Far less of Gollum is an exact rendering of Serkis’ movements than most people today remember. He then recreated his physical movements and performance, so that they could serve as the basis for the eventual animated creature.īy today’s standards, the “puppet” was rudimentary. Surrounded by 25 cameras in an entirely blue studio so pristinely maintained that crew members were barred from bringing water bottles into the room for fear that their reflections would muck up the shot, Serkis wore a special costume that enabled his movements to manipulate a digital Gollum puppet, and a special visor that showed him what his movements would look like in the already-shot footage. Later - many months later - Serkis recreated his blocking in a motion-capture studio. Jackson shot each Gollum sequence twice: once with Serkis doing the movements of the character, and once without him. That the end result is so believable, so deeply felt and human, is miraculous given the complicated, piecemeal nature of its construction. In order to make Gollum, Serkis and the animators at Weta Digital broke down “the acting side of it” into its component parts, then stitched them back together like Frankenstein’s monster. Since motion-capture technology was still in its early phases, nothing Serkis did during principal photography for The Two Towers would wind up in the final product. In a way, while on set, Serkis sketched out an outline that he, Jackson, and the animators at Weta could embellish later. Serkis would need to do all of those things separately, and he wouldn’t do them alone. But most actors do all of those things simultaneously by themselves. On one level, Serkis is only describing what all actors do: using their physicality and voice to embody, and communicate the psychology and emotional drives of, a character. But I guess what I’m doing is really providing the acting side of it, the emotional drive behind the character, the physicality, and I suppose, most importantly, the voice.” “Now, the character of Gollum does tend to belong to a lot of different departments, obviously, as a computer-generated character. “I’m playing the character of Gollum,” Serkis says in the doc. He looks like a discount Moon Knight, or perhaps an angry larva. He’s dressed in all white, complete with a hood. Serkis jumps all over the stage, pulled and pushed by Wood and Astin. Gollum has been tracking Frodo and Sam and is now attacking them in hopes of finally getting his distended hands on his precious, precious ring. We spy on Jackson as he shoots Gollum’s entrance into the film. Initially, all we see of Serkis in the documentary is a manic blur wrestling Elijah Wood’s Frodo and Sean Astin’s Sam. Serkis first tried to explain his job in the making-of documentary that came bundled with The Two Towers’ DVD release. So each Wednesday throughout the year, we'll go there and back again, examining how and why the films have endured as modern classics. 2021 marks The Lord of the Rings movies' 20th anniversary, and we couldn't imagine exploring the trilogy in just one story.
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