Ioreth’s Kinsman writes: I thought you might be interested in “In Conversation with Ian McKellen”, which I went to see in Sydney at the Theatre Royale tonight. It went for about 2 hours and was basically a chat with Sir Ian and an interviewer, who was never actually introduced but knows him well and has worked with him in the past.
The scene was very intimate, even for a large space. There were two chairs very close to the edge of the stage and a table between for water. The rest of the stage (which is currently set up for Dances with Death which Sir Ian is currently playing in) was curtained off. I was lucky enough to be four rows from the front, if a bit far to one side.
For the most part, it was a very casual discussion about Sir Ian’s life: how he got interested in acting as a youth by spending time backstage in his home town, how his grandfather was a role model for him in terms of oration and presentation (his grandpa was a preacher), and a lot about his career, both recent and past. He talked openly about coming out of the closet (bravo!) and the how others felt that he gave better performances once he could be more honest with himself and those around him. He gave many useful anecdotes to any budding actors in the audience about how to connect to a character and get the “DNA” right, by which he meant that by getting one piece of it right (say, the voice, or the walk) often the rest would come a lot easier because, like DNA, it was all there just waiting to fit together.
From a LOTR perspective, he talked a bit about how he and the various makeup people spent three days getting the look of Gandalf just right – all he had to do was sit there while others made the decisions. He joked about Tolkien’s actual description of Tolkien with eyebrows jutting out beyond the brim of his hat, and how unlikely that would have been for film. He also thought that Gandalf the Grey was much more interesting than Gandalf the White (I have to agree), and came very close but never actually showed us his tattoo of the Elvish number 9 (which is on his right arm near the shoulder), when requested by someone in the audience during Q&A time.
Justifications, tears and triumphs, an interview with Phillipa Boyens
by Nazz
Onto our intrepid round table of journalists’ last interview of the day: Phillipa Boyens (co-writer). It was a marathon effort by anyone’s standards especially after a night on the booze, but anyone who found this a trail needed a good smack in the chops. So after quickly downing two coffees, a tall glass of water and a few slaps in the face, I felt about as ready as I could’ve been. Luckily for us, New Zealander Phillipa was alert, full of irreverent fun and an embodiment of the most endearing Kiwi qualities (of which there are legion). She’s also a radiant woman, very hard to dislike and full of open, positive energy yet practical. Off we go
PB: “How are you guys holding up?”
Umm okay. What about you, you poor love?
PB: “Okay but a bit drained. How’s this for a deal: let’s not talk about The Lord Of The Rings?”
Umm cool. What about King Kong?
PB: “Yes! Give me some ideas! We’re just starting the script.”
Okay, firstly are you rewriting the whole thing from scratch?
PB: “Yeah. Well no. We’re basing it on the 1933 version. He’s definitely going to be a gorilla. We thought about changing him into a Kiwi but [laughs], it didn’t work.”
[male reporter] Why are you setting it as a period piece?
PB: “Coz it’s a fantastic well Pete should really answer that but I think one is, one of the reasons he became a filmmaker is because of the very first movie; so he’s honouring that. But actually, if you look at the ’30s, it’s an incredible era and it’s a much easier era to work in than it is today. To me, it’s the decade the world shrank. That’s the decade where there still seemed possibilities of a creature like Kong existing y’know like deepest, darkest Africa.
“And it was a very dark decade. The writers from the era describe a huge depression. It’s got fantastic stuff that you can draw on; like I’m going to draw on the depression for Anne’s background. And yet the appetite the audiences had for film and Hollywood the pure escapism was rampant. They just wanted to escape that whole thing. “Yet at the same time, capitalism or just the possibilities of the world were at a high. Like I said, [to the people of the time, there was the possibility] that there was an island out there with these men desperately trying to find it. We’re still in the process of making it real, coz that’s what Pete wants. He wants it to feel real, so we’re still grappling with that concept that there was an island that could exist in the world, under the radar, where dinosaurs could exist and that there could be this huge gorilla on it. How do you make that work?
“That’s one of the things you can look at, when you set it in the ’30s, you have that ability literally. It’s the decade where it stopped taking you six or seven weeks to get to England from Australia. Suddenly you could do it in a week. It was also a decade of adventure, where they embraced the future and things like that. And there’s also the great clothes c’mon!”
We all agree.
“Yeah you know, not unlike Indiana Jones. That proves this era works in people’s hearts and minds. It gives you that, ‘of our world but not of our world’ feel. Interestingly enough, Fran found this thing on the internet no, in her research I don’t know if it was on the internet. She did find that for some people, King Kong is so ingrained in the New York culture, that urban myth has supported his existence. You know, you can still freely get little statuettes of Kong on the Empire State. Urban myth actually says that a giant gorilla did climb th Empire State Building! Why mess with that it’s a gift! That’s great [giggles] and totally not true [everyone else laughs]. But people think it is?”
