The Lord of the Rings: The Fellowship of the Ring (2001)

PG-13 | 178 mins | Adventure, Drama, Fantasy | 19 December 2001

THIS TITLE IS OUTSIDE THE AFI CATALOG OF FEATURE FILMS (1893-1993)
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Director:

Peter Jackson

Cinematographer:

Andrew Lesnie

Editor:

John Gilbert

Production Designer:

Grant Major

Production Companies:

New Line Cinema , Wingnut Films
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HISTORY

The Fellowship of the Ring is the first episode in the film trilogy of J. R. R. Tolkien’s The Lord of the Rings . The three episodes were shot simultaneously and were released in consecutive Decembers, from 2001 through 2003.
       Beginning with the appearance of the series title, The Lord of the Rings , and continuing over a film montage, voice-over narration by Cate Blanchett as “Galadriel” is heard for approximately eight minutes in a prologue explaining the history of the ring. Then the title of the first film The Fellowship of the Ring appears onscreen, followed by the words: “The shire--60 years later.“ There are no opening cast or crew credits. Some of the cast are credited twice in the ending credits. In the first appearance, most of the lead performers are credited without a character name, except for “Andy Serkis as Gollum.” Later, Alan Howard is credited as “Voice of the Ring,” followed by all featured players in alphabetical order. The credit for “Cute Hobbit children” appears as “Billy and Katie Jackson.” Ending credits include a list of people and organizations the “Filmmakers” wished to thank, a brief dedication to Joan and Bill Jackson, and an inscription in the Maori language, reading: “He mihi nui hoki ki nga tangata whenua o Aotearoa. Ma Rangi raua ko Papa tatou e manaaki, e taiki hei nga tau e tu mai nei.” A brief flashback montage appears during the Rivendell sequence, when “Gandalf” recalls his escape from “Saruman” and when “Elrond” recalls the time when Isildur refused to destroy the ring. Within the film, whenever “Frodo” puts on the ring and when he gazes ... More Less

The Fellowship of the Ring is the first episode in the film trilogy of J. R. R. Tolkien’s The Lord of the Rings . The three episodes were shot simultaneously and were released in consecutive Decembers, from 2001 through 2003.
       Beginning with the appearance of the series title, The Lord of the Rings , and continuing over a film montage, voice-over narration by Cate Blanchett as “Galadriel” is heard for approximately eight minutes in a prologue explaining the history of the ring. Then the title of the first film The Fellowship of the Ring appears onscreen, followed by the words: “The shire--60 years later.“ There are no opening cast or crew credits. Some of the cast are credited twice in the ending credits. In the first appearance, most of the lead performers are credited without a character name, except for “Andy Serkis as Gollum.” Later, Alan Howard is credited as “Voice of the Ring,” followed by all featured players in alphabetical order. The credit for “Cute Hobbit children” appears as “Billy and Katie Jackson.” Ending credits include a list of people and organizations the “Filmmakers” wished to thank, a brief dedication to Joan and Bill Jackson, and an inscription in the Maori language, reading: “He mihi nui hoki ki nga tangata whenua o Aotearoa. Ma Rangi raua ko Papa tatou e manaaki, e taiki hei nga tau e tu mai nei.” A brief flashback montage appears during the Rivendell sequence, when “Gandalf” recalls his escape from “Saruman” and when “Elrond” recalls the time when Isildur refused to destroy the ring. Within the film, whenever “Frodo” puts on the ring and when he gazes into Galadriel’s water mirror, a series of fast-moving, distorted images appear, depicting his visions. Gandalf, too, has a brief “vision,” when he touches the ring in the Shire sequence. Sometimes the facial images of characters who become affected by the ring’s evil power are momentarily distorted. “Sauron” is depicted as a giant eye and is heard as an offscreen whisper. Voice-over narration, sometimes as brief as a word or a sentence, is spoken by various characters intermittently throughout the film. Subtitles are used when characters are speaking in Tolkien’s Elvish language.
       The world of Middle-Earth, which is central to the film, was created by philologist and World War I veteran John Ronald Reuel Tolkien (1892--1973). It first appeared in his 1937 book, The Hobbit or, There and Back Again. In the film, the book written by the character “Bilbo Baggins,” titled There and Back Again , is a reference to that book, which, according to a Dec 2001 Entertainment Weekly article and other sources, was started while Tolkien, who eventually became an Oxford University Professor of Anglo-Saxon, was grading examination papers and impulsively wrote on one, “In a hole in the ground there lived a hobbit.” The book received both critical praise and large sales, and Tolkien’s publishers, Allen & Unwin, asked him for a sequel, which the author took seventeen years to produce. In the meantime, while World War II was fought, Tolkien’s vision of Middle-Earth and its inhabitants grew. His intent, according to various sources, was to write a fictional ancient history, rather than a fantasy, and in a Jan 1967 NYT interview, claimed that he “detested” the popular style of tiny mythical creatures, pointing out that, “Hobbits are three to four feet in height. You can see people walking around like that.” According to the Entertainment Weekly article, Tolkien, who also worked on the Oxford English Dictionary , claimed that, even as a child, he made up imaginary languages. After making up a language, he would create a history of the language and its imaginary speakers, then create alphabets, maps, calendars, genealogies, and stories for his imaginary world.
