Hey, Harry,

Longtime visitor, sometime talkbacker, first time I email you with something. I just had the privilege of taking in the 7:30pm session of the Lord of the Rings presentation at Lincoln Center's Walter Reade theatre (a 9:30 session followed). I know I wasn't the only aint-it-cool-news fan there (I heard some guys talk about it, one of them, Reno (RENO THIS IS HARRY!!! SEND IN YOUR REPORT!!!!), claimed to have sent in reviews before), so I'm probably not the only one sending you info about this event, but if you choose to post this anyway, please call me Julius.

First off, I got hooked on your site when I read in Entertainment Weekly that Peter Jackson was going to answer fan questions in detail about the making of LOTR on it. This was, what, 2 1/2 or 3 years ago. This feature turned me on to your site, the movie and then the books, which I had not read up to that point. I'm actually happy that I waited until I was in my 30s to read LOTR, allowing me to enjoy all levels of the writing in my first sitting.

All right, so what happened tonight. A man from Walter Reade introduced the 300 or so audience members to Barry Osborne the executive Producer and Christian Rivers, an art director, who has worked with Peter Jackson since Brain Dead, and who'd met him six months before that film when he as an 18 year old, straight out of High School (or college in NZ) gave Jackson a call saying he wanted to work with him and Jackson asked him to send over his art work.

Right off the bat, I should note that we weren't shown the 30 minute Cannes reel Moriarty recently raved about. Of the "finished" film we saw the section in Bailin's Tomb up unto the part where the Cave Troll is about to grab Frodo. Moriarty describes that scene very vividly, so there's no need for me to repeat it, except to note that the cave troll looked perfect and the scene was staged and edited with great visceral energy and clarity, but also with a sense of confusion and mayhem (In a documentary section we saw earlier, they showed how PJ blocked out the scene in advance, and even using a huge CGI monster wanted a sense of hand held cameras shooting wildly in the midst of a chaotic battle). I have only one criticism of what I saw here and that is the moment where Legolas hops onto the shoulders and arm of the Troll. Legolas looked and moved rather like a CGI puppet not a person, in contrast to the Troll himself who was very "real". Barry Osborne had said before the reel was shown that the effects work wasn't done yet and that some elements had been completely redone, so maybe that one flaw I noticed will have been rectified by December. I trust it will be. I should add, to be fair, that the person next to me gasped at just that moment when it happened, and with the effect perfected as I expect it will be, it will be definitely stunning.

To be able to create the CGI's of Legolas and other characters, they actually scanned the actors moving about in their costumes onto the animation computer programs. We saw footage of the actors being scanned, of their very real looking computer versions and were told of the care taken to make sure the computer knows just how their costumes individually move and capes flow.

They showed us how armor was designed for the various fighting races, and how the different battle garbs were scanned into the computer. We saw Computer armor side by side with real armor and you couldn't tell the difference. The computer could add dirt and mud to the armor in the course of a battle sequence.

They showed us how they developed the MASSIVE program, and we saw on computer stick figure walk around in a virtual grid, programmed to find its way on its own, programmed to keep on top walkable terrain, but should it fall down a cravass, programmed to fall bonecrunchingly realistically. We saw how these stickfigures with "brains" became clothed warriors programmed to fight. An early test revealed many of the warriors programmed to fight yet fleeing the battle, not, it turned out, because they were given the "brains" to avoid dismemberment, but because this early programm taught them to go forward looking for an opponent, but if they didn't meet one they didn't turn back but just kept on walking...away from the battlefield. Those programming problems were eventually overcome, and we were shown CGI shots, mostly of Helms Deep it seemed, of CGI warriors clashing with each other in what look like intricately choreographed battle sequences, but are actually computer figures programmed to decide for themselves how to make their own way through a battle. For every race of fighters a specific fighting style was created which the actors and extras had to learn but which was also taught to the Weta people to programm into the computer fighters. One overhead shot of battlements with men in dark flowing capes and armor walking about drew appreciative oohs when we were told it was all CGI. It looked impressively real. By the way, a Weta is evidently a New Zealand bug which looks like it has spiked armor and can weigh as much as a golf ball.