[Me, in one of the recurring questions I had for anyone involved. After all not only have they adapted one of my favourite books in The Lord Of The Rings, but now they’re faithfully adapting my favourite monster movie. My friends and I were so impressed that we wrote, recorded and performed three songs in three nights, a trilogy of songs kinda like a three-act tongue-in-cheek ‘rock opera’ for the filmmakers going on to work on Kong that’s (PJ, Phillipa, Richard Taylor and Andy Serkis) as a personal, handmade present. They were all gracious and surprisingly pleased to get them] Were you a fan of the original King Kong?
PB: “I love the original Kong. There’s some interesting things that happen in that, in that it’s a very, very simple story in that we just watched Homicidal? Have you seen that? One of the William Castle movies? Talk about cutting to the chase! It’s all about ,’a homicidal maniac on the loose!’ Which is a great example of 1930s storytelling you just cut to the chase. You sort of just grab the audience and ugh! Rip the into it [giggles]. That’s what I love about the original King Kong. You know we try to be too clever sometimes. You see all that high concept scriptwriting but it’ll be interesting to see.”
[Me] You’re spot on. As soon as they hit the island, there’s zero fat. It’s one scene after the other and no pauses.
PB: “Which is one of the primary things you do in the screen writing. You start it as close to the story as you possibly can which is what we need to do with this one. But umm I love this process part. Everything’s still possible.
“I remember The Lord Of The Rings days before we went through the nightmare of realising, ‘ah well, it’s not possible because we’ve already shot this instead! And damn, this is such a good idea [wicked laugh].'”
[female Woman’s Day reporter] I saw you at a Writer’s Seminar in Auckland.
PB: “Was that with Ed Foley?”
[female Woman’s Day reporter] Yes, I think so. I remember you being so enthusiastic that you’d just finished writing The Lord Of The Rings. Looking back now
PB: “[shrugging off in comical nonchalance] Ahhh, I was so naïve. I just thought the third one would be the easy one, because we’ve finally got an end and it’s done, it’s over but actually it was really hard. Just because I sound like I’m whining and complaining but it was trying to make the multiple storylines fit together; trying to deliver on all those great characters that you’ve met other with in the other two films; honouring the book (but you can’t have that many endings even though we managed to fit quite a few in [squeals with delight]!); but y’know finding our way through all of that stuff was harder than we thought it would be.”
“I remember when we started this project. Actually it was when we’d just wrapped production. We were sitting and having a cup of tea and Peter said, ‘you know what’d be really cool? If we were hypnotised so we didn’t know anything and could you sit and watch the films.’ Now I know actually get what he meant. We don’t get to do that. I know for myself and Fran Walsh [co-scriptwriter] – who I just want to acknowledge by the way, because if Peter was the heart of these movies, she was their soul – that we can’t watch them without seeing things we’d want to improve or change. Not yet anyway. But to see them with an audience who love them is as close as we can get.”
Could you give us an indication of how what the Tolkien estate’s approval process on the films and script were?
PB: “No. Actually they wouldn’t have attempted to do that either. It wasn’t that kind of a process. They left us to decide for ourselves. Professor Tolkien himself, when he was writing letters about the concept of these being turned into movies, one of his letters actually said he’d put them in the hands of other people because that was not his thing. He hoped other hearts and minds would come to them with art, music and drama, and use them to bring his world to life in the best way they could. In a way, that’s just what we’ve done.”
[male reporter] How much debate was there about the endings, because there were quite a few?
PB: “Yes, absolutely. We left quite a few out. They’ll be on the Extended DVD. That’s our second bite at the apple, our, ‘oh no, we can do better!’ forum [laughs].”
[male reporter] Were there any parts of the book you thought would be unfilmable but worked out how to do?
PB: “Not in terms of the technology. If we could imagine it, they could conceive a way to make it happen. It was more the classic story-telling problems that everybody faces: making sure we kept the pace right; the tension right; that we had enough clarity in what we were doing that we actually telling a story and there was a reason behind doing what we were doing, and that the characters also had a reason for doing all the things they were doing. All of those things were much harder than any technology problems because Weta were so on top of it. For me, that is.
“None of the really hard things were technology things, they were the hard drama scenes; like the scene were Gandalf says, ‘I can’t see him any more.’ And Aragorn is saying something else. That was a hard scene to write because it had to have the right feel, the right pace, but it’s all about an awkward moment so how were we to do it? How much were we to include? The audience wants you to keep moving and it can’t be exposition. They couldn’t suddenly say, ‘I know! Let’s ride out to the Black Gate!’ They had to go for a real reason and it had to feel also like a reversal, if you like. It was all of those things and that made it really hard. Those sorts of things were much more difficult. “And, the multiple characters. That was hard to maintain.”
[male reporter] Do you feel a sense of relief that you’ve got out of this project with Tolkien fans on your side?
