As Evangeline recalls, Peter Jackson was very clear about Tauriel’s combat techniques: ‘Peter was adamant that no recognizable “human” fighting styles were employed. So, you won’t see specific martial arts moves. Tauriel fights calmly and gracefully – but with venom. Taking on multiple enemies at once, she uses her speed, agility and knife skills to overwhelm her opponents.’ And, in case this description isn’t sufficient, she adds: ‘Mostly, she slices them to shreds!’

  The Elves encountered by Thorin and the Dwarves in Mirkwood are distinctly different from the Elves of Rivendell or Lothlórien, as the actress explains: ‘Despite being shorter and smaller, there is a lethal, militarized quality to the Woodland Elves that makes them very dark and dangerous. Living in a forest that is being encroached upon by an external evil, they have closed their doors and given up on the outside world. This makes them more intolerant and less gracious than the Elves we’ve met in The Lord of the Rings. Basically, we’re scarier!’

  The designs of Tauriel’s weapons were conceived to extend the thorn-motif that is found in Thranduil’s appearance.

  But there is more to Tauriel than just ‘a lethal weapon’, says Evangeline: ‘She is young in Elf years and still holds on to the magic and excitement that was once at the heart of the Woodland people before their forest was overtaken by evil. Festive, energetic, and mischievous, they loved music, dance and drink and, more than anything, nature and the forest they inhabited. Tauriel gives us a window into that world.’

  For Evangeline, being involved in the development of Tauriel’s character was a new and refreshing experience: ‘What was so surprising was how accessible and collaborative the writers are. Fran, Philippa and Peter seem to have no ego about what they do, they just want to get it right. They are so open to discussing your character, and welcome whatever input you give. In Hollywood, that is certainly not the norm! Being part of that process makes you feel valued and gives you a powerful sense of responsibility and ownership over your character.’

  Tauriel does not always share the views of her king, Thranduil.

  There are, Evangeline points out, other significant differences between public life in Wellington and Los Angeles: ‘New Zealand has been a deceiving treat. In my experience, hands down, Kiwis are the coolest people when it comes to “public figures”: they have a way of recognizing you without letting that effect their behaviour. They see “celebrities” as regular people and act no differently around them than they would anybody else. It lulls you into this false sense of safety and normalcy and I don’t look forward to the reality check I’m going to get when I go home.’

  So, how does she feel about the long-term prospect of being globally associated with the role of Tauriel? ‘I don’t worry about that aspect of The Hobbit at all. Lost was a cult classic, an international hit and a favourite at the sci-fi and fantasy conventions, so I’m used to being identified with a particular character. Only in recent years have some fans started to address me on the street as Evangeline; for the most part, I’ve been “Kate”. Being called “Tauriel” might be a refreshing change.’

  The actress prepares to hit her mark.

  Knowing the passionate nature of Tolkien fandom, and being cast as a character who is not in the original book, might have brought its own pressures, but Evangeline is unapologetic: ‘Now I know the full story and trajectory of Tauriel’s character, she is a very satisfying character to play. Of course, I’m well aware that there will be those who will reject her outright, others who will adore her, and every conceivable response in between; but, as an actor, you get used to that. For those watching the films, I suspect she will be the voice of the audience: putting the pieces together as they do, feeling what they’re feeling, and speaking to their reactions. I think she’s pretty cool!’

  LEND ME YOUR EARS

  ‘I dream about ears,’ says Weta Workshop technician, Adam Kinsman, ‘I really do. Actually, they’re not dreams, they’re nightmares!’

  Adam opens the fridge door: ‘This,’ he says, ‘is the stash!’ Alongside a Gandalf nose and a loaf of bread belonging to a colleague that is past its best-before date are box upon box of gelatine ears.

  One of the imperatives in creating the realm of Thranduil, King of the Wood-elves, is the maintenance of an adequate supply of Elf-ears; and the process of achieving that turns out to be more culinary than biological.