       Tolkien continued working on the sequel, noting in an appendix all the details of his mythical world. In 1950, Tolkien wrote to Allen & Unwin that he had “produced a monster,” and described it as “immensely long, complex, rather bitter, and rather terrifying.” His lengthy saga, which contained detailed maps and a 104-page appendix, was published during the mid-1950s in three parts, titled respectively, The Fellowship of the Ring , The Two Towers and The Return of the King . Although critics and the general public were divided in their opinion of the complex trilogy, offering both admiration and disdain, later, when the books were published in paperback in the mid-1960s, its popularity grew as a modern classic and a counter-culture phenomenon, especially in the United States. By the 1970s, some Tolkien scholars and followers were studying and conversing in his made-up Elven language.
       According to a May 1997 article in The Times (London) , Tolkien rejected several requests to purchase the screen rights to his books. A Jan 2001 Newsweek article reported that at one time, Tolkien was offended by a treatment presented to him of an animated version that changed the name of Elven waybread to “food concentrate,” and a Dec 2001 The Times (London) reported that, in 1957, he refused to work with three Hollywood businessmen who pitched an animated version containing misspellings. Despite his misgivings, according to a Dec 2001 The Independent (London) , Tolkien sold the film rights to The Lord of the Rings in 1968, and a Nov 1977 NYT article reported that MGM and Disney considered the project. However, it was Arthur Rankin, Jr. and his partner Jules Bass, who produced a ninety-minute, American-Japanese animated version that aired as a special on NBC-TV in 1977. They also planned to release it later in theaters, followed by two other Tolkien adaptations. Although those plans did not come to fruition, in 1978, Saul Zaentz produced a version of the first half of the Ring trilogy, which was directed by animator Ralph Bakshi and combined animation with “rotoscoping” or live action footage copied onto animation paper. The poor box-office performance of that film, which was released by United Artists, caused Zaentz to abandon a sequel.
       A Jan 1997 HR news item reported that other companies considered undertaking Tolkien’s work after the 1978 production, and that Universal and DreamWorks had recently approached the Saul Zaentz Co. This was confirmed by a May 1997 The Times (London) article, which added that directors Peter Jackson and John Boorman had declared interest in the film. Although an Aug 1998 Var article reported that Wingnut Films, which Jackson co-owns with his partner Fran Walsh, had struck a deal with Zaentz and Miramax to write and produce the Tolkien epic, after a year of script development and planning, Miramax and Wingnut could not reconcile their different approaches to the project. According to an Aug 1998 Screen International report, Miramax’s co-chairmen, Harvey and Bob Weinstein, who wanted to compress the trilogy’s story into a single film, gave Jackson three weeks to find a new backer. New Line Cinema took over Miramax’s option, although the Weinsteins continued to serve as executive producers of the 2001 film, and the collaboration marked, according to an Aug 1998 LAT article, “a rare cooperative venture between two rival companies.”
       It has been reported in news articles that several of Tolkien’s descendants became uncomfortable with a film version of their father’s works. In the May 1997 The Times (London) article, Christopher, Tolkien’s son and literary executor, said that aggressive fanatics of the books forced the family to flee England in 1975, and Tolkien’s oldest son, John, expressed concern that further commercial pressures would detract from the book. In Dec 2001, The Independent (London) reported that Simon Tolkien, son of Christopher, claimed that he had been banned from the estate board and other family affairs for supporting the making of the film.
       The writing of the screenplay began in Apr 1997, according to a Nov Script 2001 article. Pleased that New Line supported his wish to film all three films simultaneously, Jackson explains in the production notes of the presskit, “I felt that in order to do the tale’s epic nature justice, we had to shoot it as one big story.” During the writing of the screenplay, Jackson, Walsh and fellow writer Philippa Boyens felt that they had to satisfy both Tolkien fans and those who had never read the book, thus necessitating some changes in the story. The book’s journey through the Old Forest and the encounter with the animated corpses (barrow-wights) were cut to keep the pace of the film from slowing down. The popular character “Tom Bombadil” was deleted early in the writing of the screenplay for the same reason, although, in a Dec 2001 CineFantastique article, Jackson said that they had hoped to make a brief reference to the character in the film, but ran out of time. The writing team expanded some of the female characters, especially “Arwen,” who is barely mentioned in the first book of the trilogy, but becomes a pivotal character in the film by saving Frodo’s life. The character’s part required many revisions, according to a Dec 2001 Newsweek article, and troubled many fans, who heard rumors that she was being turned into a sword-wielding warrior.
