“Then at last his gaze was held: wall upon wall, battlement upon battlement, black tower of adamant, he saw it: Barad-Dûr, Fortress of Sauron. All hope left him.”
—The Fellowship of the Ring
How do you follow-up one of the coolest environments you’ve ever produced? Well, you go ahead and produce one of the next most coolest environments of course! Shortly after Comic-Con 2011 senior model maker David Tremont began the momentous task of transforming the original model of Barad-Dûr for The Lord of the Rings into a collectible we could all own. Finally, after a year of slaving, fans of Middle-earth got to see the result at Comic-Con 2012 when Barad-Dûr was unveiled to the world.
Sauron began work on Barad-Dûr during Middle-earth’s Second Age, when he chose Mordor as the place his dominion over Middle-earth would begin. Barad-Dûr was finished in the year 1600 of the Second Age and during that period Sauron would go on to create The One Ring, which would only help to make the fortress even stronger. During the War of the Last Alliance fortress was destroyed with the exception of the foundations as they could not be destroyed as long as The Ring was around. In 2951 of the Third Age Barad-Dûr’s reconstruction was started, but it would not last when Gollum fell into the lava of Mt. Doom destroying the Ring and the fortress.
PACKAGING
The graphics on the front of the box for Barad-Dûr have kept virtually the same design we’ve seen with previous environments from Weta. On the front of the box a screencap of Mordor with an image of Barad-Dûr completes the scene. Of course, you also have the beautiful The Lord of the Rings logo in the upper right-hand corner with the name of the environment under the picture of Barad-Dûr. One side of the box contains images of Barad-Dûr while the other side features images of other Weta Workshop products. The back of the box contains a great picture of the environment along with a background story about the collectible.
SCULPTING
Over 1,500 hours were put into Barad-Dûr to ensure the collectible on your shelf matches what you saw during The Lord of the Rings trilogy. I believe fans, once they have a chance to see the detail in this piece, will agree all of those hours paid off in spades. David Tremont and his team made very sure every window, spike, tower, ledge, bridge, and rock is included on this piece. Gazing upon this collectible, you can almost imagine Sauron or any number of his minions looking out upon Mordor from any of the many ledges and balconies. It truly is a great representation of the model we saw on film. What’s even more amazing is because of the material used it allowed these details to be captured and safely arrive to our homes. Rivendell had its beautiful river running through it and Barad-Dûr has something similar with its lava river flowing from Mt. Doom into the cavern surrounding the fortress. Even the rock areas of Barad-Dûr are exceptionally realized with the plains of Gorgoth looking like a place you don’t ever want to visit. Like Rivendell, this collectible is an achievement for Weta in showing off the amazing talent of their artists.
PAINT
The paintwork on Barad-Dûr is fairly simple compared to say Rivendell, and much more in-line with that of Orthanc. It’s all black and the shading for the different levels in different places are all really well done. The color of the tower does not match the color of the rock within the piece. That was going to be the toughest part of the paint I think and they were able to create the proper level of separation. The lava looks really good and stands out like lava would with an all-black world of Mordor.
Overall
Barad-Dûr costs $700 but the level of detail you get and the size of this piece allows you to truly get value for money. This piece is a limited edition piece with only 1,000 of the fortress being produced. Barad-Dûr does not come with a flaming eye but if that is a potential issue for you all you have to do is download the iPhone or iPad app. Then you will have the eye of Sauron. Finally, I cannot implore you enough if you are a The Lord of the Rings collector to find a way to get this piece into your collection.
Also, if you’re truly interested in what it took to bring this collectible to life check out the three articles by David Tremont. In these articles he explains the ups and downs of making sure we got one of the best environments ever created.
The news was horrific. Essentially The Hobbit: An Unexpected Journey was dead on arrival and if not a box office failure at least a disappointment and this on top of less-than-stellar reviews. Maybe Peter Jackson was lost in Middle-earth. Maybe the public and critics were just tired of adaptations of J.R.R. Tolkien. Maybe LOTR was lightning in a bottle. Turns out though rumors of the demise of The Hobbit were greatly exaggerated.
