Philippa Boyens (incredibly) began her screenwriting career with The Lord of the Rings trilogy. Before then the long-time Tolkien fan had worked mainly in theatre. Return of the King won Boyens an Oscar, a BAFTA, and many other awards. She next worked with Jackson and Walsh on King Kong, and an adaptation of novel The Lovely Bones. Boyens returned to Middle-earth for The Hobbit.
We started with 27 copies of the paperback, and none of them are intact. Some of them are probably in caravans left on the side of Mount Ruapehu. There’s probably some left in little tiny hotel rooms in Te Anau. Philippa Boyens, on the long writing process of The Lord of the Rings
Mortal Engines is set in a post-apocalyptic world where cities roam the landscape, devouring everything in their path. Tom (Robert Sheehan, from TV's Misfits) lives in London, a 'predator' city built on digger-like tracks. After encountering a mysterious fugitive with murder in mind, he finds himself touching bare earth for the first time. Showcasing the eye-opening imagery of Weta Digital, Mortal Engines is based on a book by Brit Philip Reeve. It marks the first feature directed by Christian Rivers (short film Feeder). The Weta veteran began as a storyboard artist for Peter Jackson.
Touted as the defining chapter of the trilogy, The Battle of the Five Armies sees Smaug wreaking havoc from the sky, Thorin Oakenshield succumbing to dragon-sickness, and a climactic battle to dwarf anything seen in the first two Hobbit films. As Orcs look to the Lonely Mountain with their eyes on the treasure, dwarves, elves and humans must decide whether to unite and fight them off. The final Hobbit film arrived in cinemas 15 years after Peter Jackson first trained his cameras on Middle-earth — and made it clear that global blockbusters could come from New Zealand.
After only 17 days in international cinemas, the first part of the Hobbit trilogy stacked up enough treasure to become 2012's fourth highest-grossing movie. In part two director Peter Jackson upped the adventure quotient further, thanks to spiders, high speed river rides and the first encounter between hobbit Bilbo Baggins (Martin Freeman) and Smaug the Dragon, as envisioned by Weta Digital and British star of the day Benedict Cumberbatch. Legolas (Orlando Bloom), one of the breakout characters from Jackson's Lord of the Rings movies, also makes an appearance.
JRR Tolkien's beloved novel The Hobbit follows Bilbo Baggins on a quest to help reclaim the lost dwarf homeland of Erebor from the dragon Smaug. Shoulder-tapped by Gandalf for the mission against some opposition, Bilbo joins a company of dwarves in an epic adventure: vying against goblins, orcs and Gollum's riddles. After the box office blitzing and Oscar-slaying Lord of the Rings trilogy, adapting the precursor novel was an expected journey. Martin Freeman (The Office, Sherlock) plays Bilbo, with Peter Jackson again at the helm in this first of a three-part adaptation.
Scriptwriter Philippa Boyens has described Alice Sebold's bestselling book The Lovely Bones as "brutal, surprising, gorgeous". A tale of murder and how the victim's family and friends try to deal with it, the story is told from the perspective of the victim — 14-year-old Susie Salmon. For the movie adaptation. Peter Jackson and his Weta FX team engaged in more Heavenly Creatures style world-building, rendering an afterlife for Susie that "alters and shifts" with her mood. Time praised the film's "gravity and grace", plus Saoirse Ronan's BAFTA-nominated performance as Susie.
Peter Jackson's love affair with moviemaking and special effects was ignited by seeing the original King Kong (1933) as a child. Jackson's Kiwi-shot remake takes one of cinema's most iconic monster movies, retains the 30s setting and iconic New York finale, and toughens up the "beauty" (Naomi Watts). The film also transforms the male (non-ape) lead from lunkhead to sensitive playwright (Adrien Brody). Exhilarating, Oscar-winning CGI brings the great ape to life, alongside rampaging dinosaurs, and oversized wētā inexplicably absent from the maligned 1976 remake.
Monstrous spiders, dragon-aided epic battles, endangered hobbits and final farewells ... the finale of the Lord of the Rings trilogy boldly upped the ante. Although the first two films had excited viewers, critics and accountants, Return of the King sealed Peter Jackson's place in movie legend. Reviewers praised it with gusto and the film won a staggering 11 Oscars, a total matched only by Titanic and Ben-Hur. Return anointed a Hollywood empire in the Wellington suburb of Miramar. The box office figures weren't half bad, and nor was the effect on New Zealand tourism.
The second Lord of the Rings installment sees hobbit Frodo Baggins continuing his mission to destroy the ring. Meanwhile the Fellowship is breaking apart, and an epic night battle ensues at Helm's Deep. The film marked a star turn by Gollum, the emaciated Andy Serkis-voiced creature whose realisation was a cinema landmark and a triumph for the design and special effects team. Alongside praise for the film's pace and spectacle, The Two Towers broke international opening records, before going on to outgross Fellowship of the Ring, and win two technical Oscars.
The Fellowship of the Ring was the film that brought Peter Jackson's talents to a mass international audience. A year after its release, the first instalment of his adaptation of Tolkien's beloved tale of heroic hobbits was the seventh most successful film of all-time. Critic David Ansen (Newsweek) was one of many to praise the fan-appeasing Frodo-centric take, for its "high-flying risks: it wears its earnestness, and its heart, on its muddy, blood-streaking sleeve." At 2002's Academy Awards, Weta maestro Richard Taylor became the first Kiwi to win two Oscars on one night.