PB: “Dunno yet. We’ll see. It’s funny because in one of the last round-table interviews, one of the very first questions and I could see he was quite upset was, ‘[told in stilted, barely measured anger] How do you justify Frodo sending Sam away? And was that true to Tolkien?’ That’s interesting because you can really see people care. Now we know this, we know people passionately love these books and why shouldn’t they? We do. We can destroy for them, this world they love so much. So yes, I did have a sense of that.
“But I also know what my job is. And that’s that I had to bring these books to life with Peter and Fran. We didn’t do anything arbitrarily we did it because we needed to make these books work onscreen.
“And the reason why Frodo sent Sam away, just so you know, is: what would happen if he didn’t? He would have a very long climb up the stairs, then you would get Sam which happens in the book get lost in the tunnel which not dramatic. If you just think about what you would have if you didn’t do something there, you understand why we did it which is why we did it.”
[Female reporter] Did you see the article, Running Rings Around Hollywood, about you guys taking the scripts to Hollywood and being turned down by everyone? Did you feel any pressure?
PB: “Yes. In the early days, it was an organic process, because in the early days we did a selling script and yes we did pander to the studios when I say pander, I mean trying to be realistic in what they’d give the time of day to. You can’t sell someone in Hollywood on this love story between two great characters and that they only have one scene together. Or that she basically stays home and, in the book, is embroidering [everyone laughs] his banner. They’re just not going to respond to it! So we did do things to bring Arwen more into it.
“Thank God for Liv because she had a very strong instinct that it was wrong. And we felt that it was wrong and it was wrong. We had to find a way, which was part of the endless revision process, to tell the truth of that story. It’s a very private and intimate love story. It’s actually not a boy-meets-girl love story. It’s a boy and girl who’ve known each other for decades and decades and have loved each other that whole time. It’s actually quite a mature story and we spent a huge amount of time on it.
“That’s what I like about and it’s not in the book! but when she’s leaving Middle-Earth because she cannot conceive of their future. I love that she stays because she sees the child, because to me it’s more interesting. And it has truth. If you go into the appendices, you’ll see they did have a child and that she was very aware that she was staying for a very specific reason: to give away one kind of life to offer another kind of future.
“But you try pitching that in Hollywood! It’s a theme of these films. If you try pitching the theme of this film, which is ‘death’, they just say go away [laughs].”
[Me] Would you like to work with these actors again, as a sort of repertory company?
PB: “I’d love to work with all of them again. They’re all wonderful really great. Seriously. I’d love to work with ALL of them again. I don’t know about Kong, though I know they’re all volunteering to come down to be killed by him; but we’ll see. Elijah, Billy and Dom want to be in the first wave of sailors destroyed by Kong. He’s definitely climbing the Empire State again You gotta do it. Eh?”
Thanks.
And that was it for the last interview of the day.
We all made it.
Thanks and credit must be extended the other journalists who shared these round-tables with me. Each of us had to share the talent time with others. I’ve endeavoured to credit the journalist when their names and publications where mentioned; unfortunately this rarely happened. This one’s dedicated to them.
Miniatures Unit-guru Alex Funke captivated a small audience in Pacific Palisades, California last night during a small panel about the movies. Ringer Spy and TORn Friend Garfeimao was present, wrote the following report and even took some pictures!
Alex Funke, who was in charge of Visual Effects with the Miniature Units did a discussion tonight in Pacific Palisades, California. He talked for about an hour and a half, and was very interesting to listen to. As you can see from these pictures, he’s very animated when he talks, which just helped to illustrate how much he enjoyed his job on the LOTR films.
He began by telling us he’s first read the books way back in the early 1960’s and thought they were just great. When he’d got the call from New Line to work on the picture, he was already a fan of Peter Jackson’s work. He couldn’t believe his luck to get to go to New Zealand, work with Jackson, and make this wonderful book into a film. He says that his first day wandering around the rabbit warren that was WETA was amazing, because there were artisans shoved into every corner making everything imaginable for this film. He describes it as being a very surreal experience, since most of the stuff was rather medieval in look. He then said that he could not believe how big some of the miniatures were, and then proceded to name off all the miniatures that would have been too big to fit into the store we were in.
The discussion then moved onto some very detailed descriptions of passages in the movie, where he’d say what was shot on location, what was a miniature, what was digital effects added later, and how it was all melded together. It was fascinating getting some of the details on how some of the incredible imagery in the film was created.
Finally, Alex Funke mentioned winning the Oscar last year, and how that Oscar sits in the WETA Digital offices, along with some of the BAFTAS and other awards the films have garnered. As he put it, his name may be the one put forward by the producers as head of the Department, but it’s his entire 37 man team that made it possible. He very specifically described bringing that Oscar back to Wellington and giving it to his staff as being theirs. He was also very proud of the family feel his department has and named off 15 births, a number of weddings, etc, to have happened to the group, but no separations or divorce, and no one has left from his group. In fact, he’ll be heading down to Wellington next month to begin work on King Kong, and his whole team will be right there with him.