I will be dismissed as a website-contributing fanboy of course. I couldn’t possibly have a love for fantasy literature and Tolkien and an appreciation for the fantastic in cinema and still be objective. So decide for yourself if my viewpoint is skewed, but I think I am being objective, I am certainly not the only writer around who has his bare bias showing. It seems clear that some writers were rooting for and proclaiming failure prematurely.
None of this would matter except that bad buzz around a film does affect the film’s earnings. Bad reviews (more on that later) and then bad performance likely convinces casual viewers to stay away. These aren’t presented as opinions but as news with expert analysis.
Don’t believe me about the doom and gloom? I have some samples below:
Weekend Report: ‘Hobbit’ Plummets, Holds Off Slew of Newcomers “Even though it did hold on to the top spot, though, The Hobbit’s performance was underwhelming. The Peter Jackson-directed Lord of the Rings prequel plummeted 57 percent to an estimated $36.7 million for a new total of $149.9 million.”
From: The Numbers.com “The Hobbit: An Unexpected Journey didn’t hold on as well as predicted falling 56% according to studio estimates to $36.94 million over the weekend for a total of $150.10 million after two. It should get to $250 million in the end, which is a solid number given the film’s production budget. However, it’s not a monster number, and many thought it would be a monster hit. Explaining why this happened will take some time, but the weaker than expected reviews is a good place to start. Another possible reason is just too much hype.”
Another possible explanation is that you, Mr. Writer, were wrong.
The story sounds pretty reasonable, right? Except it isn’t and the sites where they originated, should know better. Folks on message boards were following his lead though, dubbing the film “The Flobbit” or “The Floppit” due to its perceived and inaccurate failures.
Remember those midnight screenings in mid-December that gave The Hobbit the largest ever December opening? That was never going to be duplicated the following weekend. But numbers are numbers right? Well yes, but numbers in perspective are even better numbers.
So Hobbit dropped 56% on the weekend. A plummet? Not when compared to the other top movies of the year. The Avengers dropped 50% and became the biggest blockbuster ever, The Dark Knight Rises dropped 61% (amidst a horrible shooting) The Hunger Games 61%, Skyfall 53% and the last Twilight film 69%. Those are currently the biggest films of 2012 financially. While “plummet” might be dictionary accurate, it is just exactly what could have been expected, especially in the busiest shopping weekend of the year. And for the record, to fully disclose, I liked all of those films save one, so I am not rooting against films financially. So yes, all the box office websites and film news reports should know better but mostly reported that it was disaster for The Hobbit. False.
There is another factor, just as important at work here. It was pre-Christmas weekend and movies perform much differently during that season. Films that open on the holiday work differently than films that open on traditional Fridays. Movie-business wisdom suggests, with a term called “multiples” that a film might make two or three times its opening weekend for the life of the movie. Christmas movies are “guaranteed” to make four times their opening and can hope for five or six times that number. The weekend before a Christmas-Eve Monday was way down at the box office for obvious reasons: People were busy getting ready for the holiday. Grocery stores and malls were packed, megaplexes suffered. Again, box office tracking websites should know better.
Here are some other samples including the first one from the guy who gets on CNN and lots of other places to be the “box office expert” talking head and advertises that widely. Again, I expect experts to know better and he was defending its numbers, call the box office “tough” a little prematurely.
‘The Hobbit’ and Its Tough Box Office Journey “Despite a record-breaking opening, The Hobbit: An Unexpected Journey experienced a significant 57% drop off in its second week, bringing in an estimated $36.7 million, with an $8,952 per screen average. This brings The Hobbit’s ten-day gross to $149.9 million, tracking about 8% behind The Lord of the Rings: The Return of the King’s ten-day gross.”
Box office update: ‘The Hobbit’ plummets to $10.2M on Friday “Sure, The Hobbit: An Unexpected Journey set a December record last weekend when it opened with $84.5 million, but after eight days in theaters, it’s now clear that the Lord of the Rings prequel is running well behind the final LOTR film, The Return of the King, which earned $377.8 in 2003 — without 3D and IMAX surcharges.
“The Hobbit dropped by a huge 73 percent from its first Friday to $10.2 million yesterday, which puts it on pace for a $33 million weekend . . . but The Hobbit is falling much faster, and it will need to hold up remarkably well over the holiday to have a shot at $300 million domestically.”
