"Uzuklar hukmdori" filmi seriyasining ishlab chiqarilishi - Production of The Lord of the Rings film series

Uzuklar Rabbisi
Seriya logotipi
Rejissor	Piter Jekson
Tomonidan ishlab chiqarilgan	Barri M. Osborne Piter Jekson Fran Uolsh Tim SandersFOTR
Ssenariy muallifi	Fran Uolsh Filippa Boyens Piter Jekson Stiven SinklerTT
Asoslangan	Uzuklar Rabbisi tomonidan J. R. R. Tolkien
Musiqa muallifi	Xovard Shor
Kinematografiya	Endryu Lesni
Tahrirlangan	Jon GilbertFOTR Maykl XortonTT Jeymi SelkirkROTK
Ishlab chiqarish kompaniyalar	"Yangi chiziq" kinoteatri WingNut filmlari
Tarqatgan	"Yangi chiziq" kinoteatri
Ishlab chiqarilish sanasi	2001–2003
Mamlakat	Yangi Zelandiya Qo'shma Shtatlar
Til	Ingliz tili
Byudjet	Jami (3 ta film): 281 million dollar[1][2]

Uzuklar Rabbisi filmlar seriyasi uchtadan iborat doston xayol sarguzasht filmlari rejissor Piter Jekson va asosida ismli roman tomonidan yozilgan J. R. R. Tolkien. Filmlar subtitr bilan yozilgan Ringning do'stligi (2001), Ikki minora (2002) va Qirolning qaytishi (2003). Trilogiya qo'shma edi Yangi Zelandiya -Amerika tomonidan ishlab chiqarilgan va tarqatiladigan korxona "Yangi chiziq" kinoteatri ning birgalikda ishlab chiqarilishi bilan WingNut filmlari.

Filmlarning rivojlanishi 1997 yil avgustda boshlangan. Uchala film ham bo'lgan bir vaqtning o'zida otilgan va 1999 yil oktyabrdan 2000 yil dekabrgacha Jeksonning tug'ilgan Yangi Zelandiyasida tortib olish 2001 yildan 2004 yilgacha qilingan.

Ringning do'stligi 2001 yil 19-dekabrda chiqarilgan, Ikki minora 2002 yil 18-dekabrda chiqarilgan va Qirolning qaytishi 2003 yil 17-dekabrda chiqdi, ularning har biri ulkan tijorat muvaffaqiyatlari va tanqidlarga sazovor bo'ldi.

Rivojlanish

Oldingi moslashuvlar

Nashr qilinganidan beri Hobbit 1937 yilda Tolkienning fantastik romanlarini filmga aylantirishga qiziqish paydo bo'ldi. 1939 yilda, Uolt Disney tarkibiga kiritish haqida o'ylashdi Fantaziya, va u va uning kompaniyasi 1970-yillarga qadar kitoblarga qiziqishni davom ettirdilar. Tolkien va uning noshirlari kitoblarni filmga moslashtirish bo'yicha bir nechta havaskor takliflarni rad etishdi va bir misolda Tolkien Morton Grady Zimmerman tomonidan tayyorlangan ekranni tanqid qildi. Oxir-oqibat u huquqlarni ijaraga oldi Hobbit ga Rembrandt filmlari animatsion filmni suratga olish uchun, lekin 1967 yilga kelib ular faqatgina suratga olishgan qisqa o'n ikki kishi tomonidan ko'rilgan.

Hozirga qadar Tolkien Berni-Katzka Productions va Birlashgan rassomlar huquqlari uchun Uzuklar Rabbisi va "parametr yoqilgan Hobbit". Piter Shaffer uch soatlik film uchun "nafis" deb hisoblangan, ammo hech qachon tayyorlanmagan ssenariysini yozish uchun topshirilgan. Ushbu paytda, Denis O'Dell, ishlab chiqaruvchi Bitlz, guruh a'zolari ishtirokidagi "musiqiy multimediya ekstraveganza" qilishga qiziqishini bildirdi Devid Lean yo'naltirishga yo'naltirilgan. Lean bilan band Rayanning qizi, u o'tdi Stenli Kubrik (kim buni "yaroqsiz" deb hisoblagan) va Antonioni, foydasi yo'q.

1969 yilda, hozirda to'liq huquqlarga ega bo'lgan UA foydalanishga topshirildi Jon Boorman yangi stsenariy yozish uchun, lekin 1970 yilda qo'pol loyihasini yakunlaguniga qadar bu juda qimmatga tushdi. 1972 yilda, Artur Rankin kitoblarning AQSh-dagi nashrida bo'shliqdan foydalangan (bu ularni jamoatchilikka aylantirgan) asosida maxsus animatsion televizor yaratish uchun Hobbit (1977) va yakuniy boblariga asoslangan davomi Qirolning qaytishi (1980).

1974 yilda, Ralf Bakshi oxir-oqibat prodyuser bilan birlashib, uni bir qator animatsion filmlar sifatida yaratish bo'yicha muzokaralarni boshladi Shoul Zaents 1976 yilda huquqlarni sotib olish. Birinchi qism 1978 yilda chiqarildi va uning kamtarona moliyaviy muvaffaqiyati oxir-oqibat filmning bekor qilinishiga olib keldi. Shunga qaramay, boshqa kinoijodkorlarga yoqadi Jorj Lukas moslashishga qiziqish bildirgani aytilmoqda Hobbit, lekin Zaents tomonidan rad etilgan va uning o'rniga 1980-yillarni Tolkien-esque kabi original fantastik filmlar egallagan. Excalibur va Willow, ularning hech biri ayniqsa yaxshi qabul qilinmadi.

Baqshining filmi efirga uzatilgan paytda, o'spirin Piter Jekson kitobni o'qimagan, ammo "ismini eshitgan",^[3] va filmni tomosha qilish uchun bordim: "" Dastlabki qismi menga yoqdi - Hobbitonda juda chiroyli ketma-ketliklar, Qora chavandoz bilan yo'lda qo'rqinchli uchrashuv va bir nechta yaxshi jang sahnalari bor edi - ammo keyin, taxminan yarim yo'l, hikoyalar juda kelishmovchilik va yo'nalishni buzadigan bo'lib qoldi va men aslida nima bo'layotganini tushunmadim. Ammo, nima qilgan bo'lsa, meni kitobni o'qishni istashga undash edi - agar nima bo'lganini bilish uchungina! "^[4]

Keyin u kitobning galstuk nashrini o'qidi^[5] dan o'n ikki soatlik poezd safari davomida Vellington ga Oklend,^[6] bu ajoyib jonli aksiyalar filmini yaratadi deb o'ylayman. U Disney yoki kinorejissyorlar Jorj Lukas yoki Stiven Spilberg oxir-oqibat uni ko'rishi uchun birini ishlab chiqaradi, ammo o'sha paytda moslashish mumkin emasligini tushundi.^[7][8] U Borman va Kubrik tomonidan unga moslashishga qaratilgan avvalgi urinishlar haqida o'qidi; ammo u o'sha paytda Rankin / Bass televizion maxsus dasturlarini ko'rmagan edi.^[7][9] Havaskor kinorejissyor, tez orada u ilhomlanib asl fantastik filmlarni suratga olishga harakat qildi Jeyson va argonavtlar va Konan barbar. U 1997 yilgacha kitoblarni qayta ko'rib chiqmagan, chunki ularni moslashtirish uchun chuqurligimdan chiqib ketaman deb o'ylardi.^[10]

Erta rivojlanish

1995 yilda Jekson va uning sherigi Frensis Uolsh tugatish edi Qo'rquvchilar va ularni saqlab qolish uchun original yuqori fantastik filmni suratga olishni o'ylardi maxsus effektlar kompaniyasi biznesda. Yilda yangi o'zgarishlar bilan kompyuter tomonidan yaratilgan tasvirlar 1993 yildan keyin Yura parki, Jekson "rejalashtirishga kirishdiRings of Lord"hikoyaning turi", lekin u va Uolsh biron bir voqeani o'ylab ko'rishga urinishganida, ular Tolkienning kitoblariga o'xshash narsa bilan tugashgan deb hisoblanar edi. Jekson "nega boshqa hech kim hech narsa qilmayotgandek tuyuladi" deb hayron bo'la boshladi.^[6] Tolkienni jonli harakatlarga moslashtirdi va uning iltimosiga binoan uning agenti Ken Kamins huquqlarni kuzatib bordi Shoul Zaents.^[10]

Beri Samoviy mavjudotlar, Jekson bilan shartnomada bo'lgan Miramax. U va uning advokati avval o'z maydonini Miramaxga etkazish majburiyati bor-yo'qligiga ishonchlari komil bo'lmaganida, Jekson buni xushmuomalalik bilan amalga oshirishga qaror qildi, faqat qo'ng'iroq qilib tushundi Xarvi Vaynshteyn u yaqinda Zaentsning ishlab chiqarishini qutqargan Inglizcha bemor va shuning uchun undan huquqlardan foydalanishi mumkin. Jekson kitoblarni to'g'ri moslashtirish uchun bir nechta filmlar kerakligini tushundi,^[11][12] lekin bitta trilogiyani yaratdi: bitta film asosida Hobbit va agar bu muvaffaqiyatli bo'lishini istasa, ikki qismli moslashuv Uzuklar Rabbisi, ketma-ket o'q uzib, olti oylik oraliqda ozod qilindi.^[13]

Zaents bilan muzokaralar Vaynshteynning Zaentsni filmni o'zi ishlab chiqarishdan saqlamoqchi bo'lganligi va tarqatish huquqi tufayli uzaytirildi. Hobbit Birlashgan rassomlarning qo'lida qoldi. Miramax studiyadan huquqlarni behuda sotib olishga harakat qildi.^[10] 1996 yil aprelga kelib, Jekson qayta o'qidi Hobbit va kontseptsiya san'ati ishlab chiqarishni WETA-ga topshirdi,^[14] Garvi uni potentsial prekvelga qoldirishni taklif qilganida.^[10]

Xarvining itoatkorligi Jeksonni taklifni qabul qilishga undadi Universal studiyalar filmga tushirish qayta tuzish ning King Kong.^[10] Harvi g'azablandi, lekin Jekson baribir qilishni xohlamoqda Uzuklar Rabbisi darhol keyin va kitobni qo'lida ushlab, prologni qayta o'qidi. Darhaqiqat, u Miramax va Universal kompaniyalariga ikkala filmni birgalikda tarqatishni taklif qildi, unga Universal tashlaganidan keyin Harvi rozi bo'ldi Sevgida tayyorlaning bitimga, shuningdek.^[10]

Piter Jekson 2003 yilda, premyerasida Qirolning qaytishi yilda Vellington

Miramax uchun oldindan ishlab chiqarish

Universal bekor qilinganda King Kong 1997 yilda,^[15] Jekson va Uolsh darhol Vaynshteyndan qo'llab-quvvatlanishdi va olti haftalik ish boshladilar huquqlarni saralash jarayoni. Jekson va Uolsh Kosta Botesdan sahna ko'rinishida yozishni iltimos qilishdi konspekt Keyinchalik Jekson o'zining ekrani uchun asos qilib olgan kitobning davolash.^[16] Shuningdek, ular Tolkienning xatlari va uning asarlari bo'yicha yozilgan ba'zi ilmiy yozuvlar bilan maslahatlashdilar.^[9]

