What The Lord Of The Rings Franchise Looks Like Without Special Effects

Today, many Hollywood films make extensive use of special effects. However, certain film genres rely heavily on digital manipulation more than others. For instance, it would be challenging to create a convincing fantasy movie without the assistance of Visual Effects (VFX). Successful fantasy movies often blend practical and digital techniques. If you’re looking for evidence that this method is effective, consider these five words: “The Lord of the Rings” trilogy.

Peter Jackson’s background in independent filmmaking proved beneficial during the creation of his “The Lord of the Rings” series. Notably, Jackson employed the technique of forced perspective to make characters like Hobbits seem appropriately sized within their world. Additionally, he commissioned intricate miniature sets that added a realistic touch to the completed films. Yet, there were aspects beyond practical means where Weta Digital’s revolutionary visual effects work was crucial.

Jackson’s initial trilogy established the mood for contemporary high-budget fantasy as we entered the 21st century, and the celebrated filmmaker revisited the “Hobbit” trilogy a decade later. More recently, Amazon Prime Video has been harnessing Middle-earth enchantment through its “The Rings of Power” series. Special effects are abundant across these productions; however, let’s take a peek at what the legendary franchise appears like before being polished up. Here’s a glimpse of how the iconic series looks without special effects.

Benedict Cumberbatch was more than the voice of Smaug

During the filming of “The Hobbit” series, Benedict Cumberbatch kept himself quite occupied: He not only provided the voice for both Sauron, the mysterious Necromancer, and the dragon Smaug the Golden, but he also put in extra effort. In the case of Smaug, Cumberbatch went above and beyond by wearing a motion capture suit and lying on his stomach. Backstage footage reveals Cumberbatch acting out his lines while dressed in the suit. Although it may have appeared peculiar, the final product turned out to be one of the standout scenes in an otherwise average “Hobbit” trilogy – the encounter between Bilbo (Martin Freeman) and Smaug.

In the concluding part of the narrative, viewers are rewarded with an impressive treasure chamber within the Lonely Mountain. As Bilbo (invisibly due to the One Ring) flees for cover, Smaug appears from a mound of gold and searches for his elusive guest while conversing with him. Watching the colossal movements of the dragon on screen alongside Benedict Cumberbatch’s sinuous impersonations filmed on set greatly enhances the epic scene’s impact.

The troll that Aragorn duels was supposed to be Sauron

At the culmination of “The Return of the King,” Aragorn guides the Western armies towards the Black Gate of Mordor, where he confronts Sauron, but instead finds himself engulfed by the dark army. During this clash, Aragorn faces off against a massive armored giant that resembles a troll. Originally, Aragorn was intended to have an epic battle not with the troll-like creature, but directly against Sauron himself.

In an exclusive backstage video, filmmaker Peter Jackson disclosed their initial intention for a character embodying Sauron’s angelic aspect (Annatar) to confront Aragorn. However, this white figure would transform into a towering, armored black version of Sauron. Jackson eventually opted to concentrate more on Frodo and Sam as they approached Mount Doom with the One Ring, leading to the removal of the Sauron scene from the final cut.

Although parts of the final showdown between Sauron and others are shown in the movie, those particular scenes were actually reused for Aragorn’s troll fight. In the making-of video, there are some grainy backstage clips where Viggo Mortensen practices his swordplay against a stunt double portraying Sauron. This rehearsal was intended to be a full-fledged battle, but it didn’t end up being included in the final version of the film as originally planned.

The Mouth of Sauron’s mouth was originally much smaller

In an extended version of “The Return of the King,” Aragorn confronts a troll believed to be Sauron’s emissary, known as the Mouth of Sauron, prior to their duel. This character is portrayed by actor Bruce Spence and appears briefly before being beheaded by Aragorn. However, before the negotiations turn violent, there are some close-up shots that show a unique figure with elements of both a priest and a warrior. His helmet conceals the upper half of his face, leaving only an enormous mouth visible. The helmet is authentic, and Spence used a prosthetic device to create the appearance of torn skin around his mouth.

Regardless of its gruesome appearance, Peter Jackson wasn’t impressed by the footage when he reviewed it for editing. He experimented with digitally rotating the mouth to create a sense of body horror (one of the most unsettling aspects in any Middle-earth production), but it didn’t quite meet his expectations. In the final analysis, he chose to keep the mouth in its original position, but the Weta Digital VFX team amplified it by approximately 200% to increase the creepiness. “I was very satisfied with how the effect turned out,” Jackson stated in a behind-the-scenes documentary. “It creates an uncomfortable feeling that something’s off. I appreciate it. It’s one of those subtly disturbing effects.