       Although news items and internet websites discussed the casting of Sean Connery in the film, an Aug 1998 Var article reported that Jackson planned to fill the lead roles with lesser known players. For the role of Frodo, Jackson auditioned over 150 actors, according to a Nov 2001 Entertainment Weekly article, before casting Elijah Wood, who actively competed for the part by submitting a homemade audition tape. Before Ian McKellen, whom Jackson described as the “ please-God-let-us-have-him guy,” could be cast as Gandalf, negotiations in scheduling had to be worked through. According to an Oct 1999 HR news item, Irish actor Stuart Townsend was originally cast as “Aragorn,” but was replaced by Viggo Mortensen. Ian Holm, who played “Frodo” in a 1970s BBC radio production, was cast as “Bilbo.” British actor Orlando Bloom marked his major film debut in the role of “Legolas.” Although the leads were mostly from Great Britain and the United States, according to an Oct 2000 Var article, fifty-seven of the seventy-seven speaking parts were cast with people from New Zealand, where the film was shot. According to a Nov 2001 Entertainment Weekly article, the New Zealand government offered its army to play extras in a battle scene.
       The production notes stated that cast members underwent intensive physical training in swordfighting and horsemanship to prepare for their roles and for the arduous shooting schedule and challenging conditions they would be experiencing. Language coaches trained the cast in Tolkien’s Elvish language and the various dialects created for the film. According to an Apr 2000 Observer (London) article, an Irish-like accent was assigned to the Elves, a West Country burr to the Hobbits, and the Dwarves were given a Cockney accent. In addition, according to a Nov 2001 Script article, Tolkien’s pronunciation guides were followed and monitored by three academic advisors, as well as the two on-set dialect coaches.
       Besides a distinctive language, each of the various races in Middle-Earth was given an artistic style that was expressed through the architecture, clothing and physical features of the characters; Tolkien artists assisted production designer Grant Major in conceptualizing the look of the film, so that it would remain true to the author’s original vision. According to the studio’s production notes, an average of 150 costumes for each of the different cultures were made, including the smaller or larger versions of each costume for the character’s “scale double.” Prosthetic artists created facial and other physical features of the various races, and a special foam latexing oven was in constant use to make ears, Hobbit feet and Uruk-Hai arms and legs, along with props. To create the disparity between the three-and-a-half-foot Hobbits and seven-foot Wizards, “scale” doubles and forced perspective filming were used. In the scene at Bilbo’s home in Hobbiton at the beginning of the film, actors McKellen and Holm were shot separately, on two different-sized sets.
       According to a Dec 2001 NYT article, many of the leads had their faces scanned and body movements digitally captured for the special effects used in the film. A Nov 2001 LAT article stated that every frame of the film was stored in a digital library, so that Jackson and his team could manipulate the lighting, landscapes, characters and even details like the elaborate smoke rings blown by Gandalf and Bilbo in an early scene. According to the production notes, many creatures, among them the Balrog, the Cave Troll and the Watcher, were entirely digital beings. According to the CineFantastique article, the creatures commanding the most attention from the designers were the frightening Uruk-Hai, which were intentionally made in human form, because, according to Jackson, “the only truly scary thing in the world is other humans.”
       As stated in the end credits, the film was shot entirely in New Zealand. Although an Aug 1998 Var reported that Jackson believed his native New Zealand’s landscapes would particularly suit the recreation of Middle-Earth, the decision to film there was partially financial. In a Sep 1998 HR article, Jackson said that New Zealand had technical proficiency, education, English speakers and lower costs, and he believed he could not have made a film of The Lord of the Rings ’s quality in the United States.
       The production notes reported that artisans of earlier technologies were employed, among them glassblowers, blacksmiths, leather-workers, thatched-roofers, seamstresses and experts in medieval armor. The New Zealand army dug earthworks and built an access road for the production, according to the CineFantastique article, and local citizens provided most of the 2,400 crewmen and 26,000 extras. Meanwhile, according to the Nov 2001 Entertainment Weekly article, the country’s government created a cabinet-level position, which was dubbed “Minister of the Lord of the Rings” by the press, to expand the tourist and film industries in the country. According to a Dec 2001 NYT article, Jackson had hoped to set up a permanent Tolkien museum to display items from the three films, but permission from the Tolkien Estate had not yet been obtained.