Darhol keyin KongBekor qilinganligi sababli, Jekson Garviga hali ham ikkita film suratga olishni niyat qilgani haqida aniqlik kiritdi, ammo Miramaks tomonidan bildirilgan xavotirlar uni davolanishni bitta film sifatida sinab ko'rishga majbur qildi ", ammo oxirigacha aniq bo'ldik. biz ikkita film haqida gaplashdik ".^[16] Miramaxdagi hikoyalar konferentsiyasida (uning davomida Bakshi multfilmi namoyish etildi^[17]), Vaynshteynlar "bo'shatilgan"^[16] lekin buni qabul qildi. Muolajani yozayotganda Jekson uchta filmni suratga olishni o'ylardi^[11] va Miramax bu g'oyani rad etishidan oldin "davolanishni uch qismga aylantirdi".^[16][11]

Sinopsis va davolanish o'rtasida Jekson Gildor, Krikxollou, Eski o'rmon, Tom Bombadil, Barrou Uayt, Bill Ferney, Radagast, Lotlorien va Gan-Buri-Ghanni kesishga qaror qildi. Oxirgi davolash hikoyani ikki qismga ajratadi: Ringning do'stligi (bu noma'lum romanni qamrab olgan, ammo ayni paytda Ikki minora) va Uzuk urushi. Birinchisi So'nggi Ittifoq jangi bilan darhol ochiladi (Jekson "Jeyms Bond" ning ochilishi deb atagan) va tugaydi Saruman o'limi va Gandalf va Pippin (ikkinchisi Palantirga qaradi) Minas Tirit.^[16][17]

Ushbu davolashda, Fermer Maggot va Glorfindel mavjud; Gvayxir va Gandalf tashrif buyurdi Edoralar Sarumandan qochib qutulganlaridan so'ng, Evin va Eomer unga Teodenning xohishiga qarshi Shadowfaksni topishda yordam berishadi. Gollum hujumlar Frodo Fellowship hali ham birlashganda, kurash davomida Ring loyga tushib, Boromir tomonidan ko'tariladi. Bilbo ishtirok etadi Elrond kengashi va Sem ichiga qaraydi Galadriel ko'zgu. Filmning oxirida Sarumanni tepalik otib tashlaydi Nazgûl va vafotidan oldin, Gandalfga qarash uchun Palantir berish orqali sotib olinadi. Aragorn, Legolas va Gimli janubga Sauron qo'shinlarini josuslik qilish uchun yuborilgan, Frodo va Sem esa Qora darvoza tomon yo'l olishgan.^[16][17]

Ikkinchi film qalin jangda ochiladi va Frodoning G'arbga suzib ketishi bilan yakunlanadi. Unda Arven va Evin bilan yanada ravshanroq bo'lgan romantik uchburchak, shu jumladan Aragorn va Eowynning "bir-birining qo'lida uxlab yotganligi" manzarasi; va Elladan, Elrohir va Erkenbrandlar Aragornga o'lik yo'lida qo'shilishgan (ikkinchisi bu jarayonda o'lmoqda), ular go'yo go'shtdan qilingan deb ta'riflanadi. Nazgul shunchaki buni amalga oshiradi Doom tog'i ular yiqilishidan oldin.^[16][17]

Ular ushbu muolajani Xarvi va Bob Vaynshteyn, ikkinchisi ular kitobni o'qimaganligi sababli, o'zlarining ssenariysi bilan taassurot qoldirishga e'tibor berishdi. Ular ikkita filmni va umumiy byudjeti 75 million dollarni tashkil qilish to'g'risida kelishib oldilar.^[16]

Kastingning dastlabki munozaralari bo'lib o'tdi, Miramax "amerikalik qilishni" xohladi^[13] loyiha va shunga o'xshash yulduz nomlarini taklif qilish Daniel Day-Lyuis Aragorn uchun ("xayoliy internet spekulyatsiyasi" boshlandi)^[18] go'yoki Lyuisga ushbu qismga bir necha bor murojaat qilishgan) va hatto taklif qilishgan Morgan Freeman Gandalf uchun.^[19] Harvi ham Jeksonni o'ylashdan qaytargan edi Mira Sorvino va Eshli Judd, Garvi uni shu paytgacha yashirincha ta'qib qilgan. Jekson o'zining kastinglar ro'yxatini tuzdi, unda Bilbo Baggins uchun Yan Xolm va Galadriel uchun Keyt Blanshett bor edi.^[20]

Shu bilan birga, WETA Digital kompaniyasi "MASSIVE" dasturiy ta'minotini ishlab chiqdi va WETA Workshop filmlarning kontseptual dizaynini boshladi. Rasmlaridan ilhom olish uchun foydalangan holda (ularni hikoyalar konferentsiyalarida namoyish etishgacha) Jekson yollashni taklif qildi Alan Li va Jon Xou. Miramax, Tolkien'ning mulki bilan aloqasi tufayli Li bilan aloqador bo'lishni istamadi, lekin Jekson Lvni o'ziga jalb qildi Maykl Peylin va uni va Xouni loyihaga qo'shilishga ishontirdi. Oldin Liga pochta orqali xabar yuborgan va u bilan bir marta telefon orqali suhbatlashgan Xou u bilan samolyotda uchrashgan. Xou, shuningdek, ma'lumot olish uchun O'rta asrlarning qayta tiklangan zirhlari to'plamini olib keldi. Uchinchi rassom, Ted Nasmit, keyinchalik qo'shilishga taklif qilingan, ammo rad etilishi kerak edi.^[16] Ralf Bakshining ta'kidlashicha, Jeksonning kompaniyasi uning ko'plab dizaynlarini sotib olgan.^[21]

1997 yil o'rtalarida,^[22] Jekson va Uolsh yozishni boshladi Stiven Sinkler.^[16] Sinklerning sherigi, Filippa Boyens, kitobning asosiy muxlisi edi va ularning muolajalarini o'qib bo'lgach, yozuvchilar jamoasiga qo'shildi.^[22] Ikki ssenariyni yozish uchun 13 dan 14 oygacha vaqt ketdi,^[22] mos ravishda 147 va 144 sahifadan iborat edi. Sinkler teatr majburiyatlari tufayli loyihani tark etdi.

Ushbu versiyada Farmer Maggot va Fetty Bolger paydo bo'ladi. Gandalf zaifroq va chekishni tashlagan va Gimli suhbati bir nechta qo'polliklarni o'z ichiga oladi. Sem, Merri va Pippinlarning hammasi eshik ortida yashirincha tinglanib, Frodo bilan yurishga majbur bo'lishdi. Nazgul shishasi Barliman Butterbur va Wargs Weathertop yaqinidagi Xobbitlarga hujum qilishadi. Gandalfning qachon bo'lganligi haqidagi hisoboti Orthanc flashback-dan chiqarildi va Lotorien Galadriel hikoyada nima qilsa, shu bilan kesilgan Rivendell. Denethor o'g'li bilan Elrond kengashida qatnashadi. davolashda bo'lmagan suvdagi kuzatuvchi qayta tiklanadi. Arven endi Glorfindel o'rniga Frodo-ni qutqaradi va keyinchalik Helm's Deep jangiga qo'shiladi, u erda Nazgul supurib tashlaydi, faqat Gimli tomonidan o'ldirilgan yirtqich hayvon uchun. Darhaqiqat, Teoden saroyi Helm's Deep-ning o'zida joylashgan. Ko'rish joyida bo'lganida, Frodo Sarumanni o'ldirgan Nazgulni Gandalfga hujum qilganini ko'radi. U uzukni tortib olish uchun uzukni taqib oladi va unga yiqilgan yirtqich hayvon hujum qiladi, uni Sam tuzilishga qo'shib beradi. Frazo o'ldirmasdan oldin Nazgul Samga hujum qildi.^[16]

Ikkinchi ssenariyda Aragorn va Arven o'rtasida yaltiroq hovuzlarda jinsiy aloqa sahnasi, Legolas va Gimli g'orlarni ko'rishni to'xtatgan. Keyinchalik Arven Pippinga tahdid soladigan va Rohirrimga qo'shiladigan Nazguldan qutuladi. Yozuvchilar, shuningdek, Arvenni o'ziga singdirishni o'ylashdi Éowyn Uning roli butunlay uni o'ldirish orqali amalga oshiriladi Jodugar shoh, natijada yara uning kasallik manbasiga aylanadi. Faramir Denodor Pippindan kvest sirini bilib, unga buni yuborganidan keyin Frodoni topadi. Ssenariyda Imrahil va Forlong paydo bo'ladi va Aragorn Qora darvoza oldida Sauron bilan jang qiladi.^[16]

Ssenariylarni yozar ekan, Jekson va Miramaks 1999 yil aprel oyida Rojdestvo 2000 va 2001 yil Xotira kunida chiqishi uchun 110 kunlik ishlab chiqarish jadvalini tuzdilar. Shunday qilib, ular filmlarni yaxshi byudjetlashtirishga muvaffaq bo'lishdi, Miramax borgan sari xavotirlanib, so'radi. to'rtta Xobbitdan birini o'ldirish kabi xarajatlarni qisqartirish uchun qayta yozish uchun va Yangi Zelandiyada amalga oshirilgan ishlarni nazorat qilish uchun ishlab chiqaruvchilarni yubordi. Oxir-oqibat, Marti Kats Yangi Zelandiyaga keldi. U erda to'rt oyni o'tkazgan u Miramaxga filmlar 150 million dollarga tushishi ehtimoli yuqori ekanligini aytdi; bu Miramaxning qobiliyatidan tashqarida edi.^[16]

Disneyga qarashli kompaniya bo'lgan Miramax rais Djo Rotning oldiga bordi, u bosh direktor Maykl Eisnerga Miramaxga ishlab chiqarishni byudjetlashtirishda yordam berishni so'rab murojaat qildi. Yaqinda Eisner xarajatlarni qisqartirish choralarini talab qilganda, u rad etdi.^[14] Uolshning aytishicha, bu mol-mulkka bo'lgan ishonchning yo'qligi va Jeksonning zo'ravonlik filmlarini suratga olish qobiliyatidan xavotirga tushganligi bilan izohlangan, garchi keyinchalik Eisner uni faqat Harvi Vaynshteyn unga loyihani ko'rib chiqishga yoki Jekson bilan uchrashishga ruxsat bermaganligi sababli rad etganini aytadi. Buning o'rniga Miramax DreamWorks singari boshqa studiyalarga qo'shilishni qidirdi, ammo yana muvaffaqiyatsiz bo'ldi va buning o'rniga filmlarni biriga qo'shishni taklif qildi.^[16]

Bob Vaynshteyn Jek Lechnerga hikoyaning bir filmli versiyasini eskiz chizishni buyurdi. Lechner bu voqeani juda "zich" deb bildi va har qanday ikki filmli versiya tomoshabinlarni bajarilmasdan qoldirishi mumkin edi, chunki bu hikoya faqat "yarim aytilgan" edi. Shuningdek, u Frodoni zaif belgi deb o'ylardi. 1998 yil 17-iyun kuni u eslatmani yubordi, unda u kesishni taklif qildi Bree va Helm chuquridagi jang, "yo'qotish yoki ishlatish" Saruman, birlashma Rohan va Gondor Éowyn bilan Boromir singlisi, Rivendellni qisqartiradi va Moriya (bu jarayonda Balrogni yo'qotish va Balin maqbarasidagi jang) Ents oldini olish Uruk-xai Merri va Pippinni o'g'irlashdan.^[16] Miramax ushbu versiyani ishlab chiqarish uchun jadval tuzgan.

