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For the latest international news check out  |
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Click on any picture to see a larger version. Move mouse over picture for explanatory text. IMPORTANT NOTICE: All images on this site are Copyright Ian Smith and may not be reproduced or sold on Ebay, or copied outright to other fan sites without my express permission! |
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DISCLAIMER: This transcript is provided on an "as is" best efforts basis and is based on a MiniDisc recording made where speech was not always legible
because of noise in the room. Additonal notes provided by Paul Nassari ('Nazz') of 'Rip It up' magazine in Australia were used to resolve
some of the indecipherable parts of the recording. Any errors made in transcribing what was actually said are mine, and
not those of the speakers quoted, and may include spelling mistakes, incorrect names and other minor typo's. Readers should also bear in mind that statements
read in cold print can often convey a completely different meaning from that intended by the speaker and as perceived by the original audience.
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Question: (indecipherable) from Global News. Mark Ordesky has today given a slight indication that 'The Hobbit' could be made down the
tracks. My question, Peter Jackson, is to you. Is that possible, and if so in what kind of time frame?
Peter Jackson: They haven't actually talked to me about 'The Hobbit' but I know that there's difficulties with the rights. So I don't quite know what they're going to be doing with it. But certainly if they wanted to talk to me about it I'd be keen. You know it would be wonderful to complete the sequence of films. I'm obviously tied up for a couple of years with 'King Kong' so I wouldn't be able to do it for a while. Question: I'm Jenny Brown from (indecipherable). My question is to Peter Jackson. The DVD extended is so comprehensive than the film. Why do you think it's so important? Peter Jackson: Well you know the DVD.. the reality with 'The Lord of the Rings' is that if you were to shoot the books as Tolkien wrote kind of verbatim, as it were, you'd end up with a movie that was 25 to 30 hours long. It's huge. Part of the adaption that we did was obviously reduce the length and simplify things. We did find that there's another point in time where we had to reduce and simplify even further because once you look at what you actually end up shooting you've usually just shot far too much to put into a movie to make it a comfortable sort of movie-going experience for people. One of the reasons why a film shouldn't be too long, and unfortunately maybe ours is too long, is (indecipherable because of noise close to mic) uncomfortable. The seats aren't very good and they just outstay their welcome. So we took the position of basically putting out two different versions of these films. One is the theatrical release which is tailored to that kind of length that people are comfortable with. On the DVD it's a different issue because people can watch them over two nights or they can just jump up and go and make a cup of tea and take a break and things. So we're using that format which is relatively new and the way things have developed over the years... we're using that format to be able to just basically give a much fuller version of the movies, which is great because everybody, over the last three films, has obviously shot scenes that everyone's worked really hard on, that they're really proud of, so it's a way of... Everything that we worked on and we shot, and the way we originally intended it to be can actually be seen. Question: I'm from Associated Press and TV in London. (indecipherable - something about articles taken home with the actors that are special or treasured) John Noble: I'll start with that. A very special gift given to us by Peter and Fran. (indecipherable) rushed through these photographs for us and there was a special message from Peter and Fran on it and of everything that's the most special (lot of noise makes a couple of sentences indecipherable - sorry!) Peter Jackson: We gave all the actors whatever was appropriate. If they had a sword we gave them their sword. Viggo Mortensen: Everyone had that - a sword or whatever was considered to be the most appropriate to their character but if that sword doesn't get through customs or you know, it gets stolen or lost or damaged or something - in the end that's not a big deal, it's just an object. The thing that I think, that I know, I take away with me and that everyone else does, and this I think is inside, that's the main thing is the experience we had making these movies and getting to look at Tolkien's world for four years. That's the gift I take away with me. Peter Jackson: I didn't have a sword for my cameo in the film. In the first movie I play a man in the streets of Bree eating a carrot so on my last day the crew gave me a framed carrot. (FX: points at Viggo) He gets the sword, I get a carrot! Question: Do you have any regrets about this movie? Was there something you wanted to do and couldn't do it and vice-versa? And how would you like to win an oscar? Peter Jackson: I don't have any regrets really because... you know... the thing with being a film-maker.. and I'm sure that being an actor or... you try your very best that you can and you could beat yourself up forever more. A long time ago I got through that because you can only do what you do. You can do the very best job you can and at the end of the day if you can just feel you've done your best then you've just got to be happy with that, and