       Although interior scenes were filmed at Camperdown Studios in Wellington, New Zealand, a Dec 2001 NYT article reported that the film was shot on location in over one hundred areas, and that at one point, seven units simultaneously shot different elements of the three films. Hobbiton sequences were filmed at Matamata, where, according to a Dec 2001 AmCin article, flowers and vegetables were planted a year in advance of shooting. The CineFantastique article reported that an unused army site at Fort Dorset, near the studio, was used for the Inn of the Prancing Pony’s exteriors. Exteriors of Moria were shot on a backlot in the Hutt Valley and in Abel Tasman National Park. The Fellowship’s river journey was filmed at Te Anau, and waterfalls on South Island were shot and combined with shots of a miniature set, a matte painting and photographic tiles to create scenes of Rivendell. In addition, miniature trees with autumn leaves, signifying the approaching end of the Elven race in Middle-Earth, were built and composited into the scenes. Scale models, both smaller and larger than the original, were made of many sets, often carved out of polystyrene.
       During the 274 days of principal photography, which spanned four-and-a-half months, the cast and crew formed strong friendships while working on the easy-going Jackson’s reportedly amiable set. To commemorate the experience, the nine actors playing the film’s “Fellowship” had the word for “nine” in one of Tolkien’s languages tattooed somewhere on each of their bodies, according to the LAT review.
       A Jun 2001 Entertainment Today news item reported that, six months after production ceased, a new opening was shot for the beginning of the film and that most of the dialogue was re-recorded at several studios in London, because the New Zealand studios were not fully soundproofed.
       The total cost of the three-film project has been reported in several sources to be $270 million. New Line negotiated that foreign distributors pay up front for all three films of the series, and according to a May 2001 LAT article, German and New Zealand tax funds, along with the foreign distributors, paid for 65% of the cost. According to a Feb 2001 Screen International article, an official website for the film was first launched in May 1999. A Nov 2001 DV article reported that the film has marketing partnerships with Burger King, JVC, Barnes & Noble and General Mills. In addition, over forty licensed products are being marketed in conjunction with the film, including collectibles, swords, action figures, toys and video games. According to Exhibitor's Relations, as of 1 Jan 2002, the film had taken in over $174,000,000 in the domestic box office.
       The Fellowship of the Ring received Golden Globe nominations for Best Motion Picture-Drama, Best Director, Best Score and Best Original Song (“May It Be”). It was the first recipient of AFI’s Movie of the Year award, with additional AFI awards given to Production designer Grant Major and Visual Effects Artist Jim Rygiel. Howard Shore was also nominated as AFI Composer of the Year. The film won Academy Awards for Best Cinematography, Best Makeup, Best Music (original score) and Best Achievement in Visual Effects, and received the following Academy Award nominations: Best Art Direction, Best Costume Design, Best Director, Best Film Editing, Best Original Song, Best Picture, Best Writing (based on material previously produced or published), Best Sound and Best Actor in a supporting role, Ian McKellen. In 2007, The Lord of the Rings: The Fellowship of the Ring was ranked number 50 on AFI's 100 Years...100 Movies--10th Anniversary Edition list of the greatest American films. More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
American Cinematographer
Dec 2001
pp. 36-69.
CineFantastique
Dec 2001
pp. 32-43.
Daily Variety
15 Oct 1999.
---
Daily Variety
17 May 2001.
---
Daily Variety
25 Oct 2001.
---
Daily Variety
29 Nov 2001.
p. 1, 25.
Entertainment Today
8 Jun 2001.
---
Entertainment Weekly
16 Nov 2001.
---
Entertainment Weekly
14 Dec 2001
pp. 40-46.
Entertainment Weekly
4 Jan 2002
p. 10-11.
Hollywood Reporter
27 Jan 1997.
---
Hollywood Reporter
22 Sep 1998.
---
Hollywood Reporter
12 Oct 1999
p. 25.
Hollywood Reporter
12 Dec 2000
P. 23.
Hollywood Reporter
4 Dec 2001.
---
Los Angeles Times
24 Aug 1998.
---
Los Angeles Times
15 May 2001
p. F1, F4.
Los Angeles Times
11 Nov 2001
pp. 6-7, 32.
Los Angeles Times
19 Dec 2001.
---
New York Times
15 Jan 1967.
---
New York Times
3 Sep 1973.
---
New York Times
27 Nov 1977.
---
New York Times
15 Nov 1978.
---
New York Times
15 Dec 2000.
---
New York Times
16 Dec 2001.
---
New York Times
18 Dec 2001.
---
Newsweek
29 Jan 2001
p. 60, 61.
Newsweek
10 Dec 2001
pp. 72-77.
Screen International
28 Aug 1998.
---
Screen International
9 Feb 2001.
---
Script
Nov 2001.
pp. 34-37, 62.
The Independent (London)
2 Dec 2001.
---
The Observer (London)
2 Apr 2000.
---
The Times (London)
25 May 1997.
---
The Times (London)
1 Jul 2001
pp. 1-24.
The Times (London)
4 Dec 2001.
---
US Weekly
31 Dec 2001
p. 68.
Variety
31 Aug 1998
p. 11, 20.
Variety
16 Oct 2000
p. 105, 113.