Jekson bunga rozi bo'ldi "Kamaytirish bo'yicha mashq sifatida Uzuklar Rabbisi bitta filmda u juda ko'p aqlni namoyish etdi ",^[16] ammo "yaxshi narsalarning yarmini kesib tashlash" g'oyasidan xafa bo'ldi.^[22] Keyingi uchrashuvda u Xarvini birinchi filmni byudjetdan keyin ikkinchi filmni suratga olishga ishontirishga urindi va keyinchalik to'rt soat davom etishi sharti bilan bitta filmli versiyasini tayyorlashni taklif qildi. Harvi ikki soatlik filmda butun voqeani aytib berishni talab qilib, rad etdi. Jekson jirkanch bo'lib qoldi va Miramax har qanday ssenariy yoki asar tugatilganligini e'lon qildi Weta ustaxonasi ularniki edi,^[16] va ular buyurtma berishadi Xusseyn Amini ssenariyni Uolsh bilan qayta yozish uchun. Aslida, ular allaqachon ikki film ssenariysini "sevgan" Aminiga yuborishgan edi. Jekson va Uolsh hamkorlik qilishdan bosh tortganlarida, Xarvi shunday dedi Jon Madden uni boshqarishga tayyor. Keyinchalik Jeksonning agentiga telefon orqali qo'ng'iroq qilganida, Xarvi Kventin Tarantinoni eslatib o'tdi. Jekson va Amini ikkalasi ham bu Jeksonni bitta filmni suratga olishga rozi bo'lishiga olib kelgan bluf deb o'ylashadi.^[16]

Keyinchalik Jeksonning agenti Xarviga, agar u boshqa kinorejissyorlarni yollashi kerak bo'lsa, u Jeksonning ssenariylari yoki dizaynlarini asos sifatida ishlata olmasligini, bu esa xarajatlarni ko'paytirishi mumkinligini va bu loyihani faqat Miramax tomonidan amalga oshiriladigan yo'lni o'zgartirishi kerakligini aytdi. xo'rlik bilan rozi bo'ldi. Biroq, Jeksonni bitta filmli versiyasini tayyorlashga majbur qilishlari mumkinligiga umid qilib, Miramax burilish uchun keskin sharoitlarni belgilab, uni to'rt haftagacha cheklab qo'ydi.^[16][22] Shuningdek, ular boshqa studiyadan sarmoyalarini to'lashni va filmlar daromadining 5 foizini berishni talab qilishdi: yarmi o'zlari uchun, yarmi Disney uchun.^[14]

Jekson loyihani sotish uchun o'ttiz besh daqiqalik "suratga olish" videosini tayyorladi va stsenariylarni turli studiyalarga jo'natdi. Jekson do'sti bo'lgan New Line kinoteatriga borishni xohladi Mark Ordeskiy ijro etuvchi edi. Ordeskiy kitoblarning muxlisi ekanligini bilib, Jekson uni taklif bilan chaqirdi. Shu orada, boshqa barcha studiyalar o'tdi. Centropolis va Sony-ga stsenariy yoqmadi, Fox esa Zaentz ishtirokida rad etdi. Polygram qiziqish uyg'otdi, ammo Universal-ga sotilish jarayonida edi. Boshqa studiyalar stsenariylarni ham ko'rib chiqishmagan.^[23]

Ko'chirish Yangi chiziq

Kitoblarning muxlisi, New Line bosh direktori Robert Shaye u kontseptsiya haqida Miramax tushganini eshitganidan beri juda g'ayratli edi, lekin dastlab Mark Vaynshteynlar talab qilgan foizlar bo'yicha so'rovini rad etdi. Oxir-oqibat, ammo New Line-ning daromadli franshizalarga bo'lgan ehtiyoji tufayli u Jekson bilan uchrashishga amin bo'ldi. Ammo u hali ham ishonchsiz edi, ammo Jekson Shayga "haqiqatdan ham raqobatbardosh vaziyatga tushib qolgan" degan taassurot qoldirish uchun boshqa studiyalar bilan suhbatlashish bilan bandligini his qildi.^[23]

Shaye xalqaro distribyutorlik bo'limi boshlig'i tomonidan investitsiyalarning katta qismini xorijiy distribyutorlar tomonidan qoplashi mumkinligini aytgan.^[24] U hali ham Jeksonning o'ziga ishonchsiz edi,^[24] va unga yoqmasligini aytib uchrashuvdan oldin gaplashdi Qo'rquvchilar va bu Uzuklar Rabbisi bu "ehtimol biz qilishni xohlamaydigan narsa".^[25] Biroq, videoni tomosha qilgandan so'ng, u "Nima uchun kimdir kino tomoshabinlari 27 dollar to'lashi mumkin bo'lsa, 18 dollar to'lashlarini xohlaydi?".^[23][26] Oxir-oqibat Jekson Shayni uchta filmni suratga olishni xohlaganiga ergashdi, ularga bajonidil javob qaytardi. Keyinchalik Shaye sherigi Maykl Lin bilan uch filmni suratga olishni muhokama qilganini - agar u loyihani amalga oshirishga qaror qilsa - va u "beshta kitob bo'lsa, beshtasini yaratgan bo'lar edim" deb izohladi.^[24] Ularni bir oy ichida, ikki yil ichida yoki uch yil ichida ozod qilish kerakligi haqida gapirdi.^[23] Harvey Vaynshteyn "New Line" bilan bitimni yakunlash uchun ishni o'zgartirishga ikkita kengaytmaga ruxsat berdi.^[14] Keyinchalik Shoul Zaents Miramaxning kitobdagi variantini yangilash uchun katta to'lovga duch kelayotganini ma'lum qildi.^[27]

Endi Jekson, Uolsh va Boyens uchta yangi ssenariy yozishlari kerak edi.^[22] Uchta filmning kengayishi ijodiy erkinlikni yanada oshirishga imkon berdi, ammo Jekson, Uolsh va Boyens o'zlarining ssenariylarini shunga muvofiq ravishda o'zgartirishlari kerak edi. Uch film trilogiyaning uch jildiga to'liq mos kelmaydi, aksincha uch qismdan iborat moslashish. Jekson ko'proq narsani oladi xronologik Tolkienga qaraganda voqeaga yaqinlashish. Frodoning izlanishlari asosiy yo'nalish, Aragorn esa asosiy subjest.^[28] Shuningdek, kinorejissyorlar Tolkienning tarjimai holi, uning asarlari bo'yicha yozilgan maktublari va ilmiy kitoblari bilan maslahatlashdilar.^[9] Ular filmlardan uzoqlashishga qaror qilgan Tolkien's Estate bilan suhbatlashdilar.^[8]

Bitta takrorlashda film ochildi med res Shire chegaralari yaqinida Frodo va Sam bilan. Dehqon Maggotning tayyor filmga qaraganda roli kattaroq edi va Merri va Pippin bu kvestga faqat keyinroq qo'shilishdi. Arven Lorien bilan do'stlik ortidan ergashadi va keyinchalik u ikki qochqin bolani orklardan qutqarib, Helmning chuquriga etkazib bergandan so'ng, ularni Rohanga qo'shib oladi va u erda Sevinchli g'orlarda orklarni himoya qilish paytida bolani tug'diradigan Eowyn bilan sevgi uchburchagi paydo bo'ladi. Bu uning Jodugar-Shohdan qutqaradigan Eovin bilan urushga otlanishi bilan yakunlanadi.^[29]

Kabi ko'plab ketma-ketliklar Tom Bombadil, bu ikkala fitnaga to'g'ridan-to'g'ri hissa qo'shmaydigan narsalar chiqarib tashlandi, garchi Jekson Bombadilni xobbitlarga butani ko'rgan holda qayta qo'shishni o'ylagan bo'lsa-da, Bombadil voqeasi ekrandan tashqari sodir bo'lganligini taxmin qilish uchun tayyor filmni tahrir qilmoqchi edi. Yozuvchilar Dale jangini qo'shishni ham o'ylashdi Qirolning qaytishi. U Gollum uchun Hunt-ni birlashtira olmagan bo'lsa-da, u filmni muvaffaqiyatli isbotlashi kerak bo'lsa, uni voqeadan keyin suratga olish va kengaytirilgan nashrga qo'shish g'oyasini o'ynadi.^[9]

Qoniqarli xulosalar yaratish va ishonch hosil qilish uchun ko'p kuch sarflandi ekspozitsiya qadam bosishni to'xtatmadi. Yangi ketma-ketliklar bilan bir qatorda, Tolkien noma'lum bo'lgan elementlarga kengayishlar ham mavjud, masalan janglar va mavjudotlar. Davomida otish, ssenariylar rivojlanishda davom etdi, qisman ularning belgilarini yanada ko'proq o'rganishga intilayotgan aktyorlar hissasi tufayli.^[22][30]

Kasting

Jekson aktyorlar va noma'lum aktyorlarni xohlagan,^[31] Irlandiya va Britaniya Hamdo'stligidan aktyor bo'lish.^[32] Miramax davrida dastlabki nazariy kasting bahslari bo'lib o'tdi,^[33] "amerika" qilmoqchi bo'lgan Vaynshteynlar bilan^[32] aktyorlar tarkibi yoki hech bo'lmaganda amerikalik tomoshabinlarga yaxshi tanish bo'lgan aktyorlardan foydalaning: Vaynshteynlar Maks fon Sidov^[34] va hatto Morgan Freeman Gandalf uchun,^[35] shu qatorda; shu bilan birga Pol Skofild, kinorejissyorlar kimga ko'proq mos kelishini taxmin qilishdi Saruman.^[36] Liam Nison va Devid Boui Boromir va Elrond uchun tegishli ravishda gaplashishdi (Jekson buni Yangi chiziq davrida yodda tutishi kerak). Janob Daniel Day-Lyuis Aragorn uchun taklif qilingan,^[34] "xayoliy internet spekulyatsiyasi" ni boshlash^[36] Dey-Lyuis haqida go'yoki ushbu qismga bir necha bor murojaat qilishgan.