Andy Serkis really invested in Gollum’s facial expressions

A challenge with creating CGI characters is that while it’s possible to use an actor for their voice and even mimic their movements, achieving convincing close-ups of their face remains difficult due to a lack of genuine human expression. This contributes significantly to the heightened feeling of the uncanny valley. However, the “Lord of the Rings” series stood out by not only developing a fully computer-generated character like Gollum (a significant advancement), but also by meticulously recording Andy Serkis’ facial expressions for authenticity.

The tiny dots on an actor’s face during motion capture sessions are meticulously placed to record even the slightest nuances of facial expressions, and Andrew Jackson, in particular, utilized this technology extensively to convey Gollum’s extraordinary energy as portrayed by Serkis. Although Gollum displays remarkable facial expressions across both trilogies, it’s in “The Hobbit: An Unexpected Journey” where the technique is most effectively showcased. In behind-the-scenes footage from the first “Hobbit” movie, Serkis can be seen adorned with motion capture equipment, making facial expressions that undeniably influenced the final portrayal of Gollum.

Gandalf and Frodo’s size difference is all forced perspective

In some instances, special effects aren’t generated by a computer. For example, the heartwarming and memorable scene where Gandalf arrives in the Shire during “The Fellowship of the Ring” is a standout moment in Middle-earth cinematic history. At first glance, it seems ordinary and engaging, but upon viewing behind-the-scenes footage, you’ll discover that to make Elijah Wood appear smaller and enhance Ian McKellen’s presence, the production team constructed a specially designed seat on the wagon. This seat allowed Wood to sit significantly further back within the prop, creating an illusion that the two actors were sitting side by side when filmed at the right angle. The final product is one of the most subtly captivating examples of forced perspective in these grandiose films.

In the same setting where Gandalf appeared at Bag End for a discussion with Frodo about the One Ring, we find them moving to the kitchen, where Frodo prepared tea for Gandalf and poured it from a kettle. During their talk, they seemed to be seated at a rectangular table, facing each other directly, but in reality, they were in distinct areas of the room. This was one of the ways director Peter Jackson employed forced perspective to make Hobbit actors appear smaller when acting alongside their taller counterparts.

In the tableau of the scene, Wood maintains distance while feigning interaction with McKellen. Remarkably, the table has an intricate design, and the crew devised a unique method to maneuver props such as this one contrary to the camera’s movement during a tracking shot, preserving the visual continuity throughout the action shot. Maintaining the balance between acting and avoiding eye contact (a crucial element for sustaining the illusion) proved challenging yet rewarding.

Moria is much less impressive in real life

Pondering, amazement, grandeur, apprehension – these are just a few terms to express the mysterious allure of the ancient, deserted Dwarven subterranean city of Moria in “The Lord of the Rings”. Yet, prior to the integration of special effects, the set for most of the Moria sequences fell short, appearing rather unimpressive.

In the image provided, you’ll find the impressive subterranean creation by the effects team, which represents the Twenty-first Hall on the Seventh Level of Moria. This is the bustling underground area where most of the significant events in the Dwarven mansion unfold. It’s the place that leaves us all speechless as the Fellowship of the Ring enters the grand halls adorned with numerous pillars, and Gandalf dares to let a bit more light shine.

The completed design showcases endless lines of finely sculpted columns supporting what appears to be a far-off ceiling. In actuality, this stage set contained only a few unfinished pillars and statues that were utilized multiple times for various filming angles within the depiction of the deserted Dwarven kingdom’s core.

The Fellowship actually assembled in Rivendell in stages

One unforgettable moment from “The Lord of the Rings” occurs when Elrond introduces the recently formed Fellowship of the Ring during their initial assembly before embarking on their mission to destroy the One Ring. This scene takes place towards the end of the Council of Elrond, and as Howard Shore’s music builds in the background, it creates one of the most stirring emotional experiences within the narrative. However, it is worth noting that these characters were never physically together at this point in the story.

In “The Fellowship of the Ring,” a well-known scene was filmed in two different parts initially. If you check out the making-of footage (some of it is shown above), they used a blue screen to handle the differences between the Hobbit and Dwarf actors’ sizes during filming. Consequently, this required a two-part shot that was later merged. One part showed the smaller four Hobbits and Gimli, while another portrayed Aragorn, Gandalf, Legolas, and Boromir in their full size, appearing behind them.

