The “Lord of the Rings” trilogy is a cinematic landmark, a sweeping epic that redefined fantasy filmmaking and captivated audiences worldwide. Directed by Peter Jackson, the films were a monumental undertaking, but how did a director known for low-budget horror comedies land the helm of such a prestigious and massive project? This is the story of Peter Jackson’s journey to Middle-earth, a tale of ambition, perseverance, and a little bit of fate.
Peter Jackson’s early career was far removed from the grand scale of “Lord of the Rings.” He made his name with quirky, often gory, independent films like “Bad Taste,” “Meet the Feebles,” and “Braindead.” These movies, celebrated for their inventiveness and dark humor, showcased Jackson’s filmmaking talent but hardly positioned him as the obvious choice for a project of the magnitude of Tolkien’s masterpiece. Yet, even amidst the splatter and satire, Jackson harbored grander cinematic aspirations. As he told Variety in 1992, he was actively seeking a project that would truly challenge him, something that would “really push” his creative boundaries.
His connection with J.R.R. Tolkien’s world began in his teenage years. Reading “Lord of the Rings” at 17, Jackson wasn’t a lifelong devotee but was nonetheless deeply impressed by Tolkien’s creation. Interestingly, his early cinematic inspirations leaned towards the fantastical adventures crafted by stop-motion animation legend Ray Harryhausen, films like “Sinbad” and “Jason and the Argonauts.” These films instilled in him a love for bringing fantastical worlds to life on screen, a passion that would eventually converge with his appreciation for Tolkien’s work.
Jackson and his partner Fran Walsh, a key collaborator throughout his career, had been contemplating a Tolkien adaptation for years. Their initial idea was relatively modest: to adapt “The Hobbit” as a single film, with the possibility of tackling “The Lord of the Rings” as two movies if the first venture proved successful. This cautious approach reflected the perceived risk of adapting such beloved and complex books. They recognized the distinct tones of Tolkien’s works, with “The Hobbit” being more akin to a children’s book, while “The Lord of the Rings” delved into darker, more mature themes.
However, the rights to Tolkien’s works were a tangled web. Since the books’ publication in the 1950s, various Hollywood studios had held and relinquished the rights, making the prospect of securing them seem like a distant dream. It was around 1995, during the production of “The Frighteners,” that Jackson and Walsh’s thoughts turned more seriously to Tolkien. While working on an original story, they found themselves constantly referencing Tolkien’s books as a benchmark for world-building and storytelling. This realization sparked a pivotal question: “Why don’t we inquire about rights to these books?” Jackson admitted he assumed the rights would be “tied up and impossible” to obtain.
Their inquiry led them to Harvey Weinstein, then head of Miramax, with whom they had a first-look deal. Serendipitously, Weinstein had recently intervened to rescue “The English Patient” from financial collapse, a film produced by Saul Zaentz, who, crucially, held the rights to “The Lord of the Rings.” “Fate steered us there,” Jackson later reflected, acknowledging the unexpected chain of events that began to unfold.
Negotiations with Miramax ensued, and a deal was struck to develop “Lord of the Rings” as two films. However, the relationship with Miramax proved to be turbulent. Weinstein, known for his hands-on approach, eventually pushed for condensing the three “Lord of the Rings” books into a single film, a proposition that Jackson and Walsh vehemently resisted. This creative clash led to a critical juncture. Jackson and Walsh were given a mere three weeks to find a new studio willing to take on their vision of multiple films.
This ultimatum led them to New Line Cinema, a studio with a history of taking bold risks. In 1998, Jackson pitched his concept for two “Lord of the Rings” films to Bob Shaye, the chairman of New Line. Shaye’s response was not just agreement, but an escalation: “Let’s do three,” he declared, greenlighting the ambitious idea of a trilogy. Furthermore, Shaye endorsed the groundbreaking concept of filming all three movies simultaneously, a decision that would prove both audacious and ultimately essential to the project’s success.
New Line Cinema, though not one of the traditional Hollywood giants, had a reputation for embracing unconventional projects. From distributing John Waters’ transgressive “Pink Flamingos” to the cult classic “Reefer Madness” and achieving mainstream success with “Nightmare on Elm Street” and “Teenage Mutant Ninja Turtles,” New Line was known for its willingness to gamble on unique and often edgy content. However, “Lord of the Rings” was on a scale unlike anything they had ever undertaken.
Mark Ordesky, a New Line executive who had cultivated a working relationship with Jackson since his earlier, more “bizarre Kiwi helmer” days, played a crucial role in bringing Jackson to New Line. Ordesky, who had even offered Jackson his couch during Los Angeles visits, recognized Jackson’s talent and vision. By the time the trilogy was greenlit, Ordesky had risen to head Fine Line, New Line’s specialty division, and was entrusted with overseeing the “Lord of the Rings” production. As Variety reported in 1998, Ordesky was “instrumental in bringing Jackson to New Line” for ‘Rings,’ highlighting his early championing of the director.
