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Chapter 27 ~ "The Council of Elrond"

PJ: The council of Elrond was a bit of a nightmare to shoot. The scene that´s in the movie is a little bit shorter than what we originally shot and it took us, I think it took us 6 or 7 days to shoot -
FW: It did, it was a week.
PJ: - and it was just one of those eye-line nightmares that when you are shooting a scene you don’t want to cross the line. So always when somebody is looking to the left, then you want the next character who is responding to them to look, look to the right, it’s just, it´s - "Don’t cross the line" is one of the rules of filmmaking and when you have a group of people – many many people in a circle, it becomes an absolute nightmare to figure out who’s talking to whom, who is looking at whom and to get their eye-line direction to be correct.
FW: Pete, when you can flip a shot, why does that matter?
PJ: Well, you, sometimes you can’t flip a shot and get away with it. It´s a bit often when you flip a shot peoples faces look different cause people don´t have perfectly balanced faces. And also, often – not so much with the scene, perhaps, but often you can, you can tell by things in the background and stuff.
The council of Elrond was always a problem because it´s so long in the book and it was very long in the original cut in the film, and we trimmed out a section of it near the beginning, which we´re looking at here, purely for length reasons. But it is notable in a couple of ways:
It shows Boromir’s initial fasciniation with the Ring and here´s - it includes the poem, the black speech poem: "Ashg nazg durbatuluk", which otherwise it’s not really part of the movie, but here it is, we did shoot it. And it’s a moment obviously from the book in which Gandalf does say those words and the clouds come over and it goes dark momentarily.
It shows the power of black speech within in the elven world of Rivendell and the immense, sort of the evil force that that, ahm, saying those words can conjure up.
PB: The black speech, this of course is the inscription what you would call the Ring spell. And a very very tricky language to speak. And the voice that you can hear underneath is the voice of Alan Howard, one of our great British actor, and he is the voice of Sauron.
One of our heroes of this shoot was Victoria Sullivan, the continuity script supervisor. And she had to help you with a lot of this, don´t you think?
PJ: Yeah, Victoria had to keep a real running tab on whom would looking at whom at any given time.
PB: (lacht) I think, I think we must have driven here crazy! She came from "The Matrix", and she’s gone back to do "Matrix" 2 and 3.
PJ: Yeah.
The council of Elrond in the movie is really quite different to how it is in the book. I mean, in the book it´s used as a way to catch up on a lot of story points that we need to hear about, about Gandalf and Saruman and, ahm, it introduces and tells us a lot of stories about Gimli and the dwarfes and Boromir and where he´s been and, we obviously didn´t have time, really, for any of that.(здесь - заканчивается перевод).

But we also, we also had one fundamental difference in our council of Elrond which is very different to the book in the sense that in the movie we had, we had Frodo saying that he was gonna take the Ring to Rivendell, he was going to Rivendell and that was gonna be it. Whereas in the book Frodo is really going to the Crack of Doom right away from the beginning, and Rivendell is merely a place to stop and re-group.
But we wanted to have an event happen in the council of Elrond which propells the momentum of the film through into its second half, which was the fact that Frodo now really has to make a choice all by himself, to volunteer to carry this Ring all the way to Mordor, that it wasn´t what his original intention was.
And that’s a fundamental change that we made in the movie. We just felt it would be undramatic if right from the very beginning he was going to Mordor.
PB: This speech of Boromirs was given to Sean the night before and he -
PJ: That’s right.
PB: - and he -
PJ: That´s right, he hadn´t had the time to learn it -
PB: (lacht) No.
PJ: - and it was written out and it was on a piece of paper that he put on his lap. So if you look at him talking, he occasionaly as part of his dramatic performance he lowers his head, and what he was actually doing is, he´s reading his lines of dialogue off his lap.
FW: I´m not sure he´ll thank you for saying that, Pete!
PJ: He doesn’t, doesn’t do it too often. Yeah, but he ends his (?) like he had a page of dialogue he was given, give it to him at night, originally on the morning we were shooting.
FW: I know, I know, that´s just terrible.
PB: (lacht) We know the failure on part of that.
PJ: But he does it brilliantly well.
PB: There were (?).
FW: It´s a mean thing to do to actors.
PB: Yeah. He was so phenomenal there. He did, he did rised all occasions.
One of the things we were reaching for with Gandalf and wanted to sort of hint it is the thought that he has an understanding that Frodo is the only person who can carry this, but he knows that he can not force Frodo to do this. But we also wanted a sense of great sadness and loss -
PJ: I said to Ian that -
PB: - at the moment that he does volunteer.
PJ: I said to Ian that he should imagine that he´s just heard his son volunteering to go join the Army in World War I, cause that look there that he gives.
PB: Hm. Understanding that it must to be done, yeah.
PJ: Understanding that it has to be done, but it could kill him.
Once Frodo volunteers it gave us an opportunity to really see the forming of the Fellowship, because after all this movie´s called "The Fellowship of the Ring", and so it gave us this wonderful opportunity to just, one by one, to let each character come forward to join, which I think is nice and uh, all a little bit different to what’s in the book, but I think it worked quite well for the film. It provides you with one of those cinematic moments that you need.
PB: It’s quite funny, especially when you think John Rhys-Davies is about 6 foot 3.
PJ: Yeah.
FW: But that´s the perfect proportional height to the Hobbits.
PB: Yes, it is.
PJ: That’s right, because John and the Hobbits don’t have to be changed to relation to each other.
PB: No.
PJ: The group shot of the members all standing together was done - obviously it´s a visual effects shot and it was done against blue screen where we had the, ahm, we were able to shrink this Hobbits down and Gimli down to be small.
There´s actually not that many shots in the movie of all 9 members of the fellowship together in one shot - there´s very few of them in actual fact, and so it´s always nice to see it when it happens.

