Anything You Can Imagine. Ian Nathan
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I think we can squeeze this new scene in pretty simply.” It was very organic.’
The problem was it never ended. They couldn’t stop writing, editing, re-writing, trimming, extending, delving into the mines of the text, working with the actors, twisting and turning the mythology into cinema. This went on literally in tandem with the shoot. A honing of story in the same way a special effect can be bettered with care and attention. Such that there was never a definitive finished screenplay, not on page.
An early draft of the three-film version, dated 20 November 1998, reads like an alternative universe to an alternative universe, with many of these scenes shot and abandoned. Opening with Frodo and Sam surveying the limits of the Shire from a hilltop, Farmer Maggot clings on and the hobbit heroes encounter the first Ringwraith without Merry and Pippin. Rivendell, as we shall see, awaits a major overhaul. There is an Orc assault on