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Anything You Can Imagine: Peter Jackson and the Making of Middle-earth
Ian Nathan
Andy Serkis
The definitive history of Peter Jackson’s Middle-earth saga, Anything You Can Imagine takes us on a cinematic journey across all six films, featuring brand-new interviews with Peter, his cast & crew. From the early days of daring to dream it could be done, through the highs and lows of making the films, to fan adoration and, finally, Oscar glory.LightsA nine-year-old boy in New Zealand’s Pukerua Bay stays up late and is spellbound by a sixty-year-old vision of a giant ape on an island full of dinosaurs. This is true magic. And the boy knows that he wants to be a magician.CameraFast-forward twenty years and the boy has begun to cast a spell over the film-going audience, conjuring gore-splattered romps with bravura skill that will lead to Academy recognition with an Oscar nomination for Heavenly Creatures. The boy from Pukerua Bay with monsters reflected in his eyes has arrived, and Hollywood comes calling. What would he like to do next? ‘How about a fantasy film, something like The Lord of the Rings…?’ActionThe greatest work of fantasy in modern literature, and the biggest, with rights ownership so complex it will baffle a wizard. Vast. Complex. Unfilmable. One does not simply walk into Mordor – unless you are Peter Jackson.Anything You Can Imagine tells the full, dramatic story of how Jackson and his trusty fellowship of Kiwi filmmakers dared take on a quest every bit as daunting as Frodo’s, and transformed JRR Tolkien’s epic tale of adventure into cinematic magic, and then did it again with The Hobbit. Enriched with brand-new interviews with Jackson, his fellow filmmakers and many of the films’ stars, Ian Nathan’s mesmerising narrative whisks us to Middle-earth, to gaze over the shoulder of the director as he creates the impossible, the unforgettable, and proves that film-making really is ‘anything you can imagine’.
Copyright (#ud0df07ec-0781-5e41-97d2-67f3dccaa585)
HarperCollinsPublishers Ltd
1 London Bridge Street
London SE1 9GF
www.harpercollins.co.uk (http://www.harpercollins.co.uk)
First published by HarperCollinsPublishers 2018
Copyright © Ian Nathan 2018
Cover design by Claire Ward © HarperCollinsPublishers Ltd 2018
Cover photograph © Paul Stuart/Camera Press London
Ian Nathan asserts the moral right to be identified as the author of this work.
A catalogue copy of this book is available from the British Library.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.
Source ISBN: 9780008192471
Ebook Edition © May 2018 ISBN: 9780008192488
Version: 2018-09-21
Dedication (#ud0df07ec-0781-5e41-97d2-67f3dccaa585)
For Kat, who can’t abide hobbits.
Epigraph (#ud0df07ec-0781-5e41-97d2-67f3dccaa585)
‘The artist-initiated epic is an obsessive testing of possibilities … It comes, too, from a conviction, or a hope, that if you give popular audiences the greatest you have in you they will respond.’
Pauline Kael
‘It would be easier to film The Odyssey. Much less happens in it.’
J.R.R. Tolkien
Contents
Cover (#ue23f6753-ebb1-5f54-b4bb-2bc6c195004f)
Title Page (#ucee77b25-a416-50ab-93b5-15607c2472cd)
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 (#u23dcd342-f75e-5f97-8554-5b317efb8e57)
Foreword (#ud0df07ec-0781-5e41-97d2-67f3dccaa585)
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 (#ud0df07ec-0781-5e41-97d2-67f3dccaa585)
Journey’s End (#ud0df07ec-0781-5e41-97d2-67f3dccaa585)
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 TheReturn 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. TheReturn 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.