Miramax taklif qildi Francesca Annis Galadriel uchun,^[34] lekin Fran Uolsh^[37] allaqachon qo'ygan edi Keyt Blanshett qism uchun istaklar ro'yxatida.^[36] Kler Forlani va Natascha Makelxon^[34] Arven uchun taklif qilingan, ammo Jekson va Uolsh buning o'rniga g'ayratni bildirishgan Eshli Judd, kimga ular "yaxshi" bo'lgan^[36] bilan uchrashuv, va Mira Sorvino, Arven yoki Evin uchun. Xarvi Vaynshteyn (u kinorejissyorlar bilmagan holda, aktrisalarni jinsiy azoblagan), ular "ishlashning dahshatli tushi" ekanligini aytdi,^[34] bu Jeksonni kechiktirdi. Entoni Xopkins Bilbo uchun ko'rib chiqildi,^[38] lekin Jekson allaqachon qo'ygan edi Yan Xolm qism uchun istaklar ro'yxatida.^[36]

Loyiha "Yangi yo'nalish" ga o'tganda, ushbu takliflarning aksariyati rad etildi, chunki "New Line" "munosib xizmat ko'rsatishga" rozi bo'ldi.^[39] Ammo ular Gandalfning roli uchun yulduzni talab qilishdi, "bu kabi katta ismga ega ekanligini ko'rsatmoqda [Shon] Konneri ular filmga yashil chiroq yoqishlari uchun kerak edi. "^[39] Jekson bu g'oyaga qarshi emas edi^[36] (garchi u oldinroq muxlislarga "Shon Konneri Gandalf bo'lmaydi" deb aytgan bo'lsa ham^[40]) lekin u allaqachon boshqa bir aktyorni yodda tutgan edi: Filippa Boyens shundaymi deb o'ylardi Patrik Styuart qismga mos kelishi mumkin edi va McKellen qarshisidagi spektaklining lentasini ko'tardi va ikkinchisini McKellenni hozirgina ko'rgan Jeksonga tavsiya qilish uchun keldi. Xudolar va HAYVONLAR.^[36] Jeksonning so'zlariga ko'ra, McKellen biz uchun birinchi kundan boshlab "" bu "edi.^[31]

Konnerining g'oyasi "filmlarni iloji boricha ishonchli ushlab turish mantramizga mos kelmagan" bo'lsa-da,^[39] Jekson ssenariylarni Konneriga yuborishga rozi bo'ldi. New Line Connery-ga har bir film uchun 6-10 million dollar va yalpi daromadning 10-15 foizini taklif qilar edi. Vellington golf maydonchasi shay holatga keltirildi, Jekson esa Konnerini kuzatib bordi Bagama orollari, va uning ostonasida paketni kuzatdi. Konneri stsenariylarni va kitoblarni o'qidi, ammo "tushunmadim" va bu bir necha hafta davom etdi^[36] u uzoq vaqt talab qilganini aytib, rolni rasman rad etishidan oldin: "Men o'zim to'liq tushunmagan ishni qilishdan manfaatdor bo'lar edim, lekin 18 oy davomida emas".^[41]

Keyingi yangi qator taklif etiladi Kristofer Plummer,^[36] kim ham vaqt talabi tufayli buni rad etdi, xuddi shunday Tom Beyker.^[42] Jekson taklif qilgan edi Richard Xarris, ammo New Line unga qarshi veto qo'ydi.^[36] Maks Von Saydov qiziqish bildirgan, ammo agenti ularga ingliz aktyorlarini qat'iyan izlayotganliklarini aytgan.^[43] Bernard Xill qism uchun o'qigan edi, ammo vaqt talabi tufayli rolni davom ettirishdan bosh tortdi.^[44] Nayjel Xotorn ko'rib chiqildi, ammo uning sog'lig'i tezda pasayib ketdi.^[45] Tom Uilkinson, Sem Nil^[36], Piter O'Tul^[46] va Jon Xurt shuningdek, Xopkins va boshqa qismlar uchun katta yoshli aktyorlar kabi ko'rib chiqildi Patrik Makgoxan; hatto Jon Astin qism uchun o'qing.^[45][36]

Jekson va Uolsh o'qigan Makkelen bilan uchrashishdi Hobbit lekin emas Uzuklar Rabbisi. U ssenariy va badiiy asarlarni ko'rib chiqib, "aqldan ozmagan"^[47] u ishtirok etishga tayyor edi, lekin qarama-qarshi jadvallarga ega edi Bryan Singer "s X-Men, oxir-oqibat Jeksonga qo'ng'iroq qilib, rolni rad etish kerakligini tasdiqladi.^[47] Keyin Robert Shay Makkelen bilan gaplashdi va Jeksonni jadvalni qayta tiklashga ishontirdi. Jekson ilgari uchrashgan Singer bilan gaplashdi va Singer (kitobning muxlisi) o'z vaqtida Makkelenni bo'shatish uchun o'z rejasini tuzatdi va Ianni o'z vaqtida tayyor bo'lishiga ishontirdi.^[36][47]

Kristofer Li Gandalf tomonidan ko'rib chiqilishi uchun Jeksonga sehrgarning kostyumida tushgan fotosuratlarini yuborgan edi,^[48] va film ijodkorlari bilan uchrashishni iltimos qildi. Uning rasmlarini ko'rib, ular uni mukammal Saruman bo'lishiga qaror qilishdi, ammo unga ko'ra "boshqa yomon odamlarni o'ynashni istamayapti".^[49] uni Denethor uchun o'qigan bo'lsa,^[36] va ko'rib chiqildi Jeremy Irons, Malkolm Makdauell va Tim Kori^[50] nihoyat uni Li ga taklif qilishdan oldin.^[36] Shu kuni Li aslida Gandalf uchun o'qishni ham talab qildi,^[49] ammo qo'ng'iroqni qabul qilganida u mamnuniyat bilan Saruman rolini egalladi.^[51]

Aragorn uchun New Line eslatib o'tilgan Bred Pitt.^[39] Film ijodkorlari ko'rib chiqdilar Dugray Skott,^[52] Jeyson Karter, Robin Atkin Douns^[45] va Deniel Dey-Lyuis va o'z-o'zidan tayyorlangan audio lentani tomosha qildilar Vin Dizel.^[53] Patrik Styuart ularni ko'rishni xohlar edi, Jyekson Styuart Aragornni o'ynashni istashi aniq bo'lguncha unga Teoden rolini taklif qilmoqchi edi.^[54] Jekson qaror qildi Styuart Taunsend, New Line juda yosh deb hisoblagan. Jekson buni bilar edi va "Hatto Fran va Filippalar ham men kabi quyma temirdan ishonchli emas edilar" deb tan oldi.^[39] Styuart haqida, lekin uni bo'yanish bilan yoshga solish mumkin deb o'ylashdi.

Styuart aktyorlar roliga topshirildi, ammo vahima paydo bo'ldi va Jekson oxir-oqibat uni asosiy fotosuratlarning birinchi kunida qo'yib yubordi. Ular o'ylab ko'rishgan Rassel Krou (ilgari Boromir uchun kim o'qigan) va Viggo Mortensen roli uchun,^[39] Krou tomonga egilgan Jekson bilan. Ular o'z mehmonxonalarida Mark Ordeskiga Styuartga o'rinbosar topish to'g'risida xabar berishdi va u hojatxona qog'oziga uchta mumkin bo'lgan ismlarni yozishdan oldin Mortensen, Crowe va Jeyson Patrik.^[55] Film ijodkorlari bilan suhbatda Viggo Mortensenga murojaat qilishga qaror qilindi, ammo uning zaxira nusxasi sifatida Krou bor. Ular Viggo agenti bilan bog'lanishgan va shu orada Ordeskiy "xushomadgo'y" bo'lgan Krouga ssenariyni yuborgan.^[56] lekin shunga o'xshash rolni o'ynashni tugatgan edi Gladiator va allaqachon sodiq edi Chiroyli aql. Keyinchalik Krou o'zini ushbu rol uchun kinorejissyorlarning tanlovi emasligini his qilganini va Jeksonga "o'zi xohlagan aktyorni yollashiga ruxsat berilishi kerakligini" ma'lum qildi.^[57]

Boromir roli uchun ssenariylarni Liam Nisonga jo'natishdi va tinglashdi Krou, Daniel Kreyg va hatto Simon Tolkien roli uchun. New Line-da "dialog" bo'lib o'tdi^[58] bilan Nikolas Keyj roli uchun agenti va kinorejissyorlar Keyjning ishqibozlari bo'lishsa-da, ular Keyjning o'zi kabi rad etishdi. Bryus Uillis roli uchun lobbi qildi, lekin Jekson uning ishtirokini rad etdi.^[45] Shon Bin rolga jalb qilingan.^[59] Uning otasi Denethor uchun ular xohlashdi Patrik Makgoxan, lekin u "juda g'amgin" ekanligini isbotladi.^[60] Ular, shuningdek, Kristofer Lini ko'rikdan o'tkazdilar, Jon Riz-Devis^[45] va Donald Sutherland kastingdan oldin qismi uchun Jon Noble.^[61] Faramir uchun "New Line" qidiruvda edi Stiven Dorff (kim rad etdi) va keyin Ethan Hawke, kimning xotini Uma Turman Eowynni o'ynashi kerak edi. Bu roli oqimda edi va Turman yaqinda tug'ildi, va u rad etganidan keyin Xok chiqib ketishga majbur bo'ldi va Jekson Devid Uenxem. Eowyn uchun ular ko'rib chiqdilar Iben Xelje va Mila Jovovich qaror qabul qilishdan oldin Miranda Otto.^[62] Kevin Konvey Bernard Xillga borishdan oldin Teoden qismiga qisqacha bog'langan edi.^[45] Richard O'Brayen borgan Grimadan o'tib ketdi Bred Dourif.^[45]

Helena Bonham Karter Arvenga juda qiziqar edi, lekin Jekson buni xohladi Liv Tayler, Nyu-Line uchun kim foydalidir, chunki u Yaponiyada bank deb hisoblangan.^[63] Uning otasi Elrond uchun Jekson yana Devid Bouini ko'rib chiqdi. U Bouining bu obrazni o'zida mujassam etishi uchun juda mashhur bo'lganidan xavotirda edi^[45] ammo shunga qaramay uni o'qishga taklif qildi. Boui "xushomadgo'y" edi,^[64] lekin rad etdi. Ishlab chiqaruvchi Barri Osborne bilan ishlagan Ugo to'quv kuni Matritsa va unga taklif qildi va to'plamga tashrif buyurganidan so'ng, u qismni qabul qildi.^[22]

Jekson o'ylab topgan edi Silvestr Makkoy Yan Xolm bu qismni ko'rib chiqayotganda Bilbo uchun potentsial zaxira sifatida va Lucy Lawless^[45] Keyt Blanshett Galadrieldan voz kechishi kerak. Ular Nikol Kidmanni ham ko'rib chiqdilar.^[45] Gimli uchun ular tanlovdan o'tdilar Uorvik Devis, Nik Offerman (Samwise uchun lobbi qilgan^[65]), Bill Beyli, Billi Konnelli, Robert Trebor va Timoti Spal lekin Jon Riz-Devis bilan birga ketdi.^[63] Orlando Bloom va Dominik Monaghan Faramir va Frodo uchun sinovlardan o'tkazilgandan so'ng. Kinorejissyorlar to'rtta Xobbitning ham ingliz aktyorlari tomonidan tasvirlanishini istashgan: Jekson tanlovda qatnashgan Johnny Vegas Sam uchun^[45] va ko'rib chiqildi Nik Moran Merry yoki Pippin uchun. Ular uchrashdilar Jeyk Gyllenhaal chunki u inglizcha aksentni bajarishi kerakligini bilmaganligi uchun sinovdan o'tgan Frodo uchun. Ular tomonidan uyda tayyorlangan auditoriya lentasi olingan Elijah Wood Frodo uchun: Jekson Ilyos ismini eshitgan, lekin uni hech qachon filmda ko'rmagan va faqat Fran Uolshning lentasini tomosha qilishga ishongan,^[31] va Ilyosni tashlashga qaror qildi.^[63]

Ishlab chiqarish dizayni

Uzuklar Rabbisi Filmlar seriyasi 1997 yil avgustida ishlab chiqarishni boshladi. Piter Jekson o'zining tasavvurida to'liq realizm va ishonchni talab qildi O'rta yer va yollangan Weta ustaxonasi trilogiyada ko'rilgan turli xil qurol-yarog ', qurol-yarog', protez va jonzotlarni, shuningdek, eskirgan kostyumlar va tarixiy ta'sir ko'rsatgan to'plamlarni yaratish.

