There’s also the arrival of CGI curios Gollum and Treebeard, and the cataclysmic hellfire of the Battle Of Helm’s Deep in a narrative splintered across storylines. In The Two Towers, the story centres more on the world of men, which gives it a more realistic, historical feel - a little in the direction of Braveheart.” But it has a much different tone from Fellowship, and that’s ultimately a healthy thing. “Obviously it has the same sensibilities working for it - the same writers, director, cast, DP everything is a continuation. “It was shot at the same time as Fellowship,” says Peter Jackson later - the sheer workload tending to keep him manacled to the sound stages. Every drop of sweat is devoted to getting the new film right. So no-one is lapping up the successes of the recent past - the Oscars, the box office, or the critical acclaim. It was a hell of a kick-off, but it means nothing if this movie fails to match Fellowship’s giddy heights. It’s June 2002, and supplementary shooting - the process of ironing out the final wrinkles in the second film - is almost complete, leaving only the toil of post-production to continue apace until the December debut of The Two Towers. “Have to be on set this afternoon.” Despite the sudden tumult (and the Orcs have become quite unruly), the quartet - a weekly civility introduced by producer Barrie Osborne to salve weary brows - plays on regardless. “Hmmm, better not,” he decides, patting his stomach. “Do you recommend it?” Saruman enquires of Empire, looking suspiciously at the dish of the day, obviously mistaking your intrepid journalist for one of the catering staff. A place where anything goes, especially the chilli if you’re not quick to the queue. Welcome to Catering, Middle-earth, Miramar Studios, Wellington, New Zealand. More Orcs join their brethren, a small fellow with pointy ears and clown-sized feet wrapped in bin-liners has already got a plateful, and, as if it is the most normal thing in the world (which round here it is), Gandalf the White, Saruman the (formerly) Wise and King Théoden of Rohan saunter across to a table, waving casually to crew members. Then, as if some far-off bell has sounded, the room is suddenly engulfed with all manner of beings. Outside the rain is pouring like the end of the world. The room is, to say the least, ramshackle walls of crumbling brick decorated with ‘Elf’ vandalism reach inconclusively to the corrugated roof. At a corner table, three Orcs are deep in conversation, their gnarled heads leaning close together the ugliest of the trio (this is a thin distinction), whose nose seems to have been riveted several times, sucks idly from a carton of apple juice. Order is everywhere, a hushed expectation of the meal to come. As a prelude to luncheon, a string quartet gently evokes a touch of Bach in a minor key, tablecloths are being straightened and napkins folded, and from an adjoining room spills the aroma of food preparation. Bear in mind that the original movie is on 8mm film and that many of these shots are third- or fourth-generation copies, so the quality may sometimes be a bit ropy.DAY ONE: picture, if you will, a scene of such refinement and tranquillity it was surely dreamed up under the porcelain gaze of Merchant and Ivory. This collection includes screenshots, behind-the-scenes photographs, original props and script ideas and a few animated screenshots you might have seen on my main Apes blog, ARCHIVES OF THE APES. Produced and directed by David Barclay, who also created the prosthetic makeup in the style of the great John Chambers. The main cast comprised of David Barclay as Cornelius and Jackie Lawrence as Zira, with Gary Cook (your host) as Milo, Ernest Morris as the devious Dr Zaius and Frank Seymour as gorilla soldier Aboro. Helmed by lifelong puppeteer David Barclay, who went on to bigger and better things as a world-famous animation, motion-capture and puppetry professional in such epics as The Empire Strikes Back, Return Of The Jedi, The Dark Crystal, Labyrinth and Cats And Dogs among many others. Made on a shoestring budget over the course of the year and featuring home-made makeup, costumes, props and scenery, CORNELIUS AND ZIRA forms a bridge between the sci-fi classics BENEATH THE PLANET OF THE APES and ESCAPE FROM THE PLANET OF THE APES.
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