Gandalf’s size made multiple Bag End scenes tricky

In general terms, wizards might appear large to common people like humans or elves. However, they seem enormous to Hobbits. This posed difficulties for director Peter Jackson during the filming of Gandalf’s repeated visits to Bag End, the Hobbit-sized home, which is first seen in “The Fellowship of the Ring” at Bilbo’s 111th birthday party when Mithrandir (one of Gandalf’s many names) arrives. He returns later for discussions with Frodo and to set him on his quest. Throughout these interactions, we witness Gandalf passing through the round Hobbit door, navigating through various rooms, sitting in the kitchen, chatting in the parlor, and famously bumping his head against a lintel. Each shot presented its own challenges, and forced perspective techniques were employed in certain cases. Yet, making Ian McKellen appear proportionate to the Baggins residence required more than just a custom-made table for the kitchen and clever framing of shots.

In order to create a seamless scene between Gandalf, who is larger than a Hobbit, and the actors playing the hobbits, such as Ian Holm, multiple takes were filmed. For instances where Bilbo was present, a smaller person in costume stood in for Gandalf. In other shots, Sir Ian McKellen was filmed against a blue screen, handing off his hat and staff to a crew member. These two shots were then digitally blended together. To emphasize Gandalf’s tall, imposing figure, McKellen was sometimes elevated on platforms during filming, and the camera was strategically positioned to make him appear larger in each shot. The resulting film masterfully hides all the hard work put into making the Bag End scenes look effortless.

Andy Serkis was really in that river in The Two Towers

Andy Serkis’ remarkable motion capture performance as Gollum in ‘The Lord of the Rings’ significantly enhanced the movie. What sets him apart is that he often had to film his scenes twice. Primarily, his performances for Gollum were recorded in two stages: First, he acted alongside other cast members, and later, he re-enacted those same parts on a motion capture stage. This studio setting provided consistent conditions, ensuring the motion capture technology functioned effectively. Merging both sets of footage resulted in a more authentic final product.

It’s likely that Serkis chose to work on a studio set over outdoor locations due to the demanding conditions he faced. For example, when filming the scene where Gollum attempts fishing with his bare hands in a shallow stream, the team discovered the location to be extremely harsh. In the finished product, a computer-generated image of Sméagol is shown splashing through the water, fighting with a slippery fish for several yards before letting it go. Interestingly, Serkis himself was submerged in that cold water.

Incredibly, on the day the team arrived on set, it wasn’t as depicted in the movie – instead, it was snowing! They spent a significant amount of time melting the nearby snow to create a space for filming. Andy Serkis braved the cold by putting on some warm clothing and plunged into the freezing water to capture that scene, demonstrating his commitment. At times, acting requires real sacrifices, and it’s even more impressive when the actor won’t be visible in the finished product.

The sets were often built in miniature (but were still massive)

Among the striking features of “The Lord of the Rings” movies lies in their intricate sets, many of which are both physically constructed and enhanced with computer-generated imagery (CGI). The filmmakers dedicated countless hours to creating miniature sets that were enormous relative to their reduced size. For instance, a Minas Tirith replica (shown above) was built at a 122:1 scale, standing an impressive 23 feet tall and boasting a diameter of 21 feet. This massive miniature alone was awe-inspiring. Moreover, it housed over a thousand handcrafted dwellings. It’s noteworthy that another Minas Tirith replica was constructed too – sections of the Tower of Guard were built at a 14:1 scale, complete with the smallest details, to achieve a more realistic look in close-up shots.

As stated by Richard Taylor, founder and creative director of Weta Workshop, a total of 72 miniatures were crafted for the initial trilogy. Among these, a particularly noteworthy one was designed for Helm’s Deep. When completed, this massive miniature stood over 16 feet high, stretched 32 feet wide, and was almost 40 feet deep. The construction of this large-scale model began about three and a half years before filming commenced, during the time when Miramax was preparing the Tolkien adaptation. However, production encountered difficulties, leading to an order for Taylor to dismantle the miniature and store it away. Instead of following through with such drastic measures, Weta postponed this action, and at the last possible moment, New Line Cinema intervened to ensure the preservation of this impressive miniature for the filming.