Securing the studio backing was just the first hurdle. Three monumental challenges lay ahead: securing the massive funding required, managing the unprecedentedly large-scale production, especially for a director known for smaller films, and marketing the complex fantasy world of Tolkien to a mainstream audience, many of whom were unfamiliar with the source material.
Jackson and Walsh assembled a core creative team, including Philippa Boyens, who collaborated closely on the screenplays (Stephen Sinclair also contributed to “The Two Towers” script). They were also supported by Ken Kamins, a prominent Hollywood agent (later manager), and key New Line executives like Michael Lynne, Rolf Mittweg, Camela Galano, and Gordon Paddison, whose Stradella Road company spearheaded the innovative online marketing campaign.
The financial scale of “Lord of the Rings” was daunting. Unlike major studios with in-house global distribution networks, New Line relied on a network of independent distributors in international markets. Rolf Mittweg faced the formidable task of convincing 25 distributors to pre-purchase distribution rights, committing a staggering $160 million in advance in late 1999. This was further complicated by the need to secure agreements for a simultaneous worldwide release, a far less common practice at the time.
Mittweg emphasized to Variety‘s Don Groves that each distributor had to commit to all three films, a testament to the immense faith New Line was placing in the trilogy. These international pre-sales were projected to cover approximately two-thirds of the production budget, a remarkable achievement given the sheer sums involved and the inherent risk. The financial gamble was not just New Line’s; the international distributors were also heavily invested, facing potential financial ruin if the films failed to perform.
To solidify distributor confidence, New Line orchestrated a pivotal set visit to Wellington, New Zealand. Approximately 20 distributors were flown to the location to meet Peter Jackson, key cast members, and, crucially, to witness 30 minutes of raw footage, albeit without special effects. A similar presentation was arranged for representatives from major US theater chains to generate domestic buzz. This proactive approach aimed to quell any anxieties and showcase the tangible progress and potential of the project.
Principal photography commenced on October 11, 1999, embarking on an epic 274-day shoot. The decision to film all three movies concurrently was driven by practical considerations, particularly the remote and breathtaking locations in New Zealand. Accessing these locations often required building temporary roads, which would then be dismantled to restore the natural landscape. Undertaking this logistical effort three separate times was deemed impractical and cost-prohibitive.
Despite the leap from micro-budget filmmaking to a mega-production, Jackson seemed remarkably composed and in control. Ordesky recounted to Variety Jackson’s reassuring mantra, repeated whenever studio or international executives grew apprehensive: “One job at a time, every job a success.” Jackson cultivated a calm and even playful atmosphere on set. “I like to have fun on the set, to set a tone of calm. I like to be calm and have a few jokes,” he explained.
Ian McKellen, nominated for an Oscar for his portrayal of Gandalf in “Fellowship of the Ring,” praised Jackson’s gentle and collaborative directing style. “Some directors are authoritarian, ordering you what to do. That’s not Peter. He knows what he wants but does it in a gentle way. If he says it’s perfect, you utterly know you can move on,” McKellen noted.
Ordesky emphasized Jackson’s embodiment of “New Zealand culture: humble, friendly and full of can-do ingenuity.” McKellen further highlighted the crucial partnership between Jackson and Walsh: “You can’t imagine Peter without Fran. They make a home together, she’s always there. It’s absolutely a family making that film; it’s a real partnership.” The production, despite its grand scale, retained a surprisingly intimate and familial atmosphere. Filming took place in a converted paint factory near Jackson and Walsh’s home, lending a sense of “home movie” intimacy, even amidst the challenges of noise, cold, and airplane interruptions. McKellen humorously admitted, “I thought he was a bit mad,” reflecting the sheer audacity of the undertaking.
The casting process also had its share of near-misses and last-minute changes. Sean Connery was considered for the role of Gandalf, while Viggo Mortensen replaced Stuart Townsend as Aragorn just weeks into filming. Elijah Wood, Orlando Bloom, and Cate Blanchett were among the stellar cast who journeyed to New Zealand to inhabit Middle-earth. Throughout the demanding production, Jackson publicly lauded his cast and crew to Variety: “They have remained undaunted. They have been magnificent.”
Ordesky remained on location for the majority of the filming and throughout the extensive three-year post-production process, regularly flying back to Los Angeles with updated cuts of the film to keep New Line executives informed and reassured.
With production underway, the marketing campaign needed to build anticipation for a film adaptation of books that, while beloved by millions, were still relatively unknown to a significant portion of the moviegoing public. The Cannes Film Festival, a magnet for global media attention, was chosen as the launchpad for the international marketing blitz. On May 10, 2001, New Line screened 26 minutes of footage at Cannes for distributors and press. The reaction was overwhelmingly positive, bordering on euphoric. Attendees were so captivated that they lingered in the theater aisles and lobby long after the screening, creating an unusual buzz and making “Lord of the Rings” one of the most talked-about films at the festival, alongside other prominent releases like “Moulin Rouge,” “Shrek,” and “Mulholland Drive.”