It was clear from his talk how much he loved his time spent on the films, working for Peter and with his crew, and his love of the job he does. He seems to really love the craft of filming miniatures and it shows. We had a copy of the recent Cinefex magazine, and that coupled with some of the other LOTR companion books gave him ample opportunity to discuss each miniature in detail. He pointed out the snorkel used to get the camera lens into streets that were too small for it, showed completed shots and used his hand to show where the real set ended and the miniature shot was digitized in. It was very cool indeed.
Finally, he signed a few books for a few people, since most had just come to hear him talk. This was a small bookstore in the Palisades, and it was a small, intimate crowd, which was perfectly enchanting. The last thing I did, before leaving, was to get him to sign a theater banner that we will be auctioning off at TORN’s Oscar Party. There will be loads of signatures on it by the time it makes it’s way to the party, the things I do for TORn. Alex Funke even took a picture with the banner, which was cute. As you can see, that’s only about two-thirds of the banner in the picture. You’ll see the rest on February 29.
In light of The Return of the King’s recent surge in momentum, it came as no suprise this morning when the final installment of Peter Jackson’s trilogy was nominated for twelve British Academy of Film and Television Awards, one less than frontrunner Cold Mountain. While the Academy have over the past two years shunned The Lord of the Rings trilogy when it came to the most coveted of categories, New Line’s prize project has faired much better across the pond, taking home Best Picture, Director and Actor for The Fellowship of the Ring in 2002. This year, with Return of the King’s growing momentum both critically and on the awards circuit, February 15th should be a very very good night for ‘Ringers around the world.
BEST FILM BIG FISH COLD MOUNTAIN THE LORD OF THE RINGS: THE RETURN OF THE KING LOST IN TRANSLATION MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD
THE ALEXANDER KORDA AWARD for the outstanding British Film of the Year COLD MOUNTAIN GIRL WITH A PEARL EARRING IN THIS WORLD LOVE ACTUALLY TOUCHING THE VOID
THE CARL FOREMAN AWARD for special achievement by a British Director/Producer or Writer in their first feature film SERGIO CASCI – Writer (for American Cousins) JENNY MAYHEW – Writer (for To Kill A King) PETER WEBBER – Director (for Girl With A Pearl Earring) EMILY YOUNG – Director/Writer (for Kiss of Life)
THE DAVID LEAN AWARD for achievement in Direction BIG FISH – Tim Burton COLD MOUNTAIN – Anthony Minghella THE LORD OF THE RINGS: THE RETURN OF THE KING – Peter Jackson LOST IN TRANSLATION – Sofia Coppola MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD – Peter Weir
BEST ORIGINAL SCREENPLAY 21 GRAMS – Guillermo Arriaga THE BARBARIAN INVASIONS – Denys Arcand FINDING NEMO – Andrew Stanton/Bob Peterson/David Reynolds LOST IN TRANSLATION – Sofia Coppola THE STATION AGENT – Tom McCarthy
BEST ADAPTED SCREENPLAY BIG FISH – John August COLD MOUNTAIN – Anthony Minghella GIRL WITH A PEARL EARRING – Olivia Hetreed THE LORD OF THE RINGS: THE RETURN OF THE KING – Fran Walsh/Philippa Boyens/Peter Jackson MYSTIC RIVER – Brian Helgeland
BEST FILM NOT IN THE ENGLISH LANGUAGE THE BARBARIAN INVASIONS BELLEVILLE RENDEZ-VOUS ÊTRE ET AVOIR GOOD BYE LENIN! IN THIS WORLD SPIRITED AWAY
BEST ACTOR in a Leading role BENICIO DEL TORO – 21 Grams BILL MURRAY – Lost In Translation JOHNNY DEPP – Pirates of the Caribbean JUDE LAW – Cold Mountain SEAN PENN – 21 Grams SEAN PENN – Mystic River
BEST ACTRESS in a Leading role ANNE REID – The Mother NAOMI WATTS – 21 Grams SCARLETT JOHANSSON – Girl with a Pearl Earring SCARLETT JOHANSSON – Lost In Translation UMA THURMAN – Kill Bill Vol. 1
BEST ACTOR in a Supporting role ALBERT FINNEY – Big Fish BILL NIGHY – Love Actually IAN MCKELLEN – The Lord of the Rings: The Return of the King PAUL BETTANY – Master and Commander: The Far Side of the World TIM ROBBINS – Mystic River
ACTRESS in a Supporting role EMMA THOMPSON – Love Actually HOLLY HUNTER – Thirteen JUDY PARFITT – Girl with a Pearl Earring LAURA LINNEY – Mystic River RENÉE ZELLWEGER – Cold Mountain
THE ANTHONY ASQUITH AWARD for achievement in Film Music COLD MOUNTAIN GIRL WITH A PEARL EARRING KILL BILL VOL. 1 THE LORD OF THE RINGS: THE RETURN OF THE KING LOST IN TRANSLATION
BEST CINEMATOGRAPHY COLD MOUNTAIN GIRL WITH A PEARL EARRING THE LORD OF THE RINGS: THE RETURN OF THE KING LOST IN TRANSLATION MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD
BEST EDITING 21 GRAMS COLD MOUNTAIN KILL BILL VOL. 1 THE LORD OF THE RINGS: THE RETURN OF THE KING LOST IN TRANSLATION
BEST PRODUCTION DESIGN BIG FISH COLD MOUNTAIN GIRL WITH A PEARL EARRING THE LORD OF THE RINGS: THE RETURN OF THE KING MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD
BEST COSTUME DESIGN COLD MOUNTAIN GIRL WITH A PEARL EARRING THE LORD OF THE RINGS: THE RETURN OF THE KING MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL
BEST SOUND COLD MOUNTAIN KILL BILL VOL. 1 THE LORD OF THE RINGS: THE RETURN OF THE KING MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD PIRATES OF THE CARIBBEAN
BEST ACHIEVEMENT IN SPECIAL VISUAL EFFECTS BIG FISH KILL BILL VOL. 1 THE LORD OF THE RINGS: THE RETURN OF THE KING MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD PIRATES OF THE CARIBBEAN
BEST MAKE UP & HAIR BIG FISH COLD MOUNTAIN GIRL WITH A PEARL EARRING THE LORD OF THE RINGS: THE RETURN OF THE KING PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL
BEST SHORT ANIMATION DADS DEAD DEAR SWEET EMMA JOJO IN THE STARS NIBBLES PLUMBER
BEST SHORT FILM BROWN PAPER BAG BYE CHILD NITS SEA MONSTERS TALKING WITH ANGELS
Tyler & Bloom at the ROTK Premiere Parade in Wellington
Out of all the people I talked with throughout the course of this 9-5.30pm interview day, this pair that had the most distance and attitude. It’s understandable in both cases, as Liv grown up with attention which has gone into overdrive since her modest role as Arwen, and been a since well before the film; while Orlando’s star continues to rise with his burgeoning pin-up hunk status as he goes from film to film. It also proved a little off putting after the amazing accessibility of people such as Viggo and Peter Jackson.
There’s was also an odd coupling in the minds of many reporters, as they were the two most sought after interview subjects for the women’s mags (maybe it’s because of this very reason).
To be quite honest, their closeness seemed to be very much like an actual couple – Liv’s married so we’ll put it down to genuine familiarity but there was a lot of touching each other, sitting very close, picking lint of each other’s clothes and finishing each other’s sentences. Due to the rising star frenzy, I chose to minimalise my involvement to allow the other journos who obviously desperately needed these interviews or their job would be on the line.
I must also admit to being a little star-struck at a couple of moments, especially by Liv. She really is gorgeous, without being too ridiculous (that’s intended as a compliment Liv, if you happen to read this!), very tall (appearing to be six foot) and with flawless, glowing skin.
Let me paint the picture a little. Liv spoke with her sing-song, almost Melanie Griffith like voice and Orlando was constantly very laddish. Both were dressed casually but to impress, with Orlando in particular, wearing sunglasses, draped in all manner of bandannas and looking a little disinterested or possibly ADD, looking off in all directions and generally being anywhere BUT the room when not being spoken to directly. This happened frequently, since many of the questions were aimed exclusively at one over the other, hence there would be chunks of time were the other wasn’t involved at all.
Liv seemed very uncomfortable and undisguisedly unimpressed whenever any of the many inappropriate, personal questions were levelled at her. Try to put yourself in her place for a moment: she’s asked all manner of invasions of privacy and frankly disgusting shock jock questions regarding sex and her openness to sexual proclivity. How would you react? It may seem amusing the first few times but, after a while, these slips in protocol and general ethics become tiresome and embarrassing; even to us onlooking journalists.
My group were fine in general, but I did happen to have to follow them down a corridor a little earlier in the day when they’d come out of a particularly brutal session and overheard them groaning over the thought of another interview especially like the last one. So here we go
Hello.
Liv: “Look at all of you! We’ve just come back from lunch. Is this for radio?”
Some of it. If you could just hang on while our radio colleagues finish checking their tapes
Orlando: “And time’s up!”
[Lizzie, Triple M]: Liv, do you believe in love at first sight?
Liv: “Yes. Um, I’ve fallen in love at first sight before [looking directly at me and yes fellas, as innocent as it was, I did get a little heart flutter]. But I think it can’t just be a physical attraction. Two people have to be able to feel comfortable with each other to really be together. I hear that not all the time thing about people first meeting and saying, [whispers] that’s the man I’m going to marry!”
Orlando: “That’s such a chick thing. I never go, [whispers] that’s the chick I’m going to marry!’ [everyone laughs].”
Liv: “Maybe you don’t!”
Orlando: “We’re always worrying if we’ll get to take them home!”
[Lizzie, Triple M]: Is that what happened to you Liv, when you met Royston?
Liv: “I don’t know if it happened that fast [laughs]!”
Do you see a similarity with your relationship directly between working with Beresford, Jackson and the differences between their styles?