80,000 miniature skulls were created for the original Army of the Dead scene

In the extended version of “The Return of the King,” my favorite scene has to be Aragorn’s recruitment of the Army of the Dead, which is more detailed and intense than I ever imagined. It culminates with a horrifying spectacle – a mountainous mound of skulls surging out of the city walls, seemingly intent on attacking Aragorn and Gimli. Poor Legolas, however, manages to escape thanks to his swift Elven agility. The two of us fight our way through the tide of skulls, and eventually we break free, stepping outside the mountains where the story continues. But let me tell you, creating that subterranean exit was no small feat! This underground passageway was modeled after the breathtaking cliff-face necropolis at Petra in Jordan. When the walls of this already awe-inspiring city crack open, unleashing the torrent of human skulls, both practical and CGI effects come alive in a spectacular display.

In order to achieve this scene, director Peter Jackson initially filmed Aragorn and Gimli in real life on a smaller set filled with thousands of miniature skull props. To enhance the visual impact, he combined this footage with another shot created using a smaller model of the set and miniaturized skull replicas. Initially, they started with 200 skulls, but soon realized it was far from enough. The prop team continued creating more until they accumulated approximately 80,000 mini skulls in total. These miniature skulls were later merged with the footage of the real-life actors, resulting in an effect that is both chilling, awe-inspiring, and captivating. Regrettably, this scene didn’t make it to the theatrical version of the film, but given its inclusion in the extended editions, its exclusion can be understood – it’s one of the least effective additions to “The Lord of the Rings” extended cuts.

The Rings of Power went sailing in a boxed-off sea

Initially, when Amazon’s Prime Video unveiled plans for a series set in Middle-earth’s Second Age, an intriguing tidbit about its production emerged: they were constructing a massive water tank on their New Zealand location. This water tank became crucial during the show’s first season, as numerous scenes unfolded around Belegaer, the vast ocean depicted along the map’s left edge, also known as the Sundering Seas. One such scene involved a storm, adding an extra layer of complexity to filming.

Although these scenes seem extensive on the screen, they were actually shot in a large water tank that resembled an oversized swimming pool in the studio. Approximately half of their final product was filmed using practical effects within this tank, while the remaining half was completed with digital effects. The image above displays what the scene and background looked like prior to the addition of visual effects (VFX) and other computer-generated elements.

According to Ron Ames, the visual effects supervisor, it was challenging for the Industrial Light & Magic team (one of several VFX studios working on the show) to combine real and artificial water. In his words to Collider, “The most difficult part is blending where the practical water and the special effects water meet.” He further explained that the visual effects were particularly necessary for the large waves, as they couldn’t be created in a tank.

Legolas chased barrels on a green screen seesaw

One standout scene in J.R.R. Tolkien’s “The Hobbit” occurs when Bilbo assists the Dwarves in escaping from the Wood-elves’ dungeons by concealing them within barrels, which float along a nearby river towards the Lonely Mountain. When Peter Jackson reimagined this scene for his adaptation, he significantly amplified the excitement – essentially transforming it into an exhilarating chase sequence. In this version, the Dwarves are clearly visible as they bob in their leaky barrels, with Orcs hot on their heels, firing at them and ultimately failing to catch up. Elven characters like Legolas, Tauriel, and others can be seen frantically navigating the river’s dangerous edges, slaying their enemies, using Dwarven heads as makeshift stepping stones, and keeping track of the escaping group.

The barrel chase sequence, with its added digital effects, is already quite wild. Remove them, however, and it becomes nothing short of mind-boggling. The image here depicts Orlando Bloom, who played Legolas, filming on a fully green set, surrounded by crew members dressed in green. In other scenes, he leaps from obstacles and meticulously reenacts each moment. Legolas’ barrel stunts are so extraordinary in their Elvish physical prowess that several green-screen sets, gimbals, seesaws, and wire systems were necessary to capture all the required footage.

Legolas was partially played by a guy called Allan Smith for some action scenes in the Hobbit trilogy

During the production of “The Hobbit” trilogy, it was not just Andy Serkis and Benedict Cumberbatch who wore motion capture suits for their roles as Gollum and Smaug respectively. There were instances where actors had to don these suits to portray characters that didn’t physically appear on screen. One such example is the fully green-screen shots of Legolas during the barrels scene in “The Hobbit: The Desolation of Smaug.” While Orlando Bloom was not present for all filming, they utilized a completely computer-generated version of the character to execute certain elaborate Elvish stunts. In these instances, they recruited Bloom’s stunt double, Allan Smith.

In a familiar outfit adorned with dots, Smith prepared to film scenes of Legolas shooting arrows and slaying Orcs. These shots were strategically placed throughout the sequence, providing the creative team with top-notch footage. This method proved particularly effective, as Eric Reynolds, Animation Supervisor, remarked, “If we can’t have Orlando Bloom, we essentially have the second best option on Earth to help us portray Legolas’ actions or reactions.” The objective was to bring Peter Jackson’s vision of blending CGI scenes with a realistic feel to life. While the final product may be debatable, their effort was undeniably commendable.

