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EL SET DE LOTHLORIEN

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Galeria Sarah Mc Lachlan
TIRAS DE MAFALDA
MAS TIRAS DE MAFALDA
Y MAS TIRAS DE MAFALDA
TEXTOS LITERARIOS
EL HOBBIT, UNA MIRADA AL UNIVERSO DE J.R.R. TOLKIEN
UNA VISTA A J.R.R. TOLKIEN
ENTREVISTA A J.R.R.TOLKIEN
EL SET DE LOTHLORIEN
GALERIA THE LORD OF THE RINGS
SIN MEDIAS TINTAS
ENLACES
ENVIA TUS COMENTARIOS
GALERIA OLIMPICA

Por: Richard Taylor

Lothlorien started with Alan Lees conceptual artwork as so many of the sets on the film do. It was his vision that started the whole process along with Peter Jacksons very strong concept of what it should be. Lothlorien is the most magical world in Middle-earth and to that end Alan created extensive illustrative designs and pencil work. WETA was working alongside him and so we were able to begin the construction of the very small-scale design maquettes early on.

It was one of the most complex miniatures to design and also one of the most complex miniatures to build. We realized that we needed to build two substantial sets right away, one which was the canopy and one which was the whole of the ground below. We built both at 1/14th scale which meant that even through the trees were in miniature, they stood up to 12 meters tall. This required us to shoot in the biggest possible interior room in Wellington. We built over 100 Elven houses to populate the branches and we hand applied over 2,000 individual leaves onto the ends of the sprays to get the feeling of the foliage that was necessary in the trees.

We kept the whole miniature segmented so that it could be shot from all different angles and all of the trees were kept on winches so they could be moved around easily. A crew shot it for about four months in a set that was subtly lit and smoky. What you see in the final film has very little digital embellishment to it. What you see on screen is what was shot on set except for the actors, who had to be blue-screened and composited into that miniature. We used two techniques in filming the actors, the first was to shoot them blue-screen on surfaces that corresponded to the format of the floors. The second was totally digital, using doubles of the cast and the Elven extras. This created the feeling that the city is populated by a large group of Elves. It also created the feeling that the Fellowship can walk around as if they are in an integrated part of the environment.

My job was to supervise the construction of this mass of miniatures here at the WETA workshop. We worked on this construction for six months with a team of seven people. The miniatures were primarily sculpted in plaster over a urethane core then created into silicon molds of the sculptures. We used nearly a ton of silicon to mold the trees. We then sprayed them in a rigid urethane to make the skins which were assembled around massive steel poles that would carry the weight of the extensive branches. The last sections of the branches were made in real tree material that we gathered and then coated so they wouldnt snap or break.

When we were designing the weapons for Lothlorien, we wanted to give the feeling of an organic race of people, a group that utilizes the natural forms around them. In the film, by the time we meet the Elves at Lothlorien and Rivendell, they are leaving Middle-earth to go to their sacred lands and therefore they are very much in the autumn of their years. So we wanted to create a feeling and a graphic representation of this through the design of their armor and weapons. The forms are those of falling leaves to give the impression that things are coming to an end. In doing so, we tried to create very sublime and naturalistic form studies. For example, the swords are basically like long bows of wood that are still incredibly intricate and also intense fighting weapons. But in every part of the military hardware there is the feeling that it compliments the nature around them.

Lothlorien and Rivendell are both Elven cities, but we wanted to represent a strong difference in the overall manufacturing process that the Elves had adopted in creating these two cities. They are two extremely different environments. Rivendell uses the techniques of a Nordic craftsperson working on woods and stone. While, Lothlorien represents a group of people living in the treetops that have understood the harmony between their construction techniques and the trees that bear the weight of these buildings. Both designs are both inspired by the same aesthetic of nature, organic feelings, growth and the way that nature has a certain randomness in the growth of things.

The world of Lothlorien was envisioned as a beautiful and ethereal Shangri-La and I am very pleased with the final results because it was such a complex miniature to create and the results have certainly paid off.

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2003 musicaymafalda