We were also shown the latest innovations in storyboarding. First Christian Rivers showed us storyboard "comic book" style drawings he drew at PJ's behest, with arrows to indicate camera movements (much like the Matrix book shows). Barry mentioned however that unlike Hitchcock or the Warschawski brothers P J uses storyboards as a jumping off point, and things might change alot with imput from the actors or others. Nonetheless, their storyboarding techniques wound up going far beyond the traditional graphic style. Ultimately they developed a 3D storyboard. The first storybpoards and conceptual drawings (of Howe and Lee, of which we saw quite a few) were used to program a 3d version of the set or shooting location over which chess-like computerfigures of the fellowship could move about and be viewed from any angle. This way PJ could storyboard more effectively the tracking shots or other various complicated camera moves he had in mind for various sequences, which we were told was particularly important to communicate his intentions to second unit directors (who for instance shot sections of the fight with the cave troll).

Speaking of the Cave Troll sequence, it is here where they took storyboarding to an even weirder level, when, after the set for the sequence was built, but before it was dressed, they found away to have PJ interact within the set, watching the computerfigures' choreographed fight sequence on some sort of virtual reality gizmo attached to his head. Evidently he could walk around the actual set, watching the virtual scene from any angle he wanted to help preplan the way he would want the scene shot with the actual actors down the road.

What else, I'm jumping about here... We were also shown how they used forced perspective to make Frodo look half the size of Gandalf on the cart (Ian Mcckellen describes this pretty well on his site). They talked about how they tried to create a different architecture for each race of Middle earth. They showed how the creation of the Stone Troll started with dozons of conceptual drawings from which PJ would choose dispirate elements he liked which would lead to dozen more drawings from which again certain details would stick out that PJ wanted to focus on, until finally a final drawing was agreed on, from which a model was made, from which a 3D computer image was created, from which a computer skelleton, musculature, skin and "shading" were designed (much like they first did for the JP dinossaurs).

We saw lots of images from the actual filming, the "day of 4 seasons" when all sorts of weather disrupted the shoot. We saw lots of battle scenes being shot. 20 - 30 warrors going at it in scenes that eventually, I suppose, will have hundreds of CGi warriors added to them. We were told how one day at a particular mountain (with marble like features)to get one particular shot became a whole week because of the weather, but PJ used the extra waiting time to improvise shooting extra scenes he could splice into different parts of the movie, like a shot of worms, frightened by the Black Riders, crawling out of the ground in a closeup of Frodo's foot.

Oh, and for those who were worrying, Pony Bill is in the movie. The Producers had worried about getting a horse up a mountain and had asked PJ to consider cutting Bill out of the film, but PJ insisted they find a way to keep him in.

OK, this is all I will report for now. Others will fill in other details I'm sure. Just one more thing though: on the way out I noticed Elijah Wood, Orlando Bloom and Sean Bean in the Walter Reade lobby. I was too shy to go up to them and ask, but they must have come, perhaps as a surprise, for the 9:30 session. If that's the case I am mighty envious of those who got the tickets for the 9:30 session rather than the 7:30 one. Nonetheless we had a very informative, impressive time of it. It's quite possible that the 9:30 session turned out to be very different from the 7:30 session because of the presence of at least 3 of the fellowship (I didn't see Ian Mcckellen, but I know he is in New York right now, so it is possible he was there too tonight).

If you choose to post this, Harry, please call me Julius.

Now here's Moriarty with some additional reports....

Hey, everyone. "Moriarty" here with some Rumblings From The Lab.

Sounds like tonight's Lincoln Center presentation was great fun for anyone lucky enough to attend. Although they didn't show the whole Cannes reel, there was plenty of stuff to see and lose one's mind over. So far, I've gotten two reports in. As more arrive, I'll be updating this article. I'm hoping Mr. Beaks got a peek, as I'm curious what he'll have to say.

First up, we've got Riskbreaker with a fairly passionate report...

Harry:

Long time reader, first time writer. I'm sure you'll get different versions of the below, but post mine. I want to tell my friends. Okay, that sounded sad. Right on to the meat and potatoes --

OH... MY... GAWD!

