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Words by Ian McKellen
24 July 2001
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At the beginning of this month I was back in New Zealand for six
days completing my contribution to The Fellowship of the Ring.
Shock? Horror? Some observers earlier in the year over-reacted to the Grey
Book's news that Peter Jackson was making minimal adjustments to
the beginning of that film. They assumed that something had gone badly
wrong — in part, perhaps, a cynical reaction to the unanimous
approval of the "Cannes footage" where journalists and
distributors raved over 20 minutes of completed film.
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Photo by Pierre Vinet / New Line Cinema
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Peter Jackson on the set
Photo by Pierre Vinet / New Line Cinema
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For a film director to adjust things between the completion of
principal photography and the movie's release is, of course,
commonplace, akin to a chef's last-minute seasoning or an author's
spellcheck. Throughout filming, I was impressed by Peter Jackson's
overall view, confirmed in Wellington this month, when he sensed after
each session exactly which piece of which take should make it into the
final cut. Some directors fashion their film in the editing suite,
whereas Peter Jackson seems to cut it all together in his head in
advance.
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In June, following the success of Cannes, Robert Shaye and his
close associates at New Line watched on the big screen at Peter's
headquarters his preliminary version of the first film in their
trilogy. Bob is not a man to mince words but what could have been a
nerve-wracking confrontation between producer and director passed off
in mutual enthusiasm, confirming the truth that The Fellowship of
the Ring is on course and on time. Next, Howard Shore will fit his
composition to the final cut, when he records the music in London next
month.
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Ian Holm, Ian McKellen, Robert Shaye
in Wellington
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Gandalf addresses the Council of Elrond (Hugo Weaving, second
left)
Photo by Pierre Vinet / New Line Cinema
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It was fun to be back in pointy hat and beard, catching up with
acting colleagues and other friends in Wellington. Hugo Weaving raced
over from filming the Matrix sequels in Sydney; Elijah Wood ,
Sean Astin and Viggo Mortensen flew in from Hollywood; and Christopher
Lee and John Rhys-Davies were there from London. We will all meet up
again at the world premiere if, that is, it fits in with my
Tuesday-Sunday Broadway schedule for Dance
of Death. If the movie opens in US or in London on a Monday
evening, I should be able to make it. I hope that there is also a gala
opening in Wellington so the local cohorts of extras and technicians
can show off their handiwork to friends and families.
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Between takes, I revelled in "Tall, Dark and
Gruesome", the Lee autobiography — "What's that about?"
a friend asked him! Well it's pure Christopher and you can hear his
voice as you read. I also treasure a slim book of Strindberg's
photography, given me by Viggo, the actor/artist/photographer/poet. I am
increasingly mindful of Dance
of Death as rehearsals approach. This is the time that diligent
actors prepare. So what do I do? Remembering a pre-Wild
Honey recce to Chekov's country, I wonder whether a quick trip
to Sweden wouldn't be in order? Even though I have performed my solo Acting
Shakespeare in Stockholm and in Uppsala, where Strindberg was a
student? It might have been best to go to Scandinavia with Helen
Mirren or Sean Mathias, the director, but the one is currently
preparing for the rigours of Broadway at her home in Los Angeles, the
other at his in Cape Town. So I’ve been trundling through Michael
Meyer's standard biography of Strindberg and in net searches for
further info, landing up in Swedish-language-only sites, some of which
have the same photos as in Viggo's book. They are modern images,
informal, wild and restless and certainly convey more of the
dramatist's style than his home country would, a hundred years later.
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Viggo Mortensen as Aragorn
Photo by Pierre Vinet / New Line Cinema
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Christopher Lee as Saruman
Photo by Pierre Vinet / New Line Cinema
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Whilst Saruman and I were facing off once more, I asked Dan
Hennah (art director) if I could one day take home a couple of the
fake-metal lizards which served as door handles in Orthanc. He smiled
quizzically as he often does and as I left for Wellington Airport last
week, Peter and Fran presented me with a hefty wooden box
containing the lizards, which are now settled in at their new home in
London. Among a few further precious mementoes are an Alan Lee
original pencil drawing of Gandalf (another gift from the Jacksons)
plus I confess hanging in my study the large keys to Bag End’s round
front door which, if anyone asks, I shall swear were given me by Bilbo
Baggins before he left Hobbiton forever.
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I also have a sizeable collection of prototypes for
merchandising curiosities, which have been sent on approval. My
favourite, although I don't eat meat, is Burger King's goblet with a
convincing likeness of Gandalf in cameo relief on its bowl. Perhaps
this should only be available for consumers of veggieburgers!
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The WETA workshops who made the masks, weapons and other objects for
the trilogy have produced figurines, sculpted and painted by their
young staff, like this one of Gandalf leading the Fellowship into the
Mines of Moria.
Weta Workshop/Sideshow
Toy
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