that's what I've trained myself to do. I haven't made a New Zealand movie yet but I don't think I have any regrets. And oscars? I.. listen, I'm just like everybody else in that it isn't anything to do with me. The thing with oscars is that it's other people again deciding if they want to vote for you or reward you and I'm very happy just to let other people decide. It's not the losers that make the movies. David Wenham: I don't think this is the right forum to discuss my child but we're doing very well thank you. I think this is actually a more nerve-wracking experience than my fatherhood. Question: Question for Peter Jackson. This trilogy's had an enormous impact on the country and I daresay as far as tourism goes, right now you're probably the most popular man in the country. In light of that, have you considered running for prime minister? Peter Jackson: I'm very happy with the job I've got! Thank you. Question: Question for the cast. Can you compare working with Peter Jackson to working with other directors in terms of cracking the actor's job? And for Peter Jackson, I think everybody wants to know if you're wearing shoes, and are you going to be wearing them tonight [at the Red Carpet event]? Liv Tyler: I may end up not wearing shoes because I'm afraid to walk down four blocks of red carpet in stilletto's! Peter Jackson: I am wearing shoes. This is a very auspicious occasion to meet all of you nice folk. I wouldn't like to turn up without shoes on. And yes, I will be wearing shoes tonight. Viggo commented he won't do so if I don't and you do. John Noble: There was a first part to that question about what's it like working with Peter Jackson. I think that probably couldn't be put aside. In the light of sometimes my impressions of 'Lord of the Rings' that ... There is focus. There is genius. There is the ability to remain solid through months and months and months and what I admired about Peter Jackson was his faith. Apart from the fact that obviously he's a brilliant film maker. We would be twelve hours of shoots and he would go off and watch five hours of rushes. And I'm in awe of that and I'm still in awe of it. I've seen the films he's made and on the last one and he's done an amazing job. Peter Jackson: I don't know that I stayed awake during those five hour jobs! Bernard Hill: I've worked with Jim Cameron and I thought he was tough! But seriously, a similar thing I noticed with Jim Cameron too, but particular with Pete, is that he's made a major reputation based on the ability to present high tech aspects of film-making onto the screen. Normally directors like that come at it from a technical history and background and they're not very good at working with human beings. With Pete, just the opposite is true. I think because he's such an amazing guy himself and he's got his feet very firmly rooted, even with the technology, with his culture and his family here in New Zealand, it's a kind of platform that he stands and operates from - and embraces everybody that comes anywhere near him on the set. What was remarkable about working on the whole project was the fact that it was a very egalitarian society that Peter created around him. Nobody could get too kind of serious about themselves - noone was serious about themselves or their position. Everyone was the same. There was no kind of hierarchy at all. Even the person who dished the water out, who went around with the water bottles, had the same feeling that they belonged as much as the film crew did and as much as the people in the high profile areas did. It helped me enormously, and I'm sure it helped other people too. That really set him apart. John Noble: Hear! Hear! And I think that's one of the most important statements that can be made. Bernard Hill: You can all clap if you like! FX: Applause Peter Jackson: With a long project like this it's just important to have fun. I was very much aware that for my own sanity at the beginning there was no way I was going to get through eighteen months of shooting and then the subsequent three years unless you were in some way or other enjoying yourself. It was way too long not to enjoy yourself. So that's the attitude that I went with. And we were fortunate to have such a great team around us who realised it was supposed to be fun and they all joined in. Question: Erica Challis from TheOneRing.net. Question for Peter Jackson that follows on from the topic. You seem to have a knack for picking people who work well together and people who fit into their roles. Is that something you were consciously aware of how you do that? Do you have any insight into how you meet people and know them very well with very little exposure to them? Peter Jackson: Films are such strange things because... often on films, not all the time but often... you end up working with strangers, with people that you've never met before, prior to this experience. I was very much aware that, sort of adding to my last comment, was that this was a long project and if we ended up working with people that didn't get on with each other or who didn't like it for some reason, that it was going to make it it a difficult project. Normally a film is eight weeks or twelve weeks, and in this case it was 15-16 months of shooting! So when we were casting the movie for instance, or even talking to crew members and people we did think of two things. One was the skill and the quality of the person. Secondly, we met with just about everybody, obviously prior, beforehand, and just wanted to make sure that they were nice people. I know that sounds really simple and rather naive, but it was important to us to work with nice people for that length of time. Basically