I can't even bring words to this experience. It was religious.

I purchased tickets two weeks ago to this "Behind the Scenes of Middle Earth" at Lincoln Center. I figured "what the hell, we'll see some footage of the filming process and ask the producers a bunch of questions."

They started the night by showing the 2.5 minute trailer. The one that ends with Gollum. There was crazy applause afterward.

Barrie Osborne and the damned-if-I-can-remember-his-name Art Director also attended. They went for an hour and a half discussing the different locations and methods of filming they went through. We received an in-depth explanation of the "forced perspective" technique and how they made the Hobbits look smaller than humans. It was simple -- yet ingenious. The simple act of sticking the Hobbit a few steps back from the human and locking a single camera on him works SO much better than using CGI or some other overly-technical method. This one works because it's tricking the eyes.

In between a load of the behind-the-scenes footage, we got to see some actual film footage. We see Gandalf and Frodo riding on the cart in the Shire. We got to see the Hobbits running from farmer Maggot while arguing amongst themselves in very "Hobbit-like" simplicity. This scene was great. The corn stalks are up over their heads. Then, they roll down the hill. They showed this in about 6 different takes, showing the difficulties of the life of stunt-men and stunt-women (and stunt-Hobbits).

We saw a lot of footage regarding the massive army shots, including the Orcs and Elves. The Elves have very beautiful "hand-made" designs to all their armor, but no two look alike. Legolas uses a sword that has the flare of a scimitar at the tip, but doesn't have the huge curve in the blade. It's quite attractive.

We got to see the digital renderings that were made of all the "hero" (main) characters. We saw Gandalf and Boromir. Oh, man! These were so beautiful! They looked *almost* Final Fantasy: The Spirits Within quality, and these things will never be seen (at least in close-up) in the final film. I was amazed by this on it's own!

We got to see the Helm's Deep set. It looks great. It looks like 30 wars over 4000 years have been waged there. All cracked and broken bridges, but yet the castle still stands, and you know what it is.

They also showed the sales-reel that PJ used to sell the project to New Line after he began work with Miramax. It was pretty uneventful in terms of new information, but one got a great feel for the amount of work that was already put into the film before they even had a production company carrying it!

We saw some stunt work detailing the different races vs. their different fighting styles. There wasn't much detail on this, but they did say how they spent a lot of time making sure the Elves looked like immortals who had 1000 years each to practice their own fighting styles. Included with this were unfinished shots of Aragon fighting Orcs at what I think was Weathertop. I'm not really sure on this one. Viggo is amazing! He was killing three at a time. Throwing punches, kicks and wielding Anduril with absolute genius.

There was also footage shown of Arwen at the ford running from the Ringwraiths. This was brief. It looked great, though.

There is more, but this is all I can think of at the moment. I'm sure some of the other 535 people that saw this tonight will correct the blanks here.

The reason is that the following footage made me forget my name, where I lived and where I work. I don't think I'll go in tomorrow. I'll just stay home and work on screenplay #5.

The end of the presentation rolled around, and while it was great, fantastic (these people have a true and genuine love for the work they do. You can see it in their eyes) -- I was a bit disappointed because other than the theatrical trailer, we didn't see anything of the final film cut.

Well, right at the end, they said "We have the cave troll scene to show you guys. It's not finished, but it's close."

OH... MY... GAWD!

The Fellowship of Nine... in the Dwarven Mines of Moria. Gimli finds the remains of Balin, the fallen king. He cries like no dwarf should be seen crying. Pippin (a FOOL of a Took) knocks a skeleton into a well, stirring the Orcish Horde. Frodo draws Sting, the Elven blade. It glows a bright blue. The Orcs are near.

They come like a plague. Legolas and Aragorn hold them at bay with bow and arrow, but they come too fast. Gandalf draws his sword, valiantly standing in front of the Hobbits, Frodo and his precious cargo. Boromir draws his sword and slays four without blinking.

