They turned to the two men who knew Tolkien's universe best: conceptual artists Alan Lee and John Howe, who illustrated the Harper Collins editions of The Lord of The Rings. WETA Digital, a separate arm, also took on the challenge of creating the groundbreaking computer-generated creatures and effects for The Lord of The Rings trilogy.īut before WETA could get to work, the filmmakers needed to turn Tolkien's vividly drawn descriptions into three-dimensional visions. He immediately employed a crew of over 120 technicians divided into six crucial departments: Taylor approached the project like a general going to war. So he immediately engaged the services of WETA Limited, New Zealand's premier physical effects house, under the direction of supervisor Richard Taylor and Tania Rodger - and gave them a mission: to create Middle-earth's physical reality, from the interiors of hobbit holes to the heights of Mount Doom, as if they believed with all their hearts and senses in its existence. But how do you realistically create a complete fantasy? Jackson knew that the answer would lie in an incredible amount of detail. Peter Jackson had one underlying precept for the visual design for The Lord of The Rings trilogy: a transporting brand of realism. But in The Fellowship of The Ring, the hobbit holes of Hobbiton, the sylvan glades of the elf refuge Rivendell, the smoky innards of the Prancing Pony Inn and the networks of underground caverns in the Mines of Moria come physically, palpably to life. Until now, Tolkien's Middle-earth has existed only in the imaginations of readers and in the wondrously detailed yet limited illustrations for the novels. We've painted Tolkien's palette as much as possible across the film. "The greatest feeling of success has been to watch all these bits and pieces of polystyrene and metal and wood become a world so real you believe these characters live there.
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