  I’ll explain … First, melt your gelatine at a heat of 85°C (any lower and it won’t be runny enough; any higher and you’ll burn it) then stir in some ‘flocking’, a product that adds skin-like pigmentation to the mix, and a pinch of tint to give the colouration appropriate for the character.

  Next, take the two halves of a silicone mould (the ‘negative’ and the ‘positive’ that together create an Elf-ear-shaped void) and pop it into hot water to heat it up. Having carefully dried it (gelatine and water are a non-negotiable combination), grease it with sprayon cooking oil to enable the easy removal of the finished ear. Now, pour the gelatine into the negative half, making sure that it gets into every nook and cranny of the ear. Give the bottom of the mould a sharp knock to make any bubbles rise to the surface and prick them. Carefully apply the ‘positive’ half of the mould, squeeze the halves together, put it into what is called the ‘jacket’ to keep them tightly together, and apply a 5kg weight for a few minutes before placing in a freezer for an hour.

  When done, open the two halves of the mould and remove your gelatine Elf-ear. Trim off any excess that has oozed out and dip it in acetone to wash off the grease and you’re done. ‘Voila’, says Adam, ‘one ear ready to be applied to an Elf.’

  Demand is high: 136 pairs of ears every week during filming resulting in a total ear-output of … ‘Who knows?’ says Adam, ‘Thousands and thousands and thousands of ears! Hence the nightmares!’

  Bob Buck, Costume Designer

  DRESSING MIDDLE-EARTH

  * * *

  ‘It was definitely a dream of mine to be involved with The Hobbit as well as The Lord of the Rings, and to see both Tolkien classics transformed in their entirety on to the big screen.’ Bob Buck, who worked with Ann Maskrey as a Costume Designer, is talking about his involvement with the cinematic visualization of Middle-earth over the past decade and a half. ‘There was always a glimmer of hope that, once Rings had been completed, The Hobbit might also be realized and I guess I set my heart on being involved from that moment.’

  * * *

  With the Dwarves now clothed in oversized human garb courtesy of Bard’s daughters, their hitherto strong individual colour signatures were reworked.

  With the first trilogy having established such iconic images of characters and places in the minds of moviegoers the world over, it meant that, in approaching the prequel to The Lord of the Rings, the filmmakers had a rich legacy upon which to draw in creating the look of the new films, as Bob explains: ‘The designs for The Lord of the Rings were definitely a jumping-off point for our return to Middle-earth. Basic design rules that had been established were now developed and expanded, whilst new rules had to be set up for the peoples and places that hadn’t featured in the earlier films but which now needed to be visualized.’

  Bob’s design for Beorn, which uses only natural materials as befitting the strict vegetarian.

  There was also a new freedom derived from the marked difference between the style of Tolkien’s storytelling in The Hobbit and that in his later work. ‘We took what might be described as a more “fairy tale” approach, suited to the tone of the original book, and this allowed us to be a bit bolder with colour and form, making things a little wilder and more exciting; while, at the same time, being mindful of the fact that 3D and the higher film rate of forty-eight frames per second tends to show up detail while reducing the impact of colour.’

  The Dwarf costumes in the prologue reflect Erebor at its height.

  The Hobbit also provided an opportunity to explore some of Tolkien’s cultures – such as the race of Dwarves, previously represented almost solely through the character of Gimli – in greater depth than had been possible in Rings: ‘Having been closely involved,’ says Bob, ‘with the development of the Dwarven design aesthetic in the first three films, it was great to be able to elaborate on this and develop the design language and cultural identity to its ultimate.’

  A Dwarf miner wears a more utilitarian costume.

  An additional opportunity to do this arose when, during 2012, a prologue to An Unexpected Journey went into development and Bob had the chance to work on designs for an earlier age when the Dwarven realm of Erebor was at the height of its power and glory: ‘The prologue was my responsibility and it was a wonderful challenge to create costumes that helped reflect the diversity and complexity of the Dwarf kingdom and the majesty of the great city of Erebor at its height: from the lowly miner, who discovers the Arkenstone; to the mighty Thror, King Under the Mountain; his son, Thrain; along with Thorin and Balin, the young prince and the respected diplomat as they looked at the time of the attack by Smaug.”