the answer is 'Yes, we did take that into account'. Question: Anna (indecipherable) from (indecpherable) magazine in Australia. Ny question is to Viggo and Liv. Since you played lovers in the film, I was just wondering if you could tell us of a fond memory or a personal anecdote about working together Liv Tyler: He played with my ears a lot! (FX: laughs). He had this habit of liking to slip a stroke of the ear into every shot. Peter Jackson: He liked your ears a lot! Liv Tyler: The most impressive thing, I think for anyone, about Viggo was that he got this phone call and had to get on the plane and arrive the next day. He was... Viggo Mortensen: She's changing the subject! (FX: laughter) Liv Tyler: .. so passionate, and I learnt a lot from Viggo about the material. He was always encouraging us in our scenes to speak more Elvish together. So in a lot of ways I credit Viggo for making our love story feel so rich and believable in a lot of the ways that it is. Viggo Mortensen: I appreciate the fact that Liv seemed to understand that these characters'.. that their relationship was like those couples you see from time to time - maybe there's one in your family - that have been together for a long time, decades maybe, but not out of convenience. They're just comfortable together. And you can see that in the way they move around each other, the way they almost absent-mindedly touch, or finish each other's sentences that they understand that their union is more important than their individual existences ever will be. I think that's really the story of Arwen and Aragorn. That's something they really value - and I appreciate that. It made it much easier, in a limited time, as it is in the book, we had to get that fairytale kind of relationship without it seeming to be a cliché, and that there was something beneath that that was really solid. Question: (indeciperable). My question for Peter. My question is in two parts. Sir Ian said he hoped some kind of permanent memorial could be established to celebrate these films. Any thoughts on that? Peter Jackson: Well the difficulty that everybody has with that is The Tolkien Estate. We have attempted at various times to do things for the city. I know Richard Taylor spent a long time trying to get a bronze statue made that could be put somewhere - he was trying to do a bronze statue of the entire Fellowship. I know that he was going to talk about a permanent museum, rather than the temporary exhibition that was here. There's been lots of talk and whatever happens the problem is a legal one. New Line Cinema don't have the authority to allow that to happen. Those particular rights of statues, of permanent exhibitions, that sort of thing - that's kept by The Tolkien Estate. That wasn't part of the package of film rights that Tolkien sold back in the 60's. The Tolkien Estate, so far, have refused to be interested. We've fielded them at different times about doing something for the city but they keep saying 'No'. Question: Quick question for Mark Ordesky as well then. Last year you talked about the fact that we'd be holding the world premiere. In terms of the issues around New Line say about a permanent exhibit of some kind? Mark Ordesky: Beyond the philisophical commitment that it would be a lovely thing for Wellington and for New Zealand it appears that we actually don't have the capacity to grant an approval. We don't hold the power of approval. But I know the company, myself and the rest of the company, think that New Zealand and Wellington should be able do something, whether that involved New Line or not. Peter Jackson: One thing I should say is that we are keeping all of the props, costumes and everything else that has carefully been stored away so that possibly in future we can do something somehow. But we can't do anything at the moment. But we're not letting the stuff be optioned or sold. It will be safe and secure over the years. Question: Simon Beatty from 3 News. Question for Peter. Premiere Day - How are the nerves? Peter Jackson: Not very good at the moment actually. I'm going to enjoy it because I'm incredibly proud of New Zealand and what's happening. It's just a personal thing about the pressure of being the centre of so much attention. It's kind of a little bit scary and stressful but I'm just taking the approach that I'm there... you know... I will play my part obviously as to represent everyone who worked on these films. I'm there on behalf of all the crew members and the people from all round New Zealand that assisted us so I'm very happy to be doing waving and smiling and signing autographs, but it's... maybe that's answered your question, I don't know. Question: Question for Peter Jackson. (beginning of question lost as bag containing my recording equipment is knocked over!)... 'Lord of the Rings' and the remake of a very famousmovie, don't you plan to do something more personal? Peter Jackson: You mean after 'King Kong' something more personal? Yeah, I've had a feeling for a long time that I want to do a smaller film. We'll see what happens. I think after 'King Kong' we want to take quite a long rest and then I would love to make some small films. You know New Zealand has got some tremendous stories. When we made 'Heavenly Creatures' a few years ago we took a reasonably little known (indecipherable) that's actually a true story and we managed to make a film out of it. And we loved the experience of doing that - the research and the script writing - and trying to make it as authentic as possible. So we have got quite a few ideas for New Zealand movies. I'd like... I look forward in the future to (indecipherable) for a while, because I very much learnt that at the