Oldindan ko'rish

Jekson boshladi hikoya taxtasi bilan trilogiya Xristian daryolari 1997 yil avgustda,^[66] filmning qo'pol oq-qora 2-o'lchovli versiyasini samarali yaratish. Jekson "jonlantirilgan" stsenariylarning parchalarini namoyish qildi (ovozli tasvirlar va vaqtinchalik soundtrack bilan suratga olingan rasmlar) filmning uslubiga potentsial qarashga imkon berish uchun.

Vizual effektlar ketma-ketligini rejalashtirish uchun Jekson a lab bo'yog'i kamerasi to'plamlar va kompyuter animatsiyasi modellari uchun (o'rganilgan Sanoat engil va sehr ), jangovar ketma-ketlikni haqiqiy general kabi rejalashtirish va yo'nalish tuyg'usini berish. Bu ko'pincha unga Moria zinapoyasining qulashi kabi harakatlar ketma-ketligini tug'ilishga imkon berdi (bu hech qachon biron bir skript loyihasida bo'lmagan).^[22] Shuningdek, u o'ynash uchun 40 ming o'yinchoq askar sotib oldi.^[30] Pre-vizuallashtirish reklama e'lonlari davomida davom etishi mumkin, masalan Istsardga hujum qiladigan Ents qo'shilishi,^[30] va 2003 yil fevral oyida Minas Tiritni qamal qilish.^[67]

Badiiy dizayn

Shlem va vambrace Rohan bilan interlace, spiral va ot naqshli bezak, Rings of Lord kostyum va rekvizitlar ko'rgazmasi, 2003 yil

Trilogiyaning dizayni 1997 yil avgustda syujetga chiqish paytida boshlangan. Jeksonning o'zi 1995 yildagi tarixiy eposga bir necha bor ishora qilib, xayolparastlik uchun jozibali realizm va tarixiy e'tiborni xohlagan Dovyurak^[11] yaxshi misol sifatida:

"Agar men uni tarixiy film sifatida tavsiflasam, aniqroq bo'lishi mumkin. Undan juda boshqacha narsa To'q billur yoki Labirint. Shunga o'xshash narsani tasavvur qiling Dovyurak, lekin ingl. sehrining ozginasi bilan Afsona. [...] ning tarixiy vakolatiga ega bo'lishi kerak Dovyurak, o'rniga ma'nosiz fantaziya mumbo-jumbo Willow.^[8]

1997 yil noyabrda,^[22] mashhur Tolkien rassomlari Alan Li va Jon Xou loyihaga qo'shildi. O'sha vaqtga qadar kontseptsiya rassomlari, birinchi navbatda, ta'sirlangan Dungeons & Dragons ularning dizaynlarida. Ularning ba'zi mashhur tasvirlari Xaltaning oxiri, Orthanc, Helm chuqur, Qora darvoza va Jon Xou Gandalf va Balrog filmga tushdi. So'nggi ochilish ketma-ketligini ilhomlantirdi Ikki minora. Jekson ba'zida taniqli Tolkien illyustratsiyalaridagi ba'zi kadrlarni muxlislarga bosh irg'ash sifatida takrorlagan.^[68]

Li me'morchilik uchun dizaynlar ustida ishlagan, birinchisi Helm's Deep,^[30] shuningdek Elf shohliklari, Moriya, Edoralar va Minas Tirit Va Xou asosan zirh va yovuz kuchlarni ishlab chiqqan bo'lsa-da (pastga qarang), u dizaynga o'z hissasini qo'shdi Xaltaning oxiri, Minas Morgul, Cirith Ungol va Barad-dûr. Li, shuningdek, bo'yalgan tasvirlar yordamida shaxsiy teginishni qo'llagan Rivendell, masalan biri Isildur bitta uzukni olib tashlash Sauron, shuningdek Edorasdagi gobelenlar. Haqiqiy hayotdagi ko'plab ta'sirlar mavjud O'rta yer filmlarda ko'rilgan: Rivendell "bu Yaponiya ibodatxonasi va Frenk Lloyd Rayt ",^[69] va Minas Tirit ta'sirini oladi Mont-Mishel va Axendagi palatin kapellasi. O'lganlar shahri stilistik ilhom oladi Petra, Iordaniya va Grey Havens rasmlaridan ilhomlangan J. M. W. Tyorner.^[67]

Grant-mayor Li va Xau dizaynlarini arxitekturaga aylantirish, to'plamlar modellarini yaratish vazifasi yuklandi Dan Xenna badiiy direktor bo'lib ishlagan, skautlar joylashgan joylarda va to'plamlar binosini tashkil qilgan. Armiya ko'pincha bino qurishda ham yordam berardi Hobbiton suratga olishdan deyarli bir yil oldin^[70] haqiqiy o'sish va yosh haqida taassurot qoldirish, 5000 kubometr (180.000 kub fut) erni siljitish va yo'llarga yo'l yaratish Edoralar olti oylik qurilish paytida joylashuv, ammo ularning ish haqi borasida ba'zi tortishuvlar bo'lgan.^[71] Ba'zan to'plamlar qayta shakllantirilishi mumkin edi: g'orlar Isengard bo'ldi Shelob Lair va Helm's Deep Minas Tirith backlotiga aylandi.^[67] To'plamlar vaqti-vaqti bilan ishlaydi majburiy istiqbol byudjetni tejash uchun. Xavfsizlikning katta hajmiga qaramay, Rohirrim qishlog'ida yong'inlar davom etmoqda^[30] va Morgul yo'li to'plami,^[67] va Alan Li Lotorien miniatyurasidan yiqilib tushdi.^[72] Bilboning tug'ilgan kunidagi nutq paytida, tug'ilgan kunida polistirol bilan tug'ilgan kungi 111 (agar u haqiqatan ham 111 bo'lsa) tasdiqlangan sham bilan tortilgan edi, ammo hamma ekipaj a'zolari uni o'chirishga harakat qilishganda harakat qilishdi. Ssenariyda bo'lmagan voqealarning shunga o'xshash misoli Ian McKellen Bag End ichidagi nur ustiga boshini og'ritdi, lekin u shu orqali harakat qilishni davom ettirdi.

San'at bo'limi tabiatni hisobga olgan holda tabiatni hurmat qilishga ehtiyotkorlik bilan munosabatda bo'ldi Tolkien uchun ahamiyati, masalan, Edorasdagi o'simliklarni ko'chatxonaga olib borish. Ba'zan ular haqiqiy toshlar va qobiqlardan shakllarni shakllantirar edilar va ishonchli daraxtlar uchun polistirol bilan temir konstruktsiyaga novdalarni oladilar. Brayan Massi Yashillar bo'limini boshqargan va hatto "juda konusli" bo'lgan rekvizitlardan shikoyat qilganida, hatto daraxt o'sishi haqida risola ham yozgan. Lotorien film suratga olish vaqti kelganida Fangorn o'rmoni.^[30] Trilogiya doirasidagi ko'plab rekvizitlar dastlab har xil hajmda ishlab chiqilgan va ko'plab hunarmandlar yollangan, eng muhimi Jens Xansen Oltin va kumush ustasi 15 nusxasini yaratish uchun Bitta uzuk.

Zamonaviy zargar Yasemin Uotson boshqa muhim zargarlik buyumlarini, shu jumladan, Evenstar tomonidan yaratilgan Arven va Nenya, taqilgan uzuk Galadriel. Polistiroldan haykallar yasalgan, garchi trilogiyada ko'rilgan ba'zi taxtlar aslida marmar, tosh va yog'ochdan ishlangan. Deniel Riv ismli sobiq bank xodimi trilogiyada paydo bo'lgan ko'plab kitoblar, umurtqalar, hujjatlar, xaritalar, diagrammalar va hatto Orc grafitlarini yozish uchun yollangan.^[72]

Weta ustaxonasi

Frodo (Elijah Wood ) ushlab turish Sting. Sting noaniq barg shaklida, yumshoq egri qirralari bilan tasvirlangan. Pichoqqa o'yilgan va o'zaro faoliyat qo'riqchi harflar bilan yozilgan Sindarin "Sting - bu mening ismim, men o'rgimchakning zarari". Sting uzunligi 23 dyuym va eni 3 dyuymdir.^[73]

Jekson uzoq yillik hamkasbini yolladi Richard Teylor rahbarlik qilmoq Weta ustaxonasi on five major design elements: armour, weapons, prosthetics/make-up, creatures and miniatures. Notable among the concept artists were Daniel Falconer va Uorren Mahi, who enjoyed creating the forces of good and evil respectively. Jamie Beswarick va Mike Asquith also helped with the maquettes, as well as Ben Wooten with his extensive zoology knowledge and many others.

Jon Xou was the supervisor on zirh, having studied and worn it. Stu Johnson va Uorren Grin made 48,000 pieces of armour^[72] from the numerous moulds of plate steel. A small group of crew members spent three years linking plastic zanjirli pochta, eventually wearing their thumbprints away. Peter Lyon also forged swords, each taking from three to six days, creating spring steel "hero" swords for close-ups, aluminum fight swords and rubber versions, too. Weta also created 10,000 real arrows and 500 bows. Howe even created a less crude type of kamar, intended for the Uruk-hai while requiring no external tools to rearm, based on a 16th-century manuscript.^[30]

Weta created numerous pieces of prosthetics and continually monitored them on set. They created 1,800 Orc body suits to go with 10,000 Orc heads, lasting six days and one day respectively. Weta also spent a year creating hobbit feet that would look like large, furry feet yet act as shoes for the actors. In total, 1,800 pairs were used by the four lead hobbit actors during production. Actors would also go in for face casts to create pointed ears and false noses. Most extensive was Jon Riz-Devis kabi Gimli, whose Dwarven prosthetics required four-and-a-half hours to apply in the morning.^[22] Gino Acevedo worked on creating realistic skin tones for the actors, such as Bernard Xill 's possessed Teoden and a younger Bilbo. Peter King and Peter Owen also led the make-up department in making numerous wigs and creating general dirt on the actors. As well as applying make-up, at the end of the day there was an hour of carefully removing the make-up and prosthetics. Numerous corpses of actors and horses were also made.