Variety
4 Dec 2001
p. 12.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXT
A Wingnut Films Production
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
1st asst dir
Key 2d asst dir
1st asst dir, 2d unit
1st asst dir, 2d unit
1st asst dir, 2d unit
1st asst dir, 2d unit
2d asst dir
2d 2d asst dir
2d 2d asst dir
Key 2d asst dir, 2d unit
2d asst dir, 2d unit
3rd asst dir
3rd asst dir
3rd asst dir
2d unit dir
2d unit dir
Addl 2d unit dir
Addl 2d unit dir
1st asst dir, Miniatures unit
2d asst dir/Coord, Miniatures unit
PRODUCERS
Prod
Exec prod
Exec prod
Exec prod
Exec prod
Exec prod
Co-prod
Co-prod
Assoc prod
PHOTOGRAPHY
Dir of photog
Dir of photog, 2d unit
Dir of photog, 2d unit
Dir of photog, 2d unit
Dir of photog, 2d unit
Dir of photog, 2d unit
Dir of photog, 2d unit
Aerial unit dir of photog
Focus puller
Focus puller
Focus puller
Focus puller
Focus puller
Focus puller
Focus puller
Clapper/Loader
Clapper/Loader
Clapper/Loader
Clapper/Loader
Trainee
Spacecam tech
Wescam tech
Cam pilot
Cam pilot
Cam pilot
Video assist op
Video assist op
Video assist op
Video asst
Video asst
Video asst
Supv chief lighting tech
Chief lighting tech
Chief lighting tech
Chief lighting tech
Chief lighting tech
Chief lighting tech
Asst chief lighting tech
Asst chief lighting tech
Asst chief lighting tech
Asst chief lighting tech
Lighting tech
Lighting tech
Lighting tech
Lighting tech
Lighting tech
Lighting tech
Lighting tech
Lighting tech
Lighting tech
Lighting tech
Lighting tech
Lighting tech
Lighting tech
Lighting tech
Gene op
Gene op
Rigging
Rigging
Rigging
Lighting console op
Lighting coord
Key grip/Motion control
Supv key grip
Key grip
Key grip
Key grip
Dolly grip
Dolly grip
Dolly grip
Best boy
Best boy
Best boy
Grip coord
Tech cont
Grip
Visual eff dir of photog, Miniatures unit
Dir of photog, Miniatures unit
Dir of photog/Mocon programmer, Miniatures unit
Focus puller, Miniatures unit
Focus puller, Miniatures unit
Clapper loader, Miniatures unit
Clapper loader, Miniatures unit
Clapper loader, Miniatures unit
Chief lighting tech, Miniatures unit
Chief lighting tech, Miniatures unit
Lighting tech, Miniatures unit
Lighting tech, Miniatures unit
Lighting tech, Miniatures unit
Lighting tech, Miniatures unit
Lighting tech, Miniatures unit
Key grip, Miniatures unit
Key grip, Miniatures unit
Grip, Miniatures unit
Grip, Miniatures unit
Grip, Miniatures unit
Grip, Miniatures unit
Motion control, Miniatures unit
Motion control, Miniatures unit
Motion control, Miniatures unit
Motion control, Miniatures unit
Motion control, Miniatures unit
Motion control, Miniatures unit
Motion control/Cam eng, Miniatures unit
Physical eff tech, Miniatures unit
Stills photog
Landscape stills photog
Colour & telecine dailies by
Telecine
Telecine
Lab liaison
Lab mgr
Film unit CEO
Cameras and lenses by
Spacecam aerial cam system provided by
Wescam provided by
Lighting equipment supplied by
ART DIRECTORS
Prod des
Conceptual des
Conceptual des
Art dir
Art dir
Art dir
Asst art dir
Asst art dir
Asst art dir
Draughtsperson
Draughtsperson
Draughtsperson
Draughtsperson
Draughtsperson
Draughtsperson
Model maker
Model maker
Supv sculptor
Head sculptor
Sculptor
Sculptor
Sculptor
Sculptor
Sculptor
Sculptor
Sculptor
Sculptor
Sculptor
Sculptor
Sculptor
Sculptor
Sculptor
Sculptor
Sculptor
Sculptor
Sculptor
Sculptor
Art dept mgr
Art dept coord
Art dept coord
FILM EDITORS
Film ed
Supv ed
1st asst ed
Asst ed
Asst ed
Asst ed
Asst ed
Asst ed
Ed VFX coord
Animatics ed
Apprentice asst ed
Apprentice asst ed
Projectionist
Digital film grading system
Lead developer
Lead programmer
Programmer
Programmer
Negative cutter
SET DECORATORS
Set dec
Const supv
Supv set finisher
Greenmaster
Supv steelworker
Props master
Props buyer
Props des
Standby props
Standby props
Standby props
Standby props
Standby props
Standby asst
Standby asst
Standby asst
Props maker
Props maker