Liv: “I was 16 when I made that [laughs]. I can’t hardly remember it, never mind reflect on it! I was more worried about what I was doing.
“I find it so hard to compare directors because they’re absolutely unique, all of them, in their own way. That’s what makes their directing style so beautiful. You’re really watching their vision. I never am able to compare directors or favour them or say that they have similar styles.”
What’s it been like working with Peter over these years?
Orlando: “Obviously he was such a geezer. He was the coolest customer and kept the ball rolling at all times at such a graceful pace. Often it would feel like we were trying to wrangle a wild horse or something. He always just kept moving along, getting it done and scenes kept getting completed. It’s quite a miracle really, looking back over the last three years, or three films anyway having just seen the last one now. It’s unbelievable that he achieved that. The dedication, concentration and group effort needed to do that is just an incredible thing.
“You can only really comprehend it in some ways, if you work in the film business and if you worked on a film set. I didn’t really understand it because it was my first film experience and it’s only subsequently, because I’ve worked on other movies, that I’m like, ‘how the hell did he manage to do that?’ It really is a miracle.”
[Me] Has working on the films ‘ruined’ you for other movies [Orlando unfortunately gets the wrong end of my stick, so to speak]?
Orlando: “Not so much ruined it as just brought it to the boil.”
[Female NZ reporter]: So how does it compare moving to Pirates Of The Caribbean and Troy?
Orlando: “That was a trip. But it was a different trip. They were all incredibly different experiences. I feel very lucky to have had the launching pad that The Lord Of The Rings gave me, to be able to work as an actor the way I have.”
[Female reporter]: Did you ever imagine your career would take off the way it did?
Orlando: “Never, never, never, never. I could never imagine that. I had those dreams were I’d wish for the opportunity to show the world what could do because that’s what it is. It’s all about having the opportunity, being given the opportunity to play a character and really do something with it.”
[Male NZ reporter]: How is the surfing going?
Orlando: “Excellent. I love to do it every chance I get. I just invested in a longboard and a new pair of shorts. It’s great. I love it.”
[Male reporter]: At what stage are you with Troy?
Orlando: “Done. All done now. It should be out in May they’re turning it around quickly.”
[Male reporter]: I asked Elijah they same question about how different you feel to the same person I interviewed here two years ago. There’s quite an obvious change in both of you.
Orlando: “Ummm. If my first film had been some goofy, fun little romantic comedy or something, it would’ve totally changed the shape of my career. The Lord Of The Rings was such a classy, highly recognised, remarkable piece of filmmaking that, just to be attached to it in any way, shape or form, gives you a cut above. It raises the bar and is different to any other film. It’s like winning the world cup. If you’ve won it once, you’re always the country that has won the world cup. It doesn’t matter what you do, from here on in, everyone will know you for that. It’s the greatest thing about having been a part of it as my first experience on a film. It’s put me into a different category and gave me a whole set of skills I don’t know any other film could have given me.”
[Male NZ reporter]: Do you think it’s opened doors that you wouldn’t have normally had access to?
Orlando: “Certainly. I’ve been given a chance to work on films where I haven’t been jaded. I’ve worked on really amazing projects, but I’ve also been given a chance to grow with them and into them. I’ve learned from such amazing people.
“I just worked with Johnny Depp and Heath Ledger and Viggo and Brad Pitt. I’ve pretty much covered the leading man demographic [everyone laughs]!”
Liv: “You’re on a roll!”
Orlando: “And they’re so gracious and humble and real. There’s no ego or whipper snapper thing. There’s no keeping the boy down. It’s all about growth and that’s what’s remarkable. And it’s the same as it was working on Rings.”
[Me] What about you Liv?
Liv: “I’d forgotten I was here for second [everyone laughs].”
[Me] You really stretched yourself for this part, even though your screen time is limited, the character’s effect is felt on all the storylines. Could you talk a little about that, how to play an elf of great age and grace, including the decision to lower your voice? And is it true you were instrumental in bringing Arwen back closer to the way she was written?
Liv: “That was kind of a process that happened with everyone. The initial character of Arwen I was watching the DVD and Peter said something about something that didn’t happen and I felt quite sad about but it was kinda interesting.
“It was that Arwen was incorporating into these screenplays as a selling point to the studios, to show them the vastness of this world and the relationships. It was an adventure, and it was action and also a love story! So initially you’ve got these two people that are in love, but in this dreamy, classic way -but yet they’re never together! They’re on the opposite side of the world from each other, Tolkien hardly writes about them [rolls her eyes]. It’s just not much of an issue.
“How do we make that happen? Well, we’re going to incorporate her more into the story, she’s going to fight with him and do this and that. And it didn’t work. And it didn’t work for me which is really interesting, because I think they were right in casting me as Arwen but not that Arwen.
“So that was a struggle for all of us, because it wasn’t working for me and it wasn’t working for them, so I didn’t know what to do. And it was really tough. And when we were finally able to admit that it wasn’t working and that we had to figure out what we needed to do to bring her back closer to who she was in the books, that was when the whole world opened up for me.