After 21 days in release the film will sit at $250+ million domestically with two thirds of its audience being from non-U.S. outlets with $514 million, bringing the total to comfortably over $760 million in three weeks.
Disaster averted, $300 million in sight.
After the second weekend and its reports of plummeting, the film finished in third place on Christmas to two movies with Christmas openings: Les Miserables and Django Unchained. More disaster reported. The Hobbit was again “fading fast” and destined to not only wind up a disappointment, but would it force the studios to force Jackson to make shorter films?
Ho-hum. By the weekend, The Hobbit was back on top winning its third weekend in a row while those two films came down off their debut highs. In full disclosure, I liked both of those films a lot too which brings us to another problem.
The reporting of box office totals comes full of Movie X vs. Movie Y drama but is rather ridiculous. Skyfall just passed the $1 billion mark, the 14th film ever to do so worldwide, but it didn’t “win” a chain of incredible weekends. It was an entertaining film with beautiful cinematography that people (including Hobbit viewers) liked and told friends about. I know the competition aspect of movie vs. movie is just too hard to pass up, but it doesn’t work and isn’t fair but it is effective at creating false drama and gets considerable clicks. I don’t attend one movie and see it as a victory over another film I didn’t see. Make all good movies, we will see them all.
While I am complaining, writers also should stop calling The Hobbit part of the LOTR series because it isn’t, and as the Tough Hobbit Journey story above wisely pointed out, it should be thought of as its own series. The Hobbit is also not a prequel, invented after-the-fact, to make more story or explain anything. It stands on its own and did so before there was a LOTR and was written first. Preaching to the choir here, I know.
Here are some examples:
“However, The Hobbit did suffer the biggest second weekend drop (57%) of any movie based on J.R.R. Tolkien’s Middle-earth series.” – IGN
“The Hobbit: An Unexpected Journey once again dominated the overseas box office this weekend, though its noticeable drop suggests it doesn’t have any chance of it matching Return of the King in the long run.
“The Hobbit’s overseas total reached $288.5 million, and worldwide is now at $438.6 million. While it will hold well through the end of the year, it does now seem certain that the movie will fall well short of $1 billion worldwide.” – BoxOfficeMojo
So really? It isn’t Return of the King? Rather than report The Hobbit is making serious bank, despite your dire predictions, and it performed well though the holidays, the story is its failure to make $1 billion? And, if that were the point, with “only” $250 million to go to reach that number, when is it no longer “well short” and are we sure that will not happen? It is destined to have much less staying power than, say, Skyfall? Whatever the right and wrong of it all, I think the $600 million invested by movie studios in a product that has a three-year-yield window, would be pretty happy with a $750+ million earned in 21 days.
Next week we will be treated to tales and headlines of how the latest Texas Chainsaw Massacre movie “slays the competition” at the box office, unless it doesn’t finish first and then we can read how it was slain by other films, perhaps including The Hobbit.
The third film will be a test of Thorin’s Oakenshield’s character.
None of this really matters for those who simply like the movie. Once the film is on safe financial footing, and the studio is happy to let Jackson do his thing twice more, who cares? Well I do for one. Accuracy is always important. Not shorthanded, easy reporting, but actual accuracy. That comes from my background as a journalist and as a film aficionado. From the same place comes my belief that word choices, like “plummeted” do matter. If you use that in a headline (and writers of stories often do not write headlines) make sure it really means that and it is accurate and isn’t just there to grab extra clicks.
TheOneRing.net and I don’t make any extra money from The Hobbit since we make none at all to begin with. I really hope all good films always find an audience and empower filmmakers to tell stories. (Speaking of movie goers, another topic for another day is my belief that critics are completely, wildly out of touch with film audiences but nobody needs to hear that rant – or let me know if you do.) But permit me one final point, that is directed very squarely at Warner Bros., MGM and New Line and the production company behind The Hobbit.
Dear studios and Team Jackson:
Please do the following if you want to make more money and at the same time want to throw fans a bone:
Send, to be added to digital copies of your digital movie, a teaser trailer for The Hobbit: The Desolation of Smaug. People want to watch your movie again and again but reward them for repeat viewings with some idea of what is in store next December. Tack it on after the credits so folks can enjoy the film, sit through the credits and then thrill with the promise of things to come. You managed it almost a decade ago with the LOTR films, so no excuses. If you have a will, you can do it again and it would win a lot of hearts and minds.