  The brief for the costume worn by Thranduil when he visits Erebor was ‘starlight’ and ‘moonlight’.

  The prologue provided other pleasurable design opportunities: ‘I was able to create costumes for the women and children of Erebor, which allowed me to have fun with rich and luxurious fabrics befitting the wealthiest kingdom in Middle-earth. In addition to these, I was able to design Thranduil’s costume as he appears when visiting the Dwarves; Philippa Boyens gave me the words “starlight” and “moonlight” as a brief and they became our inspiration as we played with texture, colour and form to create the regal attire of the King of the Elves for his first appearance on screen.’

  As with everyone working on The Hobbit, the Costume Department had to respond to the organic way in which the films developed, so when, during the pick-up filming of 2013, flashback scenes were added to show Gandalf’s first meeting with Thorin, there was a need to recreate Bree, the town of Men to the East of the Shire. ‘We were designing costumes for the people of Bree some sixty years earlier than when it was seen in The Fellowship of the Ring, when Frodo and his companions first encountered Aragorn. During this time, Bree is still very much a crossroads town with all kinds of folk of varying shapes and sizes passing through, and with what can best be described as a general air of dodginess! We had to create costumes from scratch for four new featured characters plus fifty extras; and because it was going to be raining (as it always seems to do in Bree), the actors could be standing under studio rain for hours at a time, so we had to make our costumes with waterproof linings in order to keep everyone dry!’

  Clothing worn by the Lake-town dwellers would need to be warm to combat the cold climate.

  The concept with Lake-town was that it is a cultural and ethnic melting pot, with the suggestion of a class system of merchants, servants and fisher-folk. This is reflected through choice of fabric and colour, though none is immune to the effects of the damp and dirty conditions.

  For Bob Buck, his involvement with the films carries with it a sense of fulfilment: ‘I first read The Hobbit on moving to a strange new city, after leaving my home for the first time, and I guess I related to Bilbo’s journey because I was at the beginning of an unexpected journey of my own. Working on these films, I feel as if life were now coming full circle; it has been an unbelievable privilege to be involved with helping The Hobbit get “there and back again”!’

  LOCK, STOCK & THIRTEEN BARRELS

  * * *

  ‘It was fun, surreal, and completely mental!’ Dean O’Gorman is remembering being wedged in a barrel and bobbing along the Pelorus River, that flows through the Marlborough region of New Zealand’s South Island, while filming the Dwarves escaping from the Elves of Mirkwood.

  * * *

  When, in Tolkien’s novel, the Dwarves are confronted with Bilbo’s rescue plan – making a getaway by means of empty wine barrels sent down the Forest River – they are less than enthusiastic: ‘We shall be bruised and battered to pieces,’ they complain, ‘and drowned too, for certain!’ Those involved in putting one of the most daring and amusing escapades in The Hobbit on film had similar anxieties, as Dean recalls: ‘There was a slight feeling that something might just possibly go wrong at any moment, and that in itself gave us an adrenaline rush.’

  Bilbo leads the Dwarves to what appears to be a dead end.

  In planning this key sequence, the first hurdle was finding a way to make thirteen Dwarf-filled barrels do what was required of them. ‘The solution,’ explains Props Making Supervisor, Paul Gray, ‘was having a weighted keel: a bar was fitted under each barrel to which as many or as few weights could be attached to allow instant adjustability on site. We then provided a protective dome that screwed onto the bottom of the barrel so it wouldn’t snag when going over rocks and stones on the riverbed.’