This initial success was crucial, as the international press had harbored skepticism. Previous fantasy films with wizards and elves had not achieved blockbuster status, and the distributors were heavily reliant on “Lord of the Rings” to become a hit. The Cannes footage dispelled doubts, showcasing a film that was both epic in scope and emotionally resonant, avoiding the pitfalls of being “twee” or “cute.” Jackson later explained to Variety their approach: “Tolkien created fantasy but not in a condescending way. The books have a historical weight to them. He didn’t treat it as fantasy, and that’s what appealed to us: to make a fantasy as a historical piece. We tapped into ancient Roman, Greek and Norse cultures; we never tried to make anything up, we tried to base it on parts of our world.”
The Cannes Film Festival also served as a platform for interviews with filmmakers and actors, culminating in a lavish “Middle-earth party” on May 13. Buses transported 1,500 guests to the Chateau Castellaras, transformed with sets from the film and costumed actors. This extravagant $2.5 million event cemented the impression that “Lord of the Rings” was not just a movie, but a major cultural phenomenon in the making.
Despite the Cannes triumph, significant marketing challenges remained. While Tolkien’s books had sold an estimated 150 million copies globally, New Line’s research revealed that a surprisingly low 20% of the general public had any real understanding of the 50-year-old books. Reaching beyond the existing fanbase was paramount.
Russell Schwartz, New Line’s domestic marketing president, faced the task of broadening the appeal to a wider audience. Adding to the pressure, New Line and Warner Bros., its sister company, had recently been acquired by AOL. Gerald Levin, AOL’s CEO, in a New Yorker interview, lauded the upcoming “Harry Potter” film as the epitome of corporate synergy, emphasizing soundtracks, merchandise, and online presence, notably omitting any mention of “Lord of the Rings,” despite its extensive website and licensing deals.
The “Lord of the Rings” website, however, became a critical marketing tool. Carolyn Blackwood, a New Line executive, observed that while Jackson was cordial to the press, his priority was direct engagement with his fans. “He knows who his fans are and how to reach them. He is very reverential of their needs,” Blackwood noted. Jackson and McKellen actively engaged with fans through blogging, aiming to reassure Tolkien enthusiasts that the adaptation was in faithful hands. “Peter always said he was making the films for other fans of Tolkien,” McKellen recalled.
“The Fellowship of the Ring” premiered in December 2001, just months after the 9/11 attacks. Amidst anxieties about audience receptiveness to themes of warfare and conflict, Variety‘s review astutely observed, “With the world newly obsessed with the clash of good and evil, the time would seem ideal for ‘The Lord of the Rings.’” The review praised the film as “an epic by any standard, that looks to please the book’s legions of fans with its imaginatively scrupulous rendering of the tomes’ characters and worlds.”
Despite internal anxieties – “We never tested the first film, and we were biting our nails right until the moment it opened,” Schwartz admitted – “The Fellowship of the Ring” was a resounding success. While “Harry Potter and the Sorcerer’s Stone” topped the box office that year, “Fellowship” was a close second, both films becoming global phenomena. Ironically, the corporate synergy envisioned by AOL proved less successful, with AOL experiencing massive financial losses and eventually divesting from Warner Bros.
The initial budget for the “Lord of the Rings” trilogy, reported by Variety in 1998 as $130 million, grew to $200 million by the start of filming in 1999. Following the success of the first film, additional funds were allocated, bringing the final estimated cost to over $300 million. This investment yielded an astonishing return, with the trilogy grossing nearly $3 billion at the box office. The subsequent “Hobbit” trilogy, while less critically acclaimed, added another $2.93 billion to the franchise’s coffers.
Peter Jackson’s achievement transcends mere financial success. His visionary direction not only redefined fantasy cinema but also demonstrated that large-scale, globally impactful filmmaking was not solely the domain of Hollywood. He and his team revolutionized the visual effects industry and significantly boosted New Zealand’s economy through both filmmaking and tourism.
The “Lord of the Rings” trilogy garnered 30 Academy Award nominations, winning 17. “The Return of the King” swept the 2004 Oscars, winning all 11 categories it was nominated for, joining “Ben-Hur” and “Titanic” as the only films to achieve this feat. As Variety noted the day after the Oscar triumph, “It’s easy to forget how long a road it was to its 30 Oscar noms — and what a longshot the franchise was.”
Peter Jackson’s journey to directing “Lord of the Rings” was an improbable odyssey, a confluence of ambition, chance encounters, and unwavering belief in his vision. From his early splatter films to the heights of Middle-earth, his story is a testament to the power of perseverance and the transformative magic of cinema.