“I found it really liberating and exciting. I felt this incredible sense of being given a second chance; because I’d already been through months of getting to know everybody, training and being in the world of working on the movie but I hadn’t really worked yet. So I suddenly leapt forward into something that was really great and so, what you’ve seen character-wise, were just things that we came up with during the shooting of it.
“I think my voice probably changed anyway, because I’m a bit older now but we realised that [does the voice, to all our amazement] if I spoke in a much deeper register that she suddenly sounded ageless. As opposed to when I speak in my normal voice, you can tell I’m young because I’m like [a caricature of her own voice on helium], ‘hi, how are you!’ Suddenly, as soon as you put some depth to her voice, the picture changes so much.”
Orlando: “Yeah, the ushers have to clean more seats [laughs].”
Were you worried you’d be hanging around for a long time with nothing to do or training endlessly for nothing?
Liv: “Sure. That’s what I was doing! I was here for three months doing training.”
Orlando: “She did very good actually. She was a bit intimidating [laughs].”
Liv: “I would go on to Sword Trainer Bob Anderson and train with 20 stunt doubles y’know, huge, big men. And we were choreographing entire fight scenes for Arwen where I slaughtered 20 Uruk Hai at one time! But we never shot them.
“And it was actually really scary for me. I wasn’t naturally comfortable with all that. I found it very If I was approaching the part now, after learning everything and it was more physical, I would approach it very differently. But at the time, I was just panicked. I didn’t feel comfortable. There was a scene we shot at Helm’s Deep where I was on a horse with Theodon and Aragorn, and we’re being attacked by Uruk Hai. I was supposed to be hacking at them while we were on the horses and they’re stuntmen! So you can’t hurt them! And I was expected to look as tough as the guys coz it was wideshot and it was impossible really. Because “
Orlando does impressions of some very girly sword hits for laughs.
Liv: “Not that I’m not strong but I’m not as strong as Viggo or Bernard are! It just didn’t work. The balance of it just did not feel right.”
Orlando: “You had to get it to pull up to what you needed.”
Liv: “Right.”
[Male Reporter] Do you ever worry about being typecast as Arwen and are you ever besieged by Arwen freaks?
Liv: “I think they definitely exist and it can go the other way too. But Arwen and Legolas are in the world of Tolkien and that may exist forever but honestly, I really don’t have a problem with that. I find it touching and great, and I remember being a kid and thinking about Princess Leia and I won’t ever think of Carrie Fisher as anyone else. It’s not that I don’t respect her and her work,” she giggles, “I like it. But I will always remember her that way and I think that’s okay. I personally don’t feel defensive about anything like that. I love the fact the children like us now. It’s so incredible, y’know, these little kids who think of me as a princess.”
Orlando: “They’re really thinking, what bastard. Why can’t I have his life [laughs]. Now watch Liv confirm that.”
[Second male Reporter] Does the constant public recognition bug you?
Orlando: “The funny thing is, it’s all really state of mind. If I want it to be a problem, then it’s a problem. If I don’t then it’s not a problem. I just go about my business and occasionally if someone stops me, I just say hi, sign an autograph or pose for a photo, then move on with my day. It’s when you’re in an arena like this in Wellington right now [a day before the World Premiere, where 100,000 people all surprisingly polite and friendly, in my experience anyway amassed to get a glimpse at their favourite stars and wish them well] where people are expecting to see you. When we go down the red carpet, people will be expecting to see us and it’ll be an absolute frenzy. But then, you have gals and guys and families who’ve been waiting since goodness knows what time in the morning to see everybody. And so when they get to see us, that’s what they’re living through. It’s important to stop and try to see it through their eyes. I’m more aware than anything that maybe I get overwhelmed by the idea of celebrity or fame or whatever that is. But it’s all a state of mind. If I can keep my head together, it’ll be fine. It’s only a problem in my head.”
[Lizzie, Triple M]: Have you had psycho fans?
Orlando: “I think thankfully I haven’t had many psycho fans. I seem to have a pretty nice group of people as my fans, I must say.”
[Woman’s Day reporter] Did you expect an elf to turn into a sex symbol?
Orlando: “No I didn’t. You don’t You know what it is? I think Legolas is a really safe place for a young girl of 13 or 14 to pin their hopes on. He’s kind of pretty asexual as an elf, you know what I mean? He’s a warrior type and kinda handsome but he’s not sexually threatening or trying it on. He’s just this blond dude who’s doing his thing [Liv laughs throughout]. S**t gets taken care of when he’s around and he’s got nice hair. They can brush it and stuff. What can I tell you? I’m a male equivalent of a Barbie doll!”
Was it difficult to have to spend so much time with the project?
Liv: “It’s been tough and not tough at all. In a realistic way, imagine if you had to up and move to the other side of the world and commit yourself to working there, back and forth, for four years of your life. It’s hard. Definitely hard, no matter what. But what’s come along with that has just been incredible.
