant possibility.’

He was no fool about the business.

Tolkien reasoned, with a foresight that would have made him more adept at dealing with Hollywood than his quiet, donnish persona would suggest, that he could either strike a deal through which he would lose control but be correspondingly compensated financially, or retain a degree of control but not the fiscal win.

‘Cash or kudos,’ he explained to his biographer Humphrey Carpenter.

With few signs of either cash or kudos emerging out of granting a six-month option to Ackerman and his associates, as the biography succinctly puts it, ‘negotiations were not continued’.