Props maker
Props maker
Props maker
Props maker
Props maker
Props maker
Props maker
Props maker
Props maker
Props maker
Props maker
Props maker
Props maker
Props maker
Props maker
Props maker
Props maker
Props maker
Set dresser
Set dresser
Set dresser
Set dresser
Set dresser
Set dresser
Set dresser
Painter
Painter
Painter
Painter
Painter
Painter
Painter
Painter
Painter
Painter
Painter
Painter
Painter
Painter
Const mgr
Const mgr
Const foreman
Const foreman
Const foreman
Const foreman
Const foreman
Const foreman
Leading hand
Leading hand
Leading hand
Leading hand
Leading hand
Leading hand
Leading hand
Leading hand
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Hammerhand
Greens
Greens
Greens
Greens
Greens
Greens
Greens
Greens
Standby greens
Standby greens
Standby greens
Standby greens
Steelworker
Steelworker
Steelworker
Rock & foam
Rock & foam
Rock & foam
Rock & foam
Rock & foam
Rock & foam
Physical eff supv
Physical eff on-set coord
Physical eff on-set coord
Physical eff on-set coord
Physical eff tech
Physical eff tech
Physical eff tech
Physical eff tech
Physical eff tech
Physical eff tech
Physical eff tech
Physical eff tech
Physical eff tech
Physical eff tech
Physical eff tech
Physical eff tech
Physical eff tech
Physical eff tech
Physical eff tech
COSTUMES
Cost des
Cost des
Ward mgr
Ward supv
Extras coord
Jeweller
Ward manufacturing
Ward manufacturing
Ward manufacturing
Ward manufacturing
Ward manufacturing
Ward manufacturing
Ward manufacturing
Ward manufacturing
Ward manufacturing
Ward manufacturing
Ward on-set
Ward on-set
Ward on-set
Ward on-set
Ward on-set
Ward on-set
Ward on-set
Ward on-set
Ward on-set
Ward on-set
Ward on-set
Ward on-set
Ward on-set
Head of armour weapons, Weta Workshop
Swordsmith, Weta Workshop
Leather craftsman, Weta Workshop
Armoursmith, Weta Workshop
Armoursmith, Weta Workshop
Chain maille, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
Armour weapons/Standby, Weta Workshop
MUSIC
Mus comp, orch & cond
Exec in charge of mus
Mus business affairs
Mus ed
Mus ed
Assoc mus prod
Mus performed by
Choir master
Choir master
Choir master
Featured vocalist
Featured vocalist
Featured vocalist
Featured vocalist
Mus contractor
Mus contractor
Rec at
Addl mus crew
Addl mus crew
Addl mus crew
Addl mus crew
Addl mus crew
Addl mus crew
Addl mus crew
Addl mus crew
Addl mus crew
Addl mus crew
Addl mus crew
Addl mus crew
Addl mus crew
Addl mus crew
Addl mus crew
Addl mus crew
Addl mus crew
Addl mus crew
Addl mus crew
Addl mus crew
Addl mus crew
SOUND
Supv sd ed/Co-des
Supv sd ed
Sd des
Boom op
Boom op
Cable
Sd eff ed
Sd FX ed
Sd FX ed
Sd FX ed
Dial ed
Dial ed
Asst sd ed
Asst sd ed
1st asst sd ed
Asst dial ed
Sd IT support
Foley eng
Foley artist
Foley artist
Re-rec mix
Re-rec mix
Re-rec mix
Addl re-rec mix
Facility mgr
ADR facility
VISUAL EFFECTS
Visual eff supv
Spec makeup, creatures, armour, weapons & miniatur
On set coord, Weta Workshop
On set coord, Weta Workshop
Des/Sculptor, Weta Workshop
Des/Sculptor, Weta Workshop
Des/Sculptor, Weta Workshop
Des/Sculptor, Weta Workshop
Des/Sculptor, Weta Workshop
Des/Sculptor, Weta Workshop
Des/Sculptor, Weta Workshop
Art dir, Weta Workshop
Senior prosthetics, Weta Workshop
Senior prosthetics, Weta Workshop
Senior prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Creatures/Prosthetics, Weta Workshop
Prosthetics supv, Weta Workshop
Prosthetics supv, Weta Workshop
Prosthetics supv, Weta Workshop
Prosthetics supv, Weta Workshop
Prosthetics makeup, Weta Workshop
Prosthetics makeup, Weta Workshop
Prosthetics makeup, Weta Workshop
Prosthetics makeup, Weta Workshop
Prosthetics makeup, Weta Workshop
Prosthetics makeup, Weta Workshop
Prosthetics makeup, Weta Workshop
Hair, Weta Workshop
Hair, Weta Workshop
Hair, Weta Workshop
Hair, Weta Workshop
Hair, Weta Workshop
Hair, Weta Workshop
Hair, Weta Workshop
Hair, Weta Workshop
