It is only at the end of a shoot that you finally get the chance to sit down and have a look at the film you have made. Recently Fran, Phil and I did just this when we watched for the first time an early cut of the first movie - and a large chunk of the second. We were really pleased with the way the story was coming together, in particular, the strength of the characters and the cast who have brought them to life. All of which gave rise to a simple question: do we take this chance to tell more of the tale? And the answer from our perspective as the filmmakers, and as fans, was an unreserved ‘yes.'
We know how much of the story of Bilbo Baggins, the Wizard Gandalf, the Dwarves of Erebor, the rise of the Necromancer, and the Battle of Dol Guldur will remain untold if we do not take this chance. The richness of the story of The Hobbit, as well as some of the related material in the appendices of The Lord of the Rings, allows us to tell the full story of the adventures of Bilbo Baggins and the part he played in the sometimes dangerous, but at all times exciting, history of Middle-earth.
So, without further ado and on behalf of New Line Cinema, Warner Bros. Pictures, Metro-Goldwyn-Mayer, Wingnut Films, and the entire cast and crew of “The Hobbit†films, I’d like to announce that two films will become three.
It has been an unexpected journey indeed, and in the words of Professor Tolkien himself, "a tale that grew in the telling."
When The Hobbit looks bad, it looks really bad, chiefly during action sequences where CG creatures are featured against non-CG backdrops. One scene stands out in particular, where a group of CG wargs (giant wolf-like creatures) chase our group of non-CG heroes across a grassy plain. The wargs look like CG wargs, while the dwarves look like Richard Armitage et al running around a....well, a grassy plain. Our heroes look so real and present in that field, that the creatures look impossibly artificial in comparison. There’s irony that such technical sophistication (and indeed, state-of-the-art-CG-effects) have wound up looking like a film student’s first stab at combining practical effects with digital.
To make matters worse, Jackson has chosen to use a lot more CG in his latest Tolkien trilogy. Orcs, once Kiwi extras dressed in costume in The Lord of the Rings, are now glossy baddies from The God of War video game series.During the final battle – where the stakes were meant to be at their highest - I was distracted by how smoothly everyone moved. Other critics have talked of the film looking sped up; to me it looked slower, as if the action was taking place in butter.
Citation:
Constructed interiors look much like they do in any of The Hobbit production diaries - like sets. Bilbo’s home has gone from a comfortable and homely Hobbit hole to something quite plasticky, and Rivendell suffers the same fate. In a quest to make his world more real, Jackson has inadvertently drawn our attention to its artifice.In a quest to make his world more real, Jackson has inadvertently drawn our attention to its artifice.
Citation:
Despite my (admittedly major) qualms, I still recommend you see The Hobbit in 48 FPS if a theatre near you supports it; just not on your first viewing. It is, undeniably, a fascinating experiment to behold, and the technology needs to be seen to be believed. For Jackson, it’s a bold move; he’s risked an enormously high-profile film on the technology, putting his reputation – and the film’s critical reception – on the line
Mouais...
Je vais le voir mais ça refroidit un peu mon ardeur.
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