Weta's first completed creature was the cave troll. Production designers originally wanted to make the Orcs totally animalistic before the switch to prosthetics. They gave specific designs to the Moria Orcs, Uruk-xai and Mordor Orcs so as to give variety to the characters.^[69] They also spent time making creatures biologically believable, rooting them sometimes in real creatures: Shelob 's body is based on that of a funnel web spider, and the Wargs are a bear/hyena/wolf hybrid. Howe lent himself for Beswarick to study when shaping Gollum; Beswarick also took inspiration from Iggy Pop due to his skin-muscle ratio.^[30] Whilst most creatures were destined to exist in the computer, Weta did create a 14-foot-tall (4.3 m) Daraxt soqoli puppet (which needed five people to operate it), a single dead mûmak and, later on, a "Phoney Pony" for close-up shots of riding actors. Designing continued throughout production, such as Gollum's redesign in May 2001 and the Great Beasts in early 2003.

The backstories of several of the cultures depicted in the films had to be shown through only subliminal glimpses on screen, as are the miniatures, and for the Elves and Gondorians, fictional histories had to be presented within the changes of armour. The Elves have an Art Nouveau influence that involves leaves and flowers, while the Dwarves have a preoccupation with geometriya that was intended to remind the audience of their digging nature.^[22] The Hobbits hark back to 18th-century England, the Rohirrim feature numerous horse and sun motifs and draw visual inspiration from Beowulf va Angliya-sakson artifacts found in the Satton Hoo burial ship, and the Gondorians reflect 16th-century German and Italian armour as well as tree motifs. Yomonlik Haradrim Men take influence from Aztecs and Kiribati after bad feedback from Phillipa Boyens over looking African. Most of the Orc armour is sharp, reflecting sekatorlar, and has runes written on it to reflect a worship of Sauron.^[67]

Several liberties were taken in adapting Tolkien's weaponry and armour ekranga. Esa plastinka zirhi is used in the films, it is unmentioned in any of the author's writings (except for vambraces ), qaerda o'lchov va ayniqsa pochta ustunlik qiladi. Some swords, like the broken royal sword Narsil, are also interpreted as two-handed uzoq so'zlar. These design choices help evoke the Oxirgi O'rta asr va Uyg'onish davri periods, whereas Tolkien's original atmosphere is generally more akin to the Ilk o'rta asrlar davr. In a private letter, Tolkien compared Middle-earth clothing and war gear to that of To'q asr Evropa va Bayeux gobelenlari.^[74][75] Weta also invented Elvish inscriptions for weapons like the spear Egos and the swords Sting and Narsil. In some cases, Tolkien writes about runes on sword blades but does not give them in detail. The Elves in the film series use curved swords, whereas the author mostly assigns such swords to Orcs and enemy Men (he mentions one Elf in particular bearing a curved sword in very early writings).^[76] The designers went so far as to invent new weapons, such as the Elvish sword Xadhafangtomonidan ishlatilgan Arven; while the design is original, the name is derived from Tolkien's "Etimologiyalar "ichida Yo'qotilgan yo'l.^[77]

To develop fight and sword choreography for the series, the filmmakers employed Hollywood sword-master Bob Anderson. Anderson worked directly with the talent, including Viggo Mortensen va Karl Urban, to develop the film's many sword fights and stunts.^[78] Anderson's role in Uzuklar Rabbisi series is highlighted in the 2009 film Pichoqni qaytarib olish. This documentary on sword martial arts also featured Weta Workshop and interviews with Mortensen, Urban, Richard Taylor, and John Howe. All discussed their roles and work on the series as related to the sword.^[79]

Kostyumlar

Batafsil kashtachilik ning yengida Arven 's "mourning dress", 2003 costume and props exhibit

Ngila Dikson was hired on 1 April 1999^[72] to handle the numerous costumes. She and 40 seamstresses worked on over 19,000 costumes for the film series. Due to the large shooting schedule, 10 versions of each costume were made, with 30 more for stunt, scale and other doubles, all in all meaning each design had 40 versions.

Due to Jackson's requirement of realism, the costumers took great pains to make costumes look "lived in", wearing away colour, stuffing pockets and dirtying costumes for the likes of Gandalf va Aragorn due to their terrain-crossing nature. As with armour, there was also acid etching and some overdyeing of colours. Dickson decided to give the Hobbits shorts due to their bare feet, and specifically worked on long sleeves for the Elves for a gliding impression.^[22] Dickson also took great pains to distinguish the colors worn by the Gondorians (silver and black) and the Rohirrim (brown and green).^[67]

Suratga olish

Asosiy fotosurat uchun Uzuklar Rabbisi film trilogy was conducted concurrently in New Zealand for 438 days from 11 October 1999 through 22 December 2000. Olib ketish; ko'tarish shoots were conducted annually from 2001 to 2004. The trilogy was shot at over 150 different locations,^[72] with seven different units shooting, as well as at tovush bosqichlari atrofida Vellington va Qirolicha. Jackson directed the whole production, while other unit directors included Alun Bollinger, John Mahaffie, Geoff Murphy, Fran Uolsh, Barri Osborne and Rick Porras. Jackson monitored these units with live satellite feeds, and with the added pressure of constant script re-writes and the multiple units handling his vision, he only got around four hours of sleep a night.^[30]

Jackson described the production as the world's largest home movie, due to the independence and sense of family.^[67] Producer Barrie Osborne saw it as a travelling circus.^[30] Fran Walsh described writing the script for the production as laying the track down in front of a moving train. Jackson also described shooting as like organizing an army, with 2,400 people involved at the height of production. Due to the remoteness of some of New Zealand's untamed landscapes, the crew carried survival kits in case helicopters could not reach the locations to bring them home in time.^[22]

1999 yil oxiri

October 11, 1999 – the first scene filmed for the trilogy was the scene in which the Hobbits hide from a Ringwraith

The first scene filmed was the "Wooded Road" sequence in Ringning do'stligi, qaerda Xobbitlar hide beneath a tree from a mounted Ringwraith. The focus was generally on Ringning do'stligi when the Hobbits try to reach Rivendell, such as a single night in Bree exteriors; this was done with the hopes that the four actors playing the hobbits would bond. Second units also shot the Bruinendagi Ford chase and the deforestation of Isengard. Liv Tayler generally came to New Zealand for stunts, and spent five days on a barrel for Bruinen while riding double Jane Abbott got to ride on horseback.^[22]

During the first month of filming, Styuart Taunsend was deemed too young to play Aragorn, and within three days Viggo Mortensen became his replacement, just in time to film the Weathertop ketma-ketlik. Mortensen, who decided to take the role in part because his own son was a fan of the series, became a hit on set, going fishing, always taking his "hero" sword around and applying dirt to his costume to improve costume designer Ngila Dikson 's makeshift look.^[22] He also headbutted the stunt team as a sign of friendship,^[30] and bought himself his horse, Uraeus, as well as another horse for Abbott.^[67]

"What is amazing when you look at the finished scene in Return of the King, is to think that every time we cut to and from between Frodo and Sam we are actually jumping back and forth across a year-long gap." – Peter Jackson^[80]

The Cirith Ungol stair ledge was built as a wet weather set on a qovoq sudi in a hotel in Qirolicha. On 24 November 1999, Shon Astin 's close-ups on the Cirith Ungol set were shot in what became the first shots to be filmed for Qirolning qaytishi. Endi Serkis (Gollum) had not yet been cast.^[67] The set remained standing on the squash court and it was not until a year later, on 30 November 2000, that Elijah Wood 's first close-ups were shot on the same ledge. This would become a general failsafe measure if the weather disrupted the shooting schedule. On Wood and the second Cirith Ungol shoot, Peter Jackson stated, "A year later, we were back in the squash court, and this time the heat was on Elijah. He had to get his head back into a scene that had been half-filmed so long ago. He knew that he had to deliver a performance that matched the emotion of Sean's takes, and that he did to perfection".^[30]

After this scene, when the flood ended, it was during this time that shooting became focused on the battle of Amon Xen. Shon Bin began filming in November for most of his scenes.^[22]

2000

A Rojdestvo break and Ming yillik tantanalari followed, and filming resumed on 17 January. Yan Makkelen, fresh from filming X-Men, arrived to film scenes in Hobbiton and the Grey Havens. McKellen did not become that close to the lead Hobbit actors, as he generally worked with their scale doubles, but when Kristofer Li arrived in February, they became very friendly.^[22] Shooting the fight sequence in the Orthanc interiors, without air conditioning (for atmosphere) but with heavy wigs and robes, was described by the actors as "murder".^[72] The Grey Havens sequence, which takes place at the end of Qirolning qaytishi, was shot three times due to Sean Astin forgetting his vest after lunch and, then, an out-of-focus camera.^[67]

While the Hobbit leads had scenes in Hobbiton interiors and Rivendell exteriors in Kaitoke Park with new arrival Yan Xolm, Mortensen, Orlando Bloom va Jon Riz-Devis filmed scenes involving the Rohirrim countryside. Mortensen broke his toe kicking an Orc helmet on camera, Bloom fell off his horse and broke a rib, and Rhys-Davies' scale double Brett Beattie dislocated his knee. They spent two days injured during the "orc hunting" sequence seen in the second film. Soon after, they spent a month of day shoots at Helm chuqur and another three months of night shoots handled by Mahaffie, in Dry Creek Quarry outside of Wellington, during which Mortensen's tooth was knocked out and Bernard Xill was hit on the ear with the flat of a sword. The extras insulted each other in Maori and improvised stunts, partially because those dressed in Uruk-hai prosthetics got extremely cold.^[30]

The production then got larger, with Wood and Astin shooting scenes in Ruapexu tog'i uchun Emyn Muil va Doom tog'i. 2000 yil 13 aprelda, Endi Serkis aktyorlar tarkibiga qo'shildi. During this shoot, cross coverage^{[qo'shimcha tushuntirish kerak ]} was used for a pivotal scene in Qirolning qaytishi^{[belgilang ]}. In the meantime, prologue scenes^[72] va Qora darvoza jangi were shot, during which Sala Beyker kiygan Sauron zirh. The Black Gate scene was filmed at a former mine field in the Rangipo cho'llari, and soldiers served as extras.^[67] With the return of Sean Bean, the Fellowship reunited and proceeded to shoot the Moria sequence^[81] and the Rivendell interiors, including five days of coverage for the Elrond kengashi.