moment I'm not making New Zealand films, I'm making international movies. So I look forward to telling some of our stories in the future. Question: Hi. This is Stefan Servos from the German herr-der-ringe web site and I have a question to Phillipa and Peter. You were a 'Lord of the Rings' fan before the movie and now there's this great, amazing trilogy out. Isn't it sad for you that you are the only fans who cannot enjoy the movies [as viewers]? Phillipa Boyens: I remember when we started this project. Actually I think it was when we'd wrapped production and we were sitting and having a cup of tea and Peter said "You know what would be really cool? To be hypnotised so we don't know anything about these movies and then we could just sit and watch them". Now I actually get what he meant. We don't get to do that. I know for myself and Fran Walsh - who I just want to acknowledge by the way, because if Peter was the heart of these movies she was really the soul - that we for ourselves can't watch them at the moment because all we see is little things that maybe ought to change. But tonight I think is going to be great - to see them with an audience of people that loved these films and put so much into them is going to be great. Question: (indeciperable). This is also for Peter Jackson. On the scripts: are they going to be available to be read at some point? And can you tell us what the Tolkien Estate's approval process was on the films and script? Phillipa Boyens: No, I think the Tolkien Estate - they wouldn't have attempted to do that anyway. It wasn't that kind of a process - they left us to decide for ourselves. Professior Tolkien himeself, when he was writing letters about the concept of these being turned into movies, one of his letters actually said that he'd put them in the hands of other people because that sort of translation was not his thing. He hoped that other hearts and minds would come to this with art, and with music and with drama, and use this world that he created. So, in a way that's what we've done. It wasn't necessarily done with The Tolkien Estate. In terms of the screenplays, I think we might... Mark Ordesky: (indecipherable) I don't think we have publishing rights. Phillipa Boyens: One of the questions we had last week was when would there be a novelisation of the scripts?!! Question: (indecipherable) My question is for Peter. Peter, I'm just wondering if the creation of Shelob had cured your arachnophobia? Peter Jackson: No, my arachnophobia can never be cured! I've been scared of spiders since... well ever since I was born really. I can't stand spiders. I know some directors love spiders because they eat other insects but I hate them. There was a particularly nasty spider that used to live under our house in (indecipherable) Bay when I was younger. I used to go over there with my Matchbox toys when I was five or six years old, trying to recreate the 'Thunderbirds' rescue missions in the back with my toys. I used to dig away these roads in the dirt back there and I'd come across these spiders with tunnel webs. They're these pudgy little fat spiders with red backs and they've got these horrible... two little kind of fangs in the front and they're called a tunnel web. They're nasty - they look nasty! So this year.. at the beginning of this year when we started to design Shelob, we hadn't really done much work on post-production, I said to all the folks at Weta 'Shelob's got to be based on a tunnel web. This is the spider that freaks me out the most'. One of the Weta guys went into his garden and found one and bought it in the next day and we had a glass jar - I didn't go near it! But it was there and so New Zealand's spider web tunnel is pretty much the spider 'Shelob'. I've never liked big spiders in movies - I've always thought it's a bit boring that they kind of move slowly. You know how they get tarantulas and they film them in slow motion so that they're lumbering slowly. I wanted Shelob to be fast! That's what's scary about spiders - the way they scuttle and then freeze and scuttle and then freeze - they have that kind of stop-start thing. They kick their legs in the air and they kick their hind legs sometimes and it's just horrible. So all that's in the Shelob sequence. Every fear I've ever had about spiders I put in that. When I watched it for the first time I literally, quite seriously, I felt my stomach bobbing up and I kind of thought 'Well this is working. This is getting to me.' Question: (indecipheable) from the (indecipherable) newspaper in Melbourne. Peter Jackson, not a film question - I hope you don't mind. I was at TheOneRing party last night and ringed by a remarkable young lady called Katy Tookey and her father Andy Tookey. Could you tell us all a little bit about your involvement in the Give Life organisation? Peter Jackson: Well Andy's daughter Katie has a condition that will probably mean... she's a very young girl about the same age as our daughter and we heard about her and she has a condition that means she will have to have an organ transplant at some stage in the next few years. We sort of contacted Andy to talk to him about it and to see if we could help. He told us a lot that I didn't know about the state of organ donors and the whole thing about how one person can... if they donate their organs... they can save up to eight lives. The fact that so few people do - there's a fear about it, there's an uncertainty, there's just a sense of society that it's not a very good thing to do. So we're just working with Andy to try to do what we can to help and just increase awareness about the really positive effects that you can bring to people's lives by supporting the