Aragorn flies into a fury with Anduril, the Flame of the West. Orc pieces fly left and right. Frodo's Hobbit comrades stab and hack at the Orcish horde as well. There is a bloodlust here not from desire, but from a need to survive. Peter Jackson captures it in the eyes of each of the nine in the space of four minutes. He's *that* good.

But then comes the Cave Troll. A nine foot hulking attrocity storms into the room, held at the neck by the iron-wrought chain the Orcs use to keep him at bay. Words can't do this justice, but as "Moriarty" from Ain't It Cool News said: "It's everything I hoped the Rancor would be. It's fast, it's agile. It doesn't hesitate."

It's true. The Cave Troll stomps with a single-minded desire to squish the annoying gnats at it's feet. Poor Sam has to do all he can to avoid the giant hooves and the six-foot stone hammer it wields.

And then it corners Frodo. Frodo backs himself against a support pillar. The Cave Troll sniffs to the right and Frodo slips to the left. The Troll sniffs to the left and Frodo slips to the right. Moments pass in uncomfortable silence. Frodo steps away with a false sense of safety and --

The cave troll ROARS a blood-curdling Jurassic-Park-on-steroids from-the-toes cry.

And the screen goes black.

I look down to make sure I haven't ruined another perfectly good pair of pants and I realize that my girlfriend has her nails dug into my arm. Not from fear, but from the sense of desperation and intensity that Peter Jackson created in a six minute unfinished two-tracks of sound clip.

Ho-lee shee-it.

This film will be like a hurricane. It will sweep away everything in it's path and climb to the top of every record that has ever been set. People will flow in droves to the theaters. Not just geeks like you and me, but every self-respecting fan of fiction that adores the importance of a fantastic story at the heart of every special effects orgasm. This film is that.

Episode II will come and go. George has lost sight of his fans and the taste of his original trilogy. Lord of the Rings will still stand. Twenty five years from now, producers and directors will be looking for that sci-fi/action/fantasy trilogy to top Lord of the Rings just as Lord of the Rings will soon do to Star Wars.

Buy your tickets now, my friends.

-Riskbreaker

Then with a puff of smoke and a shouted incantation, PrestoMagix appeared with a shorter, but no less enthusiastic, report...

Hi Harry,

I'm guessing you'll be receiving more than one report regarding tonight's presentation from producer Barry Osborne and artist Christian Rivers. Instead of a minute-by-minute retelling of the whole event, I'll instead provide a few details on what struck me most.

First of all, though we were not shown all of the Cannes footage, we did see a good chunk of the Moria/cave troll scene. Others have described this far better than I ever could, so I will only reiterate what has already been said -- wow.

What I found most extraordinary were a few examples of the CG work being done on the films. We saw clips demonstrating the AI of the computer-generated background action characters (for use in huge battle scenes and such). Their abilities include avoiding obstacles and steep terrain, running around looking for enemies to hack away at, and executing a number of fairly complex attack and defense animations when the need arises. Even as simple polygonal models with no textures applied, seeing a hundred or so of these guys running around on the screen doing their thing was most impreesive. I can't imagine ILM had anything this advanced when they worked on the big Gungan battle scene at the end of Episode I.

There was also footage of Peter Jackson working on shot composition for the cave troll scene by strapping on a pair of VR goggles. This allowed him to see a rough CG-construct of the scene taking place, and he proceeded to move around in a big empty studio with the goggles on as he watched the scene. His movements and what he looked at through the goggles corresponded to camera movements and what the camera sees. All this was recorded in some way for the future use of CG artists. In short, it seemed Jackson was able to demonstrate the camera coverage of a CG character (the troll) and its largely CG setting instead of just trying to explain it or relying on animatics or storyboards. It's a technique that's hard to explain, but comes across as brilliant and something I think we'll be seeing more of in the future.

There was lots more, and hopefully others who attended will share what they remember (I'm off to bed myself). Lastly, my brother and I attended the 7:30 presentation, and another followed at 9:30. On our way out, my brother spotted Sean Bean at the snack counter. I can only imagine he was there to speak at the 9:30 presentation. If so, I'm curious to hear what he had to say (and find out why he wasn't there for us!).

I'm sure I'll be back to update as the night continues.

"Moriarty" out.