  Working out how to keep the barrels upright was one thing, keeping them afloat when stuffed with costumed actors of varying girths was another. ‘We tried to keep it simple,’ says Paul, ‘and the simple answer was inner-tubes! These provided flotation, but also protected the actors inside the barrels. Then it was just a matter of finding inner-tubes that were the right size for the variously shaped Dwarves or modifying them to fit. For the guys involved in the research and development, who spent a lot of cold, wet time in the river, it seemed that the movie was entirely and exclusively about barrels!’

  Thorin leads his Company on the first part of their escape from the Elven-king’s cellars.

  The same was true for the actors, some of whom rashly supposed that they would be spared the cold and wet, as Graham McTavish ruefully admits: ‘It’s a scene involving us in barrels, so of course, being an actor, you think, “That’ll be the stuntmen and we’ll just be in for close-ups, and thanks very much.” Then Peter says, “Okay, can we just demonstrate what the guys will be doing?” And from around the corner comes a guy in a wetsuit and a crash helmet – a crash helmet! – paddling a barrel, while being swept along by all this white water! And Pete says, “Uh, yeah, so that’s it! Okay, let’s set up to shoot.” And we walk down to a little jetty like a row of condemned men and they pour freezing cold water over us – immerse us! It was like a group baptism!’

  Martin Freeman is watered by crewmembers to save him having to get in the river for real.

  For James Nesbitt it was, nevertheless, a memorable experience: ‘My favourite photograph taken of me shows me at the beginning of that first day, sitting there in my barrel with a look of pure joy on my face, because I was thinking, “This is incredible! Who in their right mind would ever come up with this, let alone ever make it happen in a way so that it could be such fun?”’

  Dean O’Gorman agrees: ‘Everyone was excited and invigorated. As actors, you get used to being treated with kid gloves: “Are you okay? Do you want a coffee? Do you want water? Are you too hot, too cold?” But then this day, they said, “Just get in the barrel and then you’ll sort of float, and there’s a safety rope there to stop you from going further down the river, because there’s a waterfall. But we think you’ll be fine. Let’s just shoot it!” And we loved it!’

  Peter Jackson points out the safety ropes.

  Retained in a holding bay at one particular place in the river, the barrel-riders were released and followed the current to a point downstream where they were to be corralled and rescued. Contrary to expectations (or, perhaps, in line with them) it wasn’t entirely plain sailing, as Dean reflects: ‘There was a point where John Callen and William Kircher actually glided over one of the safety ropes and started drifting slowly away downriver. They were stuck in the barrels unable to do a thing. They just sat there with helpless looks on their faces drifting off into the distance.’

  Fortunately, the escapees were recaptured without further mishap, but it was stressful work, especially when it came to clambering out of the barrels and splashing their way to the shore. As Dean goes on to explain, heavy costumes, made all the heavier as a result of total immersion, turned the cast into Dwarven sponges: ‘The assumption was that our fat-suits would make us quite buoyant, but the opposite was the case and we became like lead weights. I managed to get out of my barrel but I was so waterlogged that I was clambering up the embankment in slow motion.’

  The Dwarf actors enjoy the best theme park ride in Middle-earth!

  In addition to the shots gathered on location, a river set was constructed just outside Wellington: ‘It was like being on a theme park attraction,’ says Jed Brophy. ‘They created a river that had rapids, torrents and waterfalls. It was an amazing feat of engineering and was so convincing we didn’t have to act being in a river, we were really in it and it was great fun!’

  On location in the Pelorus River for the real thing.

  ‘It was the most amazing fairground ride that I’ll ever go on!’ enthuses Graham McTavish. ‘Absolutely fabulous. We got into this circular river powered by two V8 engines – four-thousand five-hundred rpm – that shot us around this river course again and again and again! I think we completed an eighty-metre circuit in just over twenty seconds – in a barrel. I nearly came out a couple of times, others got cuts, hit their heads, banged their arms against rocks, somebody else nearly got knocked out. Pure mayhem! We went through a near-death experience, but it’ll look amazing! If I had to choose, that would be the best ever shooting experience! It was just like being a kid again! Brilliant!’