Mechanist/Eng, Weta Workshop
Mechanist/Eng, Weta Workshop
Mechanist/Eng, Weta Workshop
Mechanist/Eng, Weta Workshop
Mechanist/Eng, Weta Workshop
Paint FX, Weta Workshop
Paint FX, Weta Workshop
Paint FX, Weta Workshop
Paint FX, Weta Workshop
Paint FX, Weta Workshop
Miniature builder, Weta Workshop
Miniature builder, Weta Workshop
Miniature builder, Weta Workshop
Miniature builder, Weta Workshop
Miniature builder, Weta Workshop
Miniature builder, Weta Workshop
Miniature builder, Weta Workshop
Miniature builder, Weta Workshop
Miniature builder, Weta Workshop
Miniature builder, Weta Workshop
Miniature builder, Weta Workshop
Miniature builder, Weta Workshop
Miniature builder, Weta Workshop
Miniature builder, Weta Workshop
Miniature builder, Weta Workshop
Miniature builder, Weta Workshop
Miniature builder, Weta Workshop
Miniature builder, Weta Workshop
Miniature builder, Weta Workshop
Miniature builder, Weta Workshop
Miniature builder, Weta Workshop
Visual eff consultant, Weta Workshop
Visual eff prod mgr, Weta Workshop
Visual eff prod coord, Weta Workshop
Visual eff PA, Weta Workshop
Visual eff PA, Weta Workshop
Visual eff PA, Weta Workshop
Visual eff art dir, Weta Workshop
Visual eff art dir, Weta Workshop
Photoshop artist, Weta Workshop
Coord, Weta Workshop
3D Previz artist, Weta Workshop
3D Previz artist, Weta Workshop
Prod asst, Weta Workshop
Ford of Bruinen seq
Visual eff supv, Digital Domain
Visual eff prod, Digital Domain
Digital eff coord, Digital Domain
Digital eff supv, Digital Domain
Visual eff coord, Digital Domain
Compositing supv, Digital Domain
3D eff anim, Digital Domain
Character anim, Digital Domain
Character anim, Digital Domain
Digital compositor, Digital Domain
Digital compositor, Digital Domain
Tech developer, Digital Domain
Tech developer, Digital Domain
Visual eff dir of photog, Digital Domain
Visual eff exec prod, Digital Domain
Addl visual eff
Digital FX supv, Animal Logic
Visual eff exec prod, Animal Logic
Digital eff line prod, Animal Logic
Art dir, Animal Logic
Art dir, Animal Logic
Compositor, Animal Logic
Compositor, Animal Logic
Compositor, Animal Logic
3D anim, Animal Logic
3D anim, Animal Logic
Digital visual eff des and created by
Anim des & supv, Weta Digital
VFX prod, Weta Digital
Chief tech officer, Weta Digital
VFX art dir, Weta Digital
Software dev supv, Weta Digital
Anim supv, Weta Digital
VFX cine, Weta Digital
3D supv, Weta Digital
3D look supv, Weta Digital
2D supv, Weta Digital
Digital models supv, Weta Digital
Senior anim, Weta Digital
Senior anim, Weta Digital
Senior anim, Weta Digital
Senior anim, Weta Digital
Senior anim, Weta Digital
Senior anim, Weta Digital
Senior anim, Weta Digital
Senior anim, Weta Digital
Senior anim, Weta Digital
Senior anim, Weta Digital
Senior anim, Weta Digital
3D seq lead, Weta Digital
3D seq lead, Weta Digital
3D seq lead, Weta Digital
3D seq lead, Weta Digital
3D seq lead, Weta Digital
3D seq lead, Weta Digital
3D seq lead, Weta Digital
3D seq lead, Weta Digital
3D seq lead, Weta Digital
3D seq lead, Weta Digital
3D TD, Weta Digital
3D TD, Weta Digital
3D TD, Weta Digital
3D TD, Weta Digital
3D TD, Weta Digital
3D TD, Weta Digital
3D TD, Weta Digital
3D TD, Weta Digital
3D TD, Weta Digital
FX software developer, Weta Digital
FX anim lead, Weta Digital
FX anim, Weta Digital
FX anim, Weta Digital
FX anim, Weta Digital
FX anim, Weta Digital
FX anim, Weta Digital
FX anim, Weta Digital
2D seq lead, Weta Digital
2D seq lead, Weta Digital
2D seq lead, Weta Digital
2D seq lead, Weta Digital
2D seq lead, Weta Digital
2D seq lead, Weta Digital
2D seq lead, Weta Digital
2D seq lead, Weta Digital
2D seq lead, Weta Digital
2D seq lead, Weta Digital
Compositor, Weta Digital
Compositor, Weta Digital
Compositor, Weta Digital
Compositor, Weta Digital
Compositor, Weta Digital
Compositor, Weta Digital
Compositor, Weta Digital
Compositor, Weta Digital