Peter Jackson filmed nothing to capture Smaug’s chase

In the thrilling finale of “The Hobbit: The Desolation of Smaug,” there was an abundance of digital magic at play. As a gamer immersed in this fantastical world, I found myself marveling at how they brought the golden dragon to life through Benedict Cumberbatch’s snake-like movements. But what really blew my mind was that epic chase sequence where Smaug pursued the dwarves. Contrary to popular belief, Peter Jackson didn’t just sit comfortably behind a camera and press record. No, he was out there, on a grand stage filled with performance capture technology, moving around and filming… essentially nothing. It wasn’t about capturing actors against a blue screen or a particular set. Instead, it was about bringing the fierce dragon to life in a way that made us feel like we were right there, caught in the heat of the chase.

Eric Reynolds, Animation Supervisor, stated, “We went step by step, from start to finish.” He described the main points such as the dwarves’ actions towards the character, their use of gold, and the overall atmosphere as being pre-planned in large sections. Reynolds likened this process to wearing VR goggles, allowing Jackson to visualize the scene unfolding through his camera lens, adjusting the angles to his preference. The director expressed it as a means to immerse himself directly into the digital world with a camera. In essence, this method allowed them to create an expansive chase sequence within the halls of a dwarven mansion without needing the practical effects team to construct it beforehand.

Green swords and hair make a difference

Occasionally, even basic elements require enhancement to align with the enchanting realm of J.R.R. Tolkien, such as elongated ears adding authenticity and making the audience believe they’re in Middle-earth. These minor details matter significantly when crafting scenes, for they demand attention beyond grandiose visual effects. A successful production necessitates careful consideration of these subtle elements that contribute to a polished, immersive final product.

During filming of The Hobbit: The Desolation of Smaug, specifically during the Mirkwood sequences, a single image was captured that perfectly illustrates this idea. This snapshot features Thorin and three of his fellow dwarves. While they were dressed in costume on set, some parts of their props didn’t match the intended color: They were green, and you can guess what that implies. From patches of green spider webs in their hair to Thorin’s sword blade (which emits a blue glow when Orcs are nearby), even minor details like these needed to be removed through green-screening for the final footage to appear seamless, distinguishing it from the initial, unedited shots.

A gigantic One Ring helped drive home its importance in certain scenes

As a gamer, I’ll put it like this: When Peter Jackson was working on The Lord of the Rings, he used forced perspective not just with sets, but also with props, especially the One Ring. For our regular scenes, we had life-sized versions to handle, but for close-ups, there was a colossal version of the Ring. Positioned at the right distance from the camera, this made the close-up shots more intense and dramatic. It also made it simpler to catch reflections and gave the One Ring a more powerful on-screen presence.

One instance where a prop was utilized in this manner is when Frodo’s One Ring slipped off his neck amidst the snow. The scene briefly displays the ring lying on the frozen ground, with members of The Fellowship visible in the distance. Subsequently, Boromir picks up a regular-sized replica, examines it closely, and then returns it to Frodo. Later on, this large prop was employed for the sequence depicting Sméagol and his companion Déagol quarreling over the newly found ring. This altercation ultimately led to Déagol’s demise, initiating Sméagol’s transformation into Gollum.

The truth about Gandalf’s flaming pinecones

In certain sequences within “The Hobbit” trilogy, some events become so grandiose that it can be challenging to discern reality from illusion. At times, the authenticity seems questionable. For example, when Bilbo Baggins, Gandalf, and the Dwarves flee from the Misty Mountains, they are pursued by wolves and orcs, and the scene is filled with blazing fires, clashing swords, and intense activity. Notably, a dense forest serves as their backdrop, with the Dwarves and Bilbo taking refuge on tree limbs. In this chaos, Gandalf even sets ablaze pinecones to hurl down at their enemies using magic.

In truth, the location where Ian McKellen shot his scenes was adorned with green screens and just one tall tree. He ascended into a fake, shattered pine tree prop, picked up some illuminated fake props, and feigned throwing them at his unseen adversaries below. Certainly not an ideal environment for acting, you might think? McKellen would probably concur, as he found himself struggling to envision the epic narrative unfolding around him with minimal props such as a few twigs and pinecone-like ornaments.