In June they began shooting scenes on soundstages with Keyt Blanshett uchun Lotorien,^[82] as well as a week of exterior shooting for the Lothlórien farewell sequence.^[22] Other scenes shot in June were the Paths of the Dead across various locations, including Pinnacles. In July the crew shot some Shelob scenes, while another unit shot in July to August and during September time was spent on the scenes in Fangorn Forest and Isengard. Dominik Monaghan va Billi Boyd tried numerous takes of their entrance, stressing the word "weed" as they smoked pipe-weed. Christopher Lee spent his part of his scene mostly alone, though McKellen and Hill arrived on the first day for a few lines to help.^[81]

Edoras exteriors were shot in October. The Ride of the Rohirrim, where Théoden leads the charge into the Orc army, was filmed in Twizel with 250 extras on horseback. The Battle of the Pelennor Fields has more extensive use of computer-generated imagery, in contrast to the more extensive use of live action for the Battle of Helm's Deep in the second film. Also filmed were scenes in Osgiliath, including attempts by Faramir shaharni qaytarib olish. At this point production was very hectic, with Jackson moving around ten units per day, and production finally wrapped on the Minas Tirith sets, as well as second units shooting parts of the siege.

2001–2004: Pick-ups

Pick-up shoots were conducted from 2001 to 2003 for six weeks every year to refine each film's edit. For the first two films, the cast and crew often returned to sets; for the third, they had to shoot around the clock in a car park full of set parts. Pick-ups provided a chance for cast and crew to meet in person again, and during Ikki minora pick-ups, Sean Astin directed a short film entitled Uzoq va qisqa.

Notable scenes filmed in the pick-ups include the flashback with Boromir (where he is sent to Rivendell by his father Denethor) featured in Ikki minora Extended Edition, as well as the re-shot Jodugar shoh scenes with his new helmet design, the improved Orc designs and the new character of Gothmog, and a re-shoot of Aragorn and Arwen kissing at the coronation scene, all for Qirolning qaytishi. Théoden's last scene was re-shot just after Bernard Hill finished his scenes; Hill was still in New Zealand. Andy Serkis also had to re-shoot a Mount Doom scene in Jackson's house during post-production.

The final and only pick-up in 2004 was a series of shots of falling skulls in Qirolning qaytishi as part of an extended Paths of the Dead scene. Jackson joked that "it's nice to win an Oscar before you've even finished the film".^[67]

Atrof muhitga ta'siri

The filming was not without some level of concern over the environmental impact on the many film locations within milliy bog'lar and conservation areas managed by New Zealand's Tabiatni muhofaza qilish bo'limi. Wingnut Films Limited required and were granted a permit or "concession" from the Department of Conservation to film within these areas. The Yangi Zelandiyaning Qirol o'rmon va qushlarni himoya qilish jamiyati and the Tongariro/Taupo Conservation Board considered the concession questionably processed by the Department of Conservation. The concession permit incorrectly allowed activities, such as fantasy filming and vehicles off-roads at Tongariro milliy bog'i, that were not consistent with park management plans. The ecological significance of an internationally important wetland was also ignored. The process was rushed through without public involvement in spite of expressions of concern from the Tongariro/Taupo Conservation Board. Considerations of effects and their mitigation were not rigorous. The process facilitated access to public conservation lands for a large-scale operation that ultimately had nothing to do with the conservation purposes that the Department of Conservation is required to promote.^[83]

The filming of parts of Rings of Lord yilda Tongariro milliy bog'i caused enough disturbance to some areas of the park, including one known locally as "Orc Road", that contractors had to be hired to restore the areas later. In December 2005, a contractor won an award from the Department of Conservation for their restoration work.^[84]

Post-ishlab chiqarish

Each film had the benefit of a full year of post-production time before its respective December release, often finishing in October or November, with the crew immediately going to work on the next film. In this period's later part, Jackson would move to London to supervise the scoring and to continue editing, while having a computer feed for discussions to The Dorchester Hotel, and a "fat pipe" of Internet connections from Pinevud studiyalari to look at the special effects. He had a video link and 5.1 atrof tovush to organize meetings and listen to new music and sound effects generally wherever he was. The extended editions also had a tight schedule at the start of each year to complete special effects and music.^[85]

Tahrirlash

Jackson initially intended to have all three films edited at once by himself and editor Jeymi Selkirk. This soon proved too ambitious, and Selkirk (who continued to act as the supervising editor) hired a different editor for the first two films: Jon Gilbert, who worked some reels to be shown to distributors during the shoot, would edit the first film, while Maykl J. Xorton va Jabez Olssen ikkinchisida. Selkirk va Enni Kollinz edited the third. Initially, they were all intended to cut them simultaneously, but after a month, overseeing three edits became too much for Jackson, and he focused on editing the first film,^[86] while the other editors created assemblies of the other films.^[11] Daily rushes would often last up to four hours, with scenes being done throughout 1999 to 2002 for the rough (4½-hour) assemblies of the films.^[22] In total, 1,828 kilometres (5,997,000 ft) of film^[72] was edited down to the 686 minutes (11 hours and 26 minutes) of extended edition running time. This was the final area of shaping of the films, when Jackson realized that sometimes the best scripting could be redundant on screen, as he picked apart scenes every day from multiple takes.

The first film's editing was relatively easygoing, although after a screening to New Line they had to re-edit the beginning for a prologue. Ikki minora was always acknowledged by the crew as the most difficult film to make, as "it had no beginning or end", and had the additional problem of inter-cutting storylines appropriately. Jackson even continued editing the film when that part of the schedule officially ended, resulting in some scenes, including the reforging of Anduril, Gollum's backstory, and Saruman's demise, being moved to Qirolning qaytishi. Later, Saruman's demise was cut from the theatrical edition (but included in the extended edition) when Jackson felt it was not starting the third film effectively enough.^[87] As with all parts of the third film's post-production, editing was very chaotic. The first time Jackson actually saw the completed film was at the Wellington premiere.

Many filmed scenes remained unused, even in the extended editions. Uchun reklama materiallari Ringning do'stligi contained an attack by Orklar from Moria on Lothlórien after the Fellowship leaves Moria, replaced with a more suspenseful entrance for the Fellowship. Also cut were scenes from the book, including Frodo seeing more of Middle-earth at Parth Galen, an extended Council of Elrond^[22] and new scenes with an attack upon Frodo and Sam at the river Anduin by an Uruk-hai.^[22]

A major cut from Ikki minora featured Arwen and Elrond visiting Galadriel at Lothlórien, with Arwen then leading the Elven reinforcements to Helm's Deep.^[30] This scene, and a flashback to Arwen and Aragorn's first meeting, was cut during a revision of the film's plot; the Elves' appearance was explained with a telepathic communication between Elrond and Galadriel.^[30] Éowyn was to have a greater role in defending the refugees in the Glittering Caves from Uruk-hai intruders,^[88] while in Osgiliath, Faramir was to have a vision of Frodo becoming like Gollum,^[30] with Frodo and Sam having an extended fight sequence.^[89]

Filmed for Qirolning qaytishi were two scenes present in the book: Sam using the Phial of Galadriel to pass the Watchers at Cirith Ungol, and further epilogue footage, with endings for Legolas and Gimli, Éowyn and Faramir's wedding and Aragorn's death and funeral.^[90] Sauron was to fight Aragorn at the Black Gate, but with Jackson deciding the scene was inappropriate, a computer-generated troll was used instead.^[67] To give context for Wormtongue killing Saruman, and Legolas in turn killing Wormtongue, it was to be revealed that Wormtongue poisoned Théodred.^[91] The final scene cut was Aragorn having his armour fitted for the Qora darvoza jangi by the trilogy's armourers, which was the final scene filmed during principal photography.^[67] Peter Jackson has stated that he would like to include some of these unused scenes in a future "Ultimate Edition" home video release, also including outtakes.^[92]

Musiqa

Howard Shore composed, orchestrated, conducted and produced the trilogy's music

Kanadalik bastakor Xovard Shor composed, orchestrated, conducted and produced the trilogy's music. He was hired in August 2000^[93] and visited the set, and then watched the assembly cuts of Ringning do'stligi va Qirolning qaytishi. In the music, Shore included many (85 to 110) leytmotivlar to represent various characters, cultures, and places – the largest catalogue of leitmotifs in the history of cinema, surpassing that of the entire Yulduzlar jangi filmlar seriyasi. For example, there are multiple leitmotifs just for the hobbits and the Shire. Although the first film had some of its score recorded in Wellington,^[22] virtually all of the trilogy's score was recorded in Uotford shahar zali va aralashgan Abbey Road Studios. Jackson planned to advise the score for six weeks each year in London, though for Ikki minora he stayed for twelve. Kabi Bitlz fan, Jackson had a photo tribute done there on the zebra kesib o'tish.^[30]

The score is primarily played by the London filarmonik orkestri (ranging from 93 to 120 players throughout the recording), London ovozlari, and London Oratory School Schola boy choir; many other artists, such as Ben Del Maestro, Enya, Rene Fleming, Jeyms Geyvey, Enni Lennoks va Emiliana Torrini, hissa qo'shdi. Even actors Billi Boyd, Viggo Mortensen, Liv Tayler, Miranda Otto (extended cuts only for the latter two) and Peter Jackson (for a single gong sound in the second film) contributed to the score. Fran Walsh and Philippa Boyens served as librettists, writing lyrics to various music and songs, which Devid Salo translated into Tolkien's languages. The third film's end song, "G'arbga ", was a tribute to a young filmmaker Jackson and Walsh befriended named Kemeron Dunkan, who died of cancer in 2003.^[67]

Shore composed a main theme for Ringning do'stligi rather than many different character themes, and its strengths and weaknesses in volume are depicted at different points in the series. On top of that, individual themes were composed to represent different cultures. Infamously, the amount of music Shore had to write every day for the third film increased dramatically to around seven minutes.^[67] The music for the series turned out to be a success and has been voted best movie soundtrack of all time for the six years running, passing Shindler ro'yxati (1993), Gladiator (2000), Yulduzlar jangi (1977) va Afrikadan tashqarida (1985) respectively.^[94]

Ovoz

Sound technicians spent the early part of each year trying to find the right sounds. Some, such as animal sounds like those of tigers and walruses, were bought. Human voices were also used. Fran Walsh contributed to the Nazgûl scream and David Farmer the Warg howls. Other sounds were unexpected: the fell beast's screech is taken from that of a donkey, and the mûmakil 's bellow comes from the beginning and end of a lion's roar. Bunga qo'chimcha, ADR was used for most of the dialogue.

The technicians worked with New Zealand locals to get many of the sounds. They re-recorded sounds in abandoned tunnels for an echo-like effect in the Moria sequence. 20,000 New Zealand cricket fans provided the sound of the Uruk-hai army in Ikki minora, with Jackson acting as conductor during the innings break of a one-day international cricket match between England and New Zealand at Westpac stadioni.^[30] They spent time recording sounds in a graveyard at night, and also had construction workers drop stone blocks for the sounds of boulders firing and landing in Qirolning qaytishi. Mixing took place between August and November at "The Film Mix", before Jackson commissioned the building of a new studio in 2003. The building, however, had not yet been fully completed when they started mixing for Qirolning qaytishi.^[67]

Maxsus effektlar

Uzuklar Rabbisi film series used many groundbreaking practical and digital visual effects that were unheard of in the film industry. Ranging from prosthetics and props to creatures almost entirely made through computer graphics, the process of making the film series has been praised as having forged a breakthrough in the world of cinematic visual effects. Weta ustaxonasi was the major stylistic force behind the films, working on concepts, sets and digital effects years before the first scenes were even shot. The series was also briefly aided by Raqamli domen in the first movie. Props, sets, prosthetics and locations were given the utmost concentration and detail to achieve a look that was as realistic as possible.^[95] More than 48,000 items were created for this trilogy alone, including completely specialized weapons, intricate miniature sets, and extremely lifelike prosthetic body parts. Two hundred and sixty visual effects artists started out on the trilogy; the number had more than doubled by the series' end. Led by acclaimed veterans and talented amateurs alike, the crews within each division would work overnight to produce special effects within short spaces of time to accommodate Jackson's active imagination.