For readers of The Hobbit, which became an almost overnight classic following its 1937 debut, the new movie may elicit some puzzlement. Seemingly extraneous flourishes clog up what many remember as a simple fairy tale, and random characters appear at every twist and turn throughout Middle Earth.
Yet those fans who went on to immerse themselves in J.R.R. Tolkien’s wider lore will find inspiration. For the most part, director Peter Jackson does not exercise an extra heaping of artistic license. Rather, Jackson—reportedly something of a nerd himself—borrows from the larger Tolkien literature to create a rich Hobbit tableau.
“Jackson knows the lore pretty well and wanted to bring that larger material in there wherever he could,” said Michael Drout, an English professor at Wheaton College who founded the academic journal Tolkien Studies and edited the J.R.R. Tolkien Encyclopedia. It’s this so-called textuality—or texts behind texts behind other texts—that lends Tolkien’s work the air of reality, he said, and which Jackson seeks to capture in his films.
Jackson isn’t free to tap into any detail he wants from Tolkien’s wider works, however. “He had a very difficult task in that the movie rights extend only to The Hobbit and Lord of the Rings,” said John Rateliff, an independent Tolkien scholar and author of The History of the Hobbit. “He’s well aware that there’s a great deal more material set in that world, but contractually not allowed to use that material in the movies.”
“Welcome, Master Baggins, to the Company of Thorin Oakenshield!”
-Balin to Bilbo as he welcomes him to the traveling company
At Comic-Con 2012 we saw six of the statues that will be released in Weta’s range of statues for The Hobbit: An Unexpected Journey. One of the six statues at Comic-Con was of the character Balin who was a member of the traveling party and would later retake Moria (though many people’s introduction is of him in his tomb). Balin is the fourth statue released in this line. His brother, Dwalin, is the fifth (review to come) and he makes another fantastic addition to the growing line of sculptures associated with this great movie.
Balin was one of the many dwarves of the Lonely Mountain driven into exile by the dragon Smaug in the year 2770 of the Third Age. Balin would actually make two trips to try and retake the Erebor. One of a venture with Thrain (who was captured), and the second with Thorin Oakenshield in his successful quest to reclaim his legacy. After years of success once Erebor was reclaimed Balin cast his eyes on an even-greater prize — Khazad-dûm. He would be initially successful, but Balin’s new realm lasted a mere five years. The tragic fate of Balin and his kin remained a mystery until the Fellowship stumbled upon his tomb during their journey through Moria.
PACKAGING
The graphics on the box with Balin are similar to those that we saw on the box of Thorin. The front of the box features great design work down the side. It even looks very Dwarvish, though the design varies to the one used on Thorin or the Dwalin box. Also on the front you have a great shot of Balin, graphic work for the title of the movie, and of course the Weta logo. The sides present a couple of different looks with one showing great shots of Balin from different angles while the other side show some of the other products that will be coming out for The Hobbit: An Unexpected Journey like the Dwalin statue, Thorin’s Map, and the Key to Erebor. The back of the box contains a great story on Balin as well as information regarding details of the character and statue. The styrofoam packaging on the inside is typical of what we’ve come used to getting with these statues.
SCULPTING
Lindsey Crummett is a new name to me and I would imagine will be to most of you who have been collecting statues based on the characters of Middle-earth. However, after adding Balin to my collection I have to say I am eager to see what else Ms. Crummett has to show us. The spot-on likeness to Ken Stott’s portrayal of Balin is exceptional! The likeness is scary in a good way that it really feels as if he’s been ripped off the big screen and placed on a shelf. While the sculpt and likeness are excellent, Ms. Crummett did not miss a beat ensuring the rest of the statue was equally good. The embroidery work on his outfit is also very well done and you see the great Dwarvish design of his outfit, which looked beautiful on screen. The execution of Balin’s mace is also superb on this statue. The actual prop is finely detailed with Dwarvish designs. I imagine these must be difficult to transfer to a much smaller scale. Yet, having seen the larger prop replica and compared it to the statue, the quality of reproduction is fabulous. Even though we’re now five pieces into this line I’m still loving the Thror/Thorin’s map on the base. So glad that Weta decided to go with this design.