Compositor, Weta Digital
Compositor, Weta Digital
Compositor, Weta Digital
2D software developer, Weta Digital
2D colourist, Weta Digital
Matte painting lead, Weta Digital
Senior matte painter, Weta Digital
Matte painter, Weta Digital
Matte painter, Weta Digital
Matte painter, Weta Digital
Matte painter, Weta Digital
Conceptual digital visualization, Weta Digital
Environment TD, Weta Digital
Digital modeller, Weta Digital
Digital modeller, Weta Digital
Digital modeller, Weta Digital
Digital modeller, Weta Digital
Digital modeller, Weta Digital
Digital modeller, Weta Digital
Creature lead, Weta Digital
Pre-pro shading supv, Weta Digital
Texture painter lead, Weta Digital
Rotoscope supv, Weta Digital
Senior paint artist, Weta Digital
Motion ed lead, Weta Digital
Creature TD, Weta Digital
Creature TD, Weta Digital
Creature TD, Weta Digital
Creature TD, Weta Digital
Creature TD, Weta Digital
Creature TD, Weta Digital
Creature TD, Weta Digital
Creature TD, Weta Digital
Shader wrt, Weta Digital
Shader wrt, Weta Digital
Shader wrt, Weta Digital
Shader wrt, Weta Digital
Shader wrt, Weta Digital
Texture painter, Weta Digital
Texture painter, Weta Digital
Texture painter, Weta Digital
Texture painter, Weta Digital
Texture painter, Weta Digital
Texture painter, Weta Digital
Crowd software developer & supv, Weta Digital
Senior massive crowd TD, Weta Digital
Lead massive crowd TD, Weta Digital
Motion tree des, Weta Digital
Motion tree des, Weta Digital
Massive crowd TD, Weta Digital
Massive crowd TD, Weta Digital
Massive crowd TD, Weta Digital
Massive crowd TD, Weta Digital
Massive crowd TD, Weta Digital
Massive crowd TD, Weta Digital
Massive crowd TD, Weta Digital
Massive crowd TD, Weta Digital
Mocap supv, Weta Digital
Mocap supv, Weta Digital
Motion ed, Weta Digital
Motion ed, Weta Digital
Motion ed, Weta Digital
Lead performance anim, Weta Digital
Mocap TD, Weta Digital
Mocap tech, Weta Digital
Mocap prop des, Weta Digital
Cam TD, Weta Digital
Cam TD, Weta Digital
Cam TD, Weta Digital
Cam TD, Weta Digital
Cam TD, Weta Digital
Cam TD, Weta Digital
Cam TD, Weta Digital
Cam TD, Weta Digital
Senior software developer, Weta Digital
Software developer, Weta Digital
Software eng, Weta Digital
Survey software developer, Weta Digital
Rotoscope artist, Weta Digital
Rotoscope artist, Weta Digital
Rotoscope artist, Weta Digital
Rotoscope artist, Weta Digital
Rotoscope artist, Weta Digital
Rotoscope artist, Weta Digital
Rotoscope artist, Weta Digital
Rotoscope artist, Weta Digital
Paint artist, Weta Digital
Paint artist, Weta Digital
Paint artist, Weta Digital
Paint artist, Weta Digital
Line prod, Weta Digital
Seq coord, Weta Digital
Seq coord, Weta Digital
Seq coord, Weta Digital
Seq coord, Weta Digital
Seq coord, Weta Digital
2D coord, Weta Digital
3D coord, Weta Digital
Motion coord, Weta Digital
Matte painting coord, Weta Digital
Schedule coord, Weta Digital
Digital resource mgr, Weta Digital
On-set digital supv, Weta Digital
Senior pre-pro coord, Weta Digital
Videosplit/Projectionist, Miniatures unit
Model tech, Miniatures unit
Model tech, Miniatures unit
Model tech, Miniatures unit
Model tech, Miniatures unit
Model tech, Miniatures unit
Model tech, Miniatures unit
Model tech, Miniatures unit
Unit mgr, Miniatures unit
Trainee, Miniatures unit
Stage helper, Miniatures unit
Unit mgr, Miniatures unit
Unit mgr, Miniatures unit
Unit mgr, Miniatures unit
Unit mgr, Miniatures unit
Unit, Miniatures unit
Unit, Miniatures unit
Unit, Miniatures unit
Unit, Miniatures unit
Unit, Miniatures unit
Unit, Miniatures unit
Unit, Miniatures unit
Unit, Miniatures unit
Unit, Miniatures unit
Unit, Miniatures unit
Unit, Miniatures unit
Unit, Miniatures unit
Unit, Miniatures unit
Unit, Miniatures unit
On-set survey tech, Weta Digital
On-set survey tech, Weta Digital
On-set survey tech, Weta Digital
On-set survey tech, Weta Digital