Miqyosi

Production was complicated by the use of scale doubles and majburiy istiqbol on a level never seen before in the film industry. In the Middle-earth storyverse, Hobbits are 3 ft 6 in (107 cm) tall, Mittilar are slightly taller at about 4 ft 6 in (137 cm), and Men and Elves are average human height, about 5 to 6 ft (150 to 180 cm). However, the films used two scale sets instead of three by casting taller than average actors to play Dwarves, then combining Dwarves and Hobbits into one size scale. Elijah Wood is 5 ft 6 in (1.68 m) tall in real life, but his character, Frodo Baggins, is only 3 ft 6 in (1.07 m) in height. Jon Riz-Devis, who played the Dwarf Gimli, is taller than Wood. Thus in the ending shot of the Elrond kengashi scene, when all nine members of the Ringning do'stligi are standing together, Rhys-Davies and the four Hobbit actors were filmed first. The human-sized characters (Gandalf, Aragorn, Boromir va Legolalar ) were filmed in a second take, and the two shots were composited at different scales to make one image, making the initial Dwarf/Hobbit character shot seem smaller.^[96] An unintended advantage of not creating a third scale for Dwarves is that in a scene in which only Dwarves and Hobbits interact, no scale doubles are needed.

Large and small scale doubles were used in many other scenes, while entire duplicates of certain sets (including Xaltaning oxiri yilda Hobbiton ) were built at two different scales so that the characters would appear to be the appropriate sizes. At one point in the film, Frodo runs along a corridor in Xaltaning oxiri, followed by Gandalf (played by Yan Makkelen ). Wood and McKellen were filmed in separate versions of the same corridor, built at two different scales; these two separate shots were then combined to create a shot of both actors appearing to be in the same corridor.

Forced perspective was also employed, so that it would look as though the short hobbits were interacting with taller Men and Elves. Surprising the makers of the film, the simple act of kneeling down was used to great effect. Some actors also wore oversized costumes to make average-sized actors look small, and there were numerous scale doubles who were disguised with costumes (and even latex faces for the hobbit doubles) and an avoidance of close-ups and numerous back shots.

Miniatyuralar

An early composite of actor Yan Makkelen in the miniature of Isengard uchun Uzuklar Rabbisi: Shohning qaytishi

Weta coined the term "buyuklik " for the 72 large miniatyuralar produced for the film, in reference to their extreme size.^[97] Out of around six of the shooting crews, there was one specifically devoted to filming on the miniatures, working continuously for years until the end of Qirolning qaytishi.^[95] Such miniatures include the 1:4 scale for Helm chuqur, bu bilan birga Xazad-dûm va Osgiliat, was one of the first built.^[98] Most sets were constructed to allow compositing with the models and matte paintings, and also built in sections to make them easier to travel with, as the miniatures were not built in the studio where they would later be shot. Each of these "bigatures" were required to have an extreme amount of detail, as the cameras were filming within inches of the masterpieces in hopes of using cinematography to make the sets look as realistic as possible.^[95] Taniqli misollarga quyidagilar kiradi Argonat, Minas Tirit, the tower and caverns of Isengard, Barad-dûr, the trees of Lotorien va Fangorn O'rmon va Qora darvoza. Alex Funke led the harakatni boshqarish kamerasi rigs, and John Baster and Mary Maclahlan led the building of the miniatures. The miniatures unit worked more than any other special effects crew, labouring for over 1,000 days.

Animation and computer graphics effects

Creatures such as trollar, Watcher-in-the-Water, Balrog, Ents, fell beasts, Wargs, mûmakil va Shelob were created entirely with kompyuter tomonidan yaratilgan tasvirlar. Creatures would spend months of creation and variation as sketches before approved designs were sculpted into five-foot maquettes and scanned into a computer. Animators would then rig skeletons and muscles before animation and final detailed colouring scanned from painted maquettes. Daraxt soqoli had a digital face composited upon the original animatronik, which was scanned for the digital model of his longshots.^[99]

Along with the creatures, Weta also created highly realistic digital doubles for many miniature longshots, as well as numerous stunts, most notably Legolas. These doubles were scanned from having actors perform movements in a motion-capture suit, and with additional details created using ZBrush. There are even morphs between the doubles and actors at times.^[100] Horses also performed with mo-cap points on them, although deaths are keyframe animation.^[99]

Weta began animating Gollum in late 1998, using a generic human muscle system, to convince "Yangi chiziq" kinoteatri they could achieve it.^[96] Endi Serkis played Gollum by providing his voice and movements on set, as well as performing within the harakatni ta'qib qilish kostyum. His scenes were filmed twice, with and without him. Originally Gollum was set to solely be a CG character, but Jackson was so impressed by Andy Serkis' audition tape that they used him on set as well. Boshchiligidagi jamoa Rendi Kuk performed the animation using both motion capture data and manual recreation of Serkis' facial reference.^[101] Gollum's CG model was also redesigned during 2001, now using a bo'linish yuzasi model instead of the NURBS uchun model Hamjamiyat (a similar rebuild was also done for the digital doubles of the lead actors), when Serkis was cast as Sméagol, Gollum's form before he is cursed by the Bitta uzuk, so as to give the impression that Serkis as Smeagol transforms into the CG Gollum. The original model can still be glimpsed briefly in the first film. Over Christmas 2001, the crew proceeded to reanimate all the previous shots accordingly within two months. Another problem was that the crew realized that the cast performed better in the versions of the film with Serkis. In the end, the CG Gollum was often animated on top of these scenes and Serkis would be painted out. Due to Gollum's not being human, shots such as him crawling down a sheer cliff were shot with no live reference. Serkis also did motion-capture for the character which would drive the body of the model, whilst animators did all fingers and facial animation. Gino Acevedo supervised realistic skin tones, which for the first time used er osti tarqalishi shader, taking four hours per ramka to render. Render time refers to the amount of time it took the computer to process the image into a usable format; it does not include the amount of time it took the texture artists to "draw" the frame.^[101] The hair dynamics of CG Gollum in Ikki minora were generated using Mayya Cloth. Because of its technical limitations, Weta subsequently moved to the Syflex uchun tizim Qirolning qaytishi.

Because they were turned to wraith-like versions of their former terrible selves, tall, slim actors wearing prosthetics and costumes were used to portray the Nazgûl or "Ringwraiths". Filmed on a studio set, the setting and appearances of the Ringwraiths were later edited to look chaotic and terrible.^[95] Though 2D effects were used to create the characters and atmosphere, 3D effects were utilized to create the final scenes we see in the film. Weathertop, the ancient ruin site in which the hobbits first encounter the Ringwraiths face-to-face, was filmed using computer graphics effects, but the action scenes were filmed in a studio. Later on, the scenes were merged using digital effects.

Besides Weathertop, many of the other scenes in Uzuklar Rabbisi trilogy were shot in this way, first by filming the scenery or set miniatures, then the actors on a studio set, and merging the two together. An example of this is in the Moriya minalari, when the Fellowship is fighting the cave troll in Balin's Tomb, and again when the Fellowship is on the Xazad-dûm stairs and bridge. Gandalf has his own particular scene with computer graphics as he grapples with the Balrog as they fall to their deaths.

Christoper Hery (ILM ), Ken McGaugh and Djo Letteri (both Weta and previously ILM) received a 2003 Akademiya mukofoti, ilmiy yoki texnik for implementing the BSSRDF technique used for Gollum's skin in a production environment. Henrik Vann Jensen (Stenford universiteti ), Stephen Robert Marschner (Kornell universiteti and previously Stanford University), and Pat Xenraxan (Stanford University) (but not the fourth coauthor Mark Levoy ), who developed BSSRDF, won another the same year.

Dasturiy ta'minot

Weta developed KATTA, har bir askarni alohida-alohida jonlantirish o'rniga avtomatik jangovar ketma-ketliklarni yaratish uchun ishlatiladigan birinchi turdagi olomonni simulyatsiya qiluvchi kompyuter dasturi.^[96] Stiven Regelous tizimni 1996 yilda, dastlab jang sahnalarini yaratish uchun ishlab chiqqan Uzuklar Rabbisi.^[100] Tizim har biri uchun juda ko'p tanlovni yaratadi dasturiy ta'minot agenti raqamli arenada bo'lganda tanlash. Ketrin Tiel har bir turdagi askarlarning harakatlarini ta'minladi, masalan, o'ziga xos jang uslublari (Toni Vulf tomonidan ishlab chiqilgan) yoki qochish.^[99] Bunga qo'shimcha qilish uchun simulyatsiyalar uchun raqamli muhitlar ham yaratilgan. MASSIVE shuningdek xususiyatlari Grunt, xotira-konservativ maxsus maqsad ko'rsatuvchi, bu 200,000 agentlari va bir necha million ko'pburchaklarni o'z ichiga olgan sahnalar uchun ishlatilgan. The Pelennor maydonlari sahnada shuningdek, 5 × 5 katak shaklida "ko'p tanali agentlar" mavjud Orklar.

Jekson odatda miniatyuralardan foydalanishni talab qilgan bo'lsa-da, ba'zida tortishish, birinchi navbatda raqamli belgilar bilan bu juda qiyin bo'ladi. Ba'zan bulut, chang va olov kabi tabiiy elementlar (Wraithworld sahnalari va Balrog uchun elektron ma'lumotlar sifatida ishlatilgan),^[100] va Pelennor maydonlarini yaratish uchun tabiiy muhit yaratilgan.^[96] Filmlarga "rassomchilik" ko'rinish berish uchun kinematograf Piter Doyl kompyuterdagi har bir sahnada ranglarni mustahkamlash va ishlarga qo'shimcha kayfiyat va ohang qo'shish uchun ishlagan. Oltin Lotin, Moria va Helm's Deep-ga sovuq ranglar kuchaytirilganda, Hobbitonga bo'yalgan.^[100] Bunday texnikani amalga oshirish 2-3 hafta davom etdi va qo'shimcha tahrirlash uchun raqamli manbada biroz erkinlik berildi.^[102]

Uzuklar Rabbisi: Shohning qaytishi kompaniyaning yordamini talab qildi Keyingi Limit Technologies va ularning dasturiy ta'minoti RealFlow lavani simulyatsiya qilish Doom tog'i. Filmlar seriyasida ishlatiladigan maxsus effektlarning texnik tavsifi berilgan Mett Aytken va boshq. (2004).^[103]

Shuningdek qarang

• Uzuklar Rabbisi (filmlar seriyasi)
• Hobbit (filmlar seriyasi)
• Uzuklar Rabbisi (TV prequel seriyasi)

Izohlar

Adabiyotlar