Эпизод 27 Совет Элронда

(пауза) Съёмки Совета Элронда были сущим кошмаром. Сцена, которая в фильме немного короче, чем при первичном монтаже, и которая отняла у нас... я думаю, шесть-семь съёмочных дней.
Фрэн: Да, это заняло неделю.
Питер: И это был лишь один из этих кошмаров со взглядами, когда ты снимаешь сцену, ты не хочешь пересекать линию; другими словами, если кто-то смотрит налево, тогда ты хочешь, чтобы другой персонаж, который отвечает ему, смотрел типа направо. Это просто... Это называется "не пересекай линию": это одно из правил кинематографии. И когда у тебя группа людей, много-много людей, в кругу - это становится абсолютным кошмаром в понимании того, кто с кем говорит, кто на кого смотрит, и нужно направить все взгляды куда нужно.

Фрэн: Пит, когда ты зеркально отражаешь кадр, почему это проблема?
Питер: Что ж, иногда можно зеркально отразить кадр и это работает, но обычно, если ты отражаешь кадр, лица людей выглядят иначе, потому что у людей не идеально симметричные лица. И часто, знаешь - возможно дело не в сцене, но обычно это заметно по вещам, которые на заднем плане. (пауза) Совет Элронда был проблемой, потому что он так долго длится в книге, и он был очень длинным при первичном монтаже, и мы убрали часть из начала сцены
[Гендальф читает надпись на кольце на чёрном наречии] – взглянем на это исключительно из-за длины. Это примечательно по нескольким причинам: поскольку показывает первоначальное восхищение кольцом Боромира, и поскольку включает стихотворение на чёрном наречии "Аш назг дурбатулук", которое фигурирует в фильме только здесь. Мы сняли это, и этот момент, он конечно, из книги, в котором Гендальф произносит эти слова и тучи прибывают, и моментально наступает тьма; и это показывает силу чёрного наречия в пределах эльфийского мира Ривенделл и ту огромную силу зла, которую может вызвать произнесение этих слов.
Филиппа: Чёрное наречие… Это, конечно, надпись на кольце; это очень, очень хитрый язык для произношения. И голос, который вы можете услышать далее - это голос Алана Ховарда, великого британского актера, это - голос Саурона. (пауза) Одним из героев этой съёмки была скрипт-супервайзер Виктория Салливан, и она должна была помочь вам со многими вещами, не так ли, Пит?
Питер: Да, Виктория должна была вести учёт того, кто на кого смотрел в каждый момент времени.
Филиппа: Думаю, мы сводили её с ума. Она пришла из "Матрицы" и после вернулась на производство второй и третьей частей "Матрицы"
Питер: Да. (пауза) Совет Элронда в кино очень отличается от того, как это было в книге. В смысле, в книге, эта сцена используется для донесения очень многих пунктов истории, о которых мы должны узнать: ну, вы знаете, о Гендальфе и Сарумане, впервые здесь рассказываются истории о Гимли и гномах, о Боромире и о том, где он бывал, и конечно, у нас не было времени на всё это.