organ donation idea. Question: Question for Peter and Mark. With the success of filming the trilogy here in New Zealand and bringing 'King Kong' out, whether you see that signals an end to Hollywood domination? FX: laughter Peter Jackson: It would be nice if... We're not doing what we're doing because we're trying to dominate Hollywood or trying to score points off anybody. From my point of view I'm a New Zealander.. I'm a Kiwi... I was born here - I've lived here all my life. This is a country that I love and choose to live and bring up my family in, so I'm just here making movies. I've been making movies ever since I was seven years old. I just started on Super-8 and ended on 35mm. So I'm not doing it for any other reason other than that I'm just doing what I love doing in the country that I was born in. Question: Paul Nassari, Rip it Up magazine. This question for Howard, Liv and maybe Phillipa and Peter too. Liv, you did a song for the movie - what happened to your song? Liv Tyler: I think that's a Peter question. Peter Jackson: You'll probably hear it on the DVD. Phillipa Boyens: Can I just say that Liv Tyler has a very beuatiful voice. One of the reasons that was made was that it was part of a sequence that... Peter Jackson: I mean to put it in perspective, the film is 3 hours and twelve minutes long and earlier this year we were watching a four hour 15 minute version. There was a substantially longer version of 'The King' that existed there that had a lot of very very good scenes. I haven't started working on the DVD yet - I'll hopefully do that when I get back home from this premiere circuit. I'm looking forward to creating another, much longer version. Question: Hi. Stephanie (indecipherable) from Outsider magazine in the US. My question is how did the amazing Kiwi landscape attract or detract from your performance? Peter Jackson: Me? The landscape? Well we were very fortunate because most of what we could find in the book... most of what we saw described in the book we could actually find in the countryside. One of the things we set out to do was to try to very closely study the description that Tolkien wrote - he was very descriptive about the landscape, study that and try to find somewhere in this country that matched it as closely as possible. You know for the most part we were successful. Actually almost the most difficult landscape to find was The Black Gates of Mordor where Aragorn meets the soldiers towards the end of the film. That was like a desert environment, it was flat throughout: sand, no vegetation and just flat for miles and of course New Zealand is not really like that. But we even managed to find a perfectly good landscape to shoot that, which was an Army area in the middle of the North Island. It was a defence area and the soldiers took us on their jeep to go and do a reconnaissance of this area because we knew somewhere over there was probably going to be a great place to shoot The Black Gates. We found the perfect spot and then the Army guys said "Uho! This isn't very good". And we said "Why not?" and they said "Because this is their live firing area". Ever since World War II they'd been doing artillery training and bomb dropping from aeroplanes, so there was a huge amount of unexploded ammunition and bombs in this particular area that just happened to be the perfect place to do The Black Gates of Mordor. So we had enormous help from the New Zealand Defence Forces who agreed to go in there and to do an extensive clean-up. They put bomb disposal experts in mine-particular guys, and this area was about the size of about two football fields and they removed all the unexploded ammunition that they could find. They were very supportive - they supplied extra's actually for the battle scene when Viggo's doing his speech in front of the troops outside The Black Gates. It's the New Zealand Army that he's actually doing his speech to. On the first day of shooting they had a table and they had all these kinds of bombs on the table and they said 'Don't touch. If you ever see this lying out there, just stop, don't move. Put up your hand and somebody will come to your aid straightaway'. We were shooting all of this stuff with Viggo and the soldiers and as we were shooting with all these Army bomb disposal guys hovering around - it was literally shooting on a minefield. It was quite an interesting experience! Question: I have a question for Andy. I'm (indecipherable) in Japan. Could you tell us the most difficult things while you were acting as Smeagol? And was it easier to act as a hobbit before you became Gollum? Andy Serkis: The most difficult thing about playing Gollum really was, I guess, the lag time between... when you shoot scenes as an actor in a film you need to feel a sense of closure I think on a scene. At the end of the day it's a pin, a peg, in the journey of the character. So often what would happen is we'd be shooting a scene and I'd feel like I'd given the definitive performance that I could get in shooting on 35mm and then it dawned on me that it would actually be about two and a half years until the scene would be completed and it would go through a whole load of different processes inbetween the acting and the finally manifested character. I think that was psychologically quite difficult to get used to. There was absolutely no difference to me playing Smeagol - Smeagol being corrupted by The Ring - and Gollum after he'd been corrupted by The Ring. There was never any question that it wasn't the same person, that he'd just gone through this extraordinary torture and transformation and obsession. That was partly why I was... Originally when I was offered the part of Gollum and