Orlando: “The positives outweigh any negatives.”
Liv: “We’ve made these movies, made beautiful friendships there are so many incredible people happening to live in New Zealand and to get to learn about the culture here wow. There’s definitely a balance for everything but we’ve done so much work that’s being responded to in a really nice way that they’ll live forever. We can kind of walk away feeling really proud of them.”
Orlando: “I sort of feel as though I grew up in New Zealand. I feel like I came here at an age where I could now really find myself. I was suddenly in New Zealand in this incredible landscape and “
Liv: “He was a young cocky Englishman that came to New Zealand – and they showed him the real world [laughs]!”
Orlando: “Summed up in a line. That’s my whole life in a line. I set ’em up and she knocks ’em down!”
[Female reporter] Before you go, did you go to Margaret Emma [? Evidently a body shop] while you were here?
Liv: “The second I got off the plane! And I went and had the most incredible facial.”
Thanks and credit must be extend the other journalists who shared these round-tables with me. Each of us had to share the talent time with others. I’ve endeavoured to credit the journalist when their names and publications where mentioned; unfortunately this stopped early on in the proceedings.
Andy Serkis was a complete sweetheart when I met him at his booksigning in Pasadena. My friend and I were lucky because we got there 4 hours early and there were only about 30 people in front of us. When we left, there were hundreds and hundreds of people lined up all down the street. I started crying when I met him, telling him how he inspired me to persue acting and I gave him a poem I wrote and dedicated to him. He stood up, gave me a hug, and said, “Aww, thank you, you’re so sweet. Good luck with that. Good luck with your carreer.” One person gave him a fake oscar too and when I saw him, he was slightly teary. He seems like such a sweet down-to-earth guy who really appreciates his fans.
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Katrelya
Living in Sierra Madre, California, I’m just a hop, skip, and a jump away from Vroman’s, Pasadena, where I’ve been a regular customer ever since I was old enough to read!
A few days ago, my National Geographic Beyond the Movie Return of the King DVD arrived – with a coupon for ROTK, so I treated myself to a matinee on the 16th at a nearby theatre. Then, on to Vroman’s to see Andy!
The line was long, but many people – some in Gollum T-shirts – were carrying interesting memorabilia, including some rather large Gollum standees. There was a notice saying that Andy’s book had completely sold out, so I was glad I purchased mine in advance! The line itself was more like a party! Everybody was chatting about Tolkien, Gollum, and Andy as we waited for our turns to see him!
It was amazing to meet a Lord of the Rings star, right after having seen him on the big screen! I was sure to tell Andy I had come directly from the theatre, as I thanked him for his magnificent performance as Gollum! Andy’s smile was warm and genuine, and he is very down-to-earth. He is truly a delightful person!
The Vroman’s Staff was also friendly and courteous. They had placed Andy’s table in an area of the store where everyone could also enjoy the delightful ambience of the bookstore.
After meeting Andy, I had an espresso in the Vroman’s cafe – where I made some new friends who had come all the way from San Diego to see Andy! We discussed Tolkien and history! Tolkien would have approved of all the fellowship that was happening that happy day at Vroman’s.
Thank you, Andy! Thank you, Vroman’s Staff!
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Merry Hatebear
There was a pretty good turnout at the Andy Serkis book signing event in Pasadena,CA today. I would estimate that there were around 200 people (maybe more? I’m not so good with estimating!) in line by the time Serkis was set to begin signing. The line of people wrapped around the corner from the bookstore and the store sold every copy of the book they had . Unfortunately the signing was set to last only 2 hours and because of this Serkis couldn’t talk to the crowd, personalize signed items or allow fans to take posed pictures with him or anything like that. It was still a pretty good event though. Poor Andy’s arm must be SO tired from all the signing he’s been doing!
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Kailin
He showed up a bit early, and we’d been prompted by staff that if he did, they would begin early so they could fit more people in. They had another signing event going on at 7pm, so they wanted to make sure he was done before then. The line wrapped halfway around the building, then down the block, then around the corner, and back towards the parking lot. I know the bookstore actually ran out of the Gollum book well before the event was set to begin, so I guess that means it was a success.
When I got inside with my boyfriend, and sister, Andy actually looked at my boyfriend and rememebered him from previous meetings. OK, that’s nice. He was signing at a rather furious pace, but did take the time to look up often, smile or say hello when he could, and was always charming and pleasant, as usual. Last year, my boyfriend had given him a pass to the Magic Castle, in Hollywood. Apparently, he used it and liked it, so he asked for another one today.
People were not supposed to ask for individualizations of signatures or pictures with Andy, so we didn’t. But, my sister has Down Syndrome and she just has to shake hands or hug the people she meets, and so she gave Andy a hug. He was ready to pose for a picture, which made me fumple for the camera. The picture I’m sending is the results, with my sister’s shoulder disappearing into the foreground.