The Bag End scenes in The Hobbit broke Ian McKellen

When filming Bag End scenes for “The Fellowship of the Ring,” I, as Ian McKellen, had to grapple with tricky forced perspective angles and odd viewing lines alongside my fellow actors. It was challenging, yet having skilled professionals around me and live reactions made it manageable. However, when I came back to reprise my role as Gandalf in the “Hobbit” series, things got significantly more difficult. Surrounded by Dwarves and a Hobbit on set, I often found myself filming scenes alone to maintain size consistency. This resulted in some awkward shots, like the pinecone-and-tree scenario, or left me feeling completely isolated amidst endless greenery.

In one scene, Gandalf is depicted sharing moments with the Dwarves and Bilbo, all seated around a table in Bilbo’s home (Bag End). During filming, Ian McKellen was required to perform this scene solo in a room filled with green screens representing Bag End’s interior. The cameras, walls, and parts of the table were all covered in green. In an interview, director Peter Jackson shared that they felt sorry for isolating McKellen in a green-screen world. The experience was so challenging that it made McKellen emotional. He expressed his feelings by saying, “I became quite sad and shed a few tears.” He further explained, “It was such a distressing, uninviting, and difficult situation that I questioned whether I wanted to be part of this movie if this is what filming would entail. As an actor, I don’t act alone; I act with others.

Thorin’s rousing speech was to nobody

In “The Hobbit: The Desolation of Smaug,” there’s a scene where Thorin Oakenshield (Richard Armitage), the leader of the Dwarves, delivers an inspiring speech to the people of Lake-town. This scene is interesting because it showcases how much of a green screen production the trilogy was. To create the right visual effect, the standing crowd of Lake-men was filmed on set, while the Dwarven actors were filmed in a room with a green background.

As a gamer, I found myself stepping into the shoes of Armitage, recalling the daunting task of delivering a speech to an invisible audience. Though I was supposed to maintain eye contact with the larger crowd, it felt like I was speaking to nothing but empty space. To prepare for this challenge, I drew upon McKellen’s struggles in Bag End as a reference point, saying, “I vividly remember being keenly aware of what Ian had experienced within those hobbit holes.” In my preparation, I resorted to extensive rehearsals. We would return to the main set, reenact the scene, and I would attempt to imprint all the faces I’d seen into my memory. Then, I would retreat to the empty stage, summoning the recollection of all those people and their expressions.

How Legolas walked on snow

A memorable scene from “The Fellowship of the Ring” unfolds when the fellowship attempts to traverse Caradhras’ treacherous mountain pass amidst a worsening blizzard. The others grapple with the heavy drifts, but an exception is made for one individual: Legolas. This detail is drawn straight from the book bearing the same title, where Tolkien describes how effortlessly and agilely Legolas leaped over the snow, even without boots. Intriguingly, Frodo observes that Legolas’ light shoes left barely a trace in the snow.

In the movie, Orlando Bloom portrays his Elven character with a sense of enchantment, walking alongside the Fellowship as they navigate through an icy obstacle. At times, Orlando was replaced by extras against a blue screen and in a simulated snow environment. To make it appear as though he was walking with the rest of the Fellowship without disturbing the snow, a special pathway was constructed for the non-Elven actors to fight through. The edges of this path were solid, enabling Bloom or his doubles to walk beside the Fellowship without affecting the snowy scene.

The BTS Legolas and Tauriel clip that went viral

In the “Hobbit” trilogy, Legolas and Tauriel journeyed together on horseback amidst a battle, and it’s evident that computer-generated imagery (CGI) was employed during this chase sequence. The surroundings teemed with goblins, and both Elven characters, as well as their mount, performed actions that verged on the impossible – scaling hills, navigating damaged terrain, and weaving through a torrent of swords and spears. To create these scenes, Orlando Bloom and Evangeline Lilly filmed a studio sequence involving a green screen backdrop, often referred to as a “green blob.” This was one of many such sets used during the filming of the “Hobbit” series.

As I found myself astride this mechanical steed, it was less about battle scenes and more like a wild bull ride. Imagining myself as a seasoned gamer, I could see Bloom maneuvering the horse through a chaotic battleground while Tauriel let loose a flurry of arrows at anything that dared move. It was quite amusing to share this mechanical mount with another actor, syncing our moves in rhythm. Lilly shared that they were instructed to overemphasize the horse riding motions. This direction resulted in a rather humorous, suggestive scene that left everyone chuckling, even us actors. The BTS footage became quite viral and honestly, watching it felt like an entertaining bonus level compared to the actual final scene.

2025-02-25 15:32