PAINT
The paintwork on Balin is strong and I believe the best in this line so far (not that I think any of them have had issues). The quality of the paint job brings out the clean lines and the detailed work on the statue. The skin tones are exceptional with the proper use of tones making it look very much like real skin. The job done on Balin’s outfit is equally as good. The paintwork is what helps this look like it was screen used, with the proper coloring matching the outfit worn by Ken Stott. Even his boots show wear through the the paintwork. They look like they’re dirty. As with Orcrist, Balin’s mace came out looking fantastic. You get a great bronze look to the weapon which it had on screen and it looks like its been used in the real world. Critically, the paint enhances the mace’s sculpted details rather than consuming them.
Overall
Balin retails for $230 — a fair price considering the exceptional quality of this statue. This is some of Weta’s best work all around on any single statue and if you enjoyed The Hobbit and the designs of the movie you will want to add to your collection. Even with this statue being an open edition I wouldn’t wait too long to get it, as you never know when the open period could be closed. If Balin and the other four statues are any indication of how this line is going, we’re in for a real treat with the remainder.
SPECIFICATIONS
Balin is an open edition statue with a retail price of $230. He’s also in stock as of right now so don’t delay.
Put away the party hats. With a new year dawning, the holiday movie season has essentially come to an end. The big winner this year: The Hobbit. In the two weeks the film has been in theaters it has grossed $690 million. Continue reading “The Hobbit wins the holiday box office”
On a day usually marked by celebrations, we are very sad to report the untimely death of our Kiwi friend, Mike Hopkins, who worked alongside American compatriot Ethan Van der Ryn as Sound Editors on the LOTR Trilogy. Mr. Hopkins (pictured on the left with Van der Ryn) would go on to win Academy Awards for Sound Editing on two of Peter Jackson’s films: The Two Towers and King Kong. He and his friends were rafting in the Tararua Range when their watercraft capsized. The complete story can be found here at Stuff.co.nz.
Ringer fans have in the past met Mr. Hopkins at public events and our own Oscar Parties held for LOTR cast & crew, where he showed extraordinary humility and appreciation for the love showed by our unique fandom. The staff of TheOneRing.net are deeply saddened at this tragic news and extend their sympathy and prayers to Mr. Hopkins’ surviving family and friends. We wish him godspeed on his new journey, certain that he can make the thunder of Heaven sound that much sweeter to the ears of the Divine.
How do you follow-up one of the coolest environments you’ve ever produced? Well, you go ahead and produce one of the next most coolest environments of course! Shortly after Comic-Con 2011 senior model maker David Tremont began the momentous task of transforming the original model of Barad-Dûr for The Lord of the Rings into a collectible we could all own. Finally, after a year of slaving, fans of Middle-earth got to see the result at Comic-Con 2012 when Barad-Dûr was unveiled to the world.
Over 1,500 hours were put into Barad-Dûr to ensure the collectible on your shelf matches what you saw during The Lord of the Rings trilogy. I believe fans, once they have a chance to see the detail in this piece, will agree all of those hours paid off in spades. David Tremont and his team made very sure every window, spike, tower, ledge, bridge, and rock is included on this piece. Gazing upon this collectible, you can almost imagine Sauron or any number of his minions looking out upon Mordor from any of the many ledges and balconies. It truly is a great representation of the model we saw on film. What’s even more amazing is because of the material used it allowed these details to be captured and safely arrive to our homes. Rivendell had its beautiful river running through it and Barad-Dûr has something similar with its lava river flowing from Mt. Doom into the cavern surrounding the fortress. Even the rock areas of Barad-Dûr are exceptionally realized with the plains of Gorgoth looking like a place you don’t ever want to visit. Like Rivendell, this collectible is an achievement for Weta in showing off the amazing talent of their artists.
Barad-Dûr costs $700 but the level of detail you get and the size of this piece allows you to truly get value for money. This piece is a limited edition piece with only 1,000 of the fortress being produced. Barad-Dûr does not come with a flaming eye but if that is a potential issue for you all you have to do is download the iPhone or iPad app. Then you will have the eye of Sauron. Finally, I cannot implore you enough if you are a The Lord of the Rings collector to find a way to get this piece into your collection.