Smeagol I wasn't actually cast as that but Pete and Fran... I remember getting the phone call and standing outside (indecipherable) and I got the phone call on my mobile saying 'We're excited that you can play Smeagol' and I was absolutely delighted because it created the whole arc of the character. But there's no difference. Psychologically to play CG Gollum I always imagined that as an advanced state of decrepitude with the character and I actually got that into my head and thinking, my way of working with the motion capture suit, that Gollum became this almost a shadow of his former self. He became that CG thing and that's how I connected. Announcer: We've got time for three more questions Question: I'm from C4. Andy. My question's for Andy. We loved you as Gollum and we loved your interview with MTV as well. What was it like when you realised that Peter and Fran and Phillipa were so inspired by your character and made all these visual allowances for you to do so much more than just the voice? Was that... did you get quite emotional? Did you realise as an actor you were going to be able to extend yourself? Andy Serkis: It got very emotional wearing tights for four years! It was amazing. It was a gradual thing. I didn't come along one day and suddenly something changed. It was very much a... The great thing about working with Pete and Fran and Phillipa, as director and writers, is that they're fantastic at collaborating and fantastic at being organic and just taking on other people's ideas and allowing every artist, whatever field they were in, just to run with the ball and to really... Because they're very compassionate people they're great at nurturing people for what they've got. Really Gollum every day was a bit of an adventure. Then 'The Fellowship' was released and Peter decided he wanted to use motion capture on a greater scale and redesign the face of Gollum so that it was much closer, because we then shot Smeagol before The Ring. And then Phillipa and Fran started really dramatically crafting the journey and the impact of the character in the story so it was an important period in early 2002 when (indecipherable). I remember the first time we had a really powerful day in motion capture where things started happening organically - the first time it was really apparent that this creature was going to evolve into something quite special. I mean, it was scary! Question: Mr Jackson, I'm sure you'll appreciate this. I'm the proud father of the little girl down there at the front. She directed her own version of 'The Lord of the Rings' for me, and asked for (indecipherable) from my hairbrush to use as hair on the feet so she could do her own version. How does that feel, knowing that you've made such a vast impression, and the rest of you also, on the children of this next generation coming up? Sometimes we forget that those children are the next generation. Peter Jackson: That's a very good question. When I was about the age of your daughter - is this your daughter? yeah? - when I was about her age I borrowed... well, I didn't borrow, I asked my mother if I could use her fur coat that she had in the wardrobe but I noticed she never used to wear it... so I could get scissors and chop the fur off and stick it on the model of King Kong that I was making. My mother didn't agree. I'm only doing what I'm doing today because I'm a film fan and I have been inspired by movies ever since I was so high. I loved 'Thunderbirds'. I loved 'King Kong' and Ray Harryhausen movies. I think the proudest thing for me... I mean the thing that I really hope would happen one day when I'm retired is that some young film-maker would come up to me and say "I was inspired by 'Lord of the Rings' when I was seven years old, or ten years old or fourteen years old, and I'm doing what I'm doing because of 'Lord of the Rings'" because I'm the product of the films that I'm inspired by and I think it's really important to try to keep pushing the boundaries because the generation that's coming up are going to see what you're doing and hopefully later push things further. Question: (indecipherable) France. Peter, I wanted to know if Andy Serkis or any of 'The Lord of the Rings' cast would be in 'King Kong'? Peter Jackson: We don't really know who's going to be in 'King Kong' yet. The thing that I'm hoping to do, that I'd love to do, is to work with every single one of our actors again. I've seen directors like Martin Scorsese and James Cameron to a certain extent, and other film makers who end up with a group of actors that they tend to work with over and over again. I can understand the reason why because it's such a collaborative process, it's such a partnership to actually know other people so well that you understand their strengths, you understand their weaknesses. They understand yours. It's just a delightful way to work and to just work with people that have basically become your friends. It's incredibly appealing to me and I'm just hoping, whether it's 'King Kong' or films in the next ten or twenty years, I'm hoping that I'm going to be... I'm actually intending... putting things to try and work with all of these people again because they're just so fantastic and they're my friends. Second panel ends Click here for first panel featuring Barrie Osborne, Sir Ian Mckellen, Orlando Bloom, John Rhys-Davies, Sean Astin, Elijah Wood, Billy Boyd, Richard Taylor and Mark Ordeski Click here for main New Zealand web logs index page |
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Don't forget you can check out reports of lots of other Lord of the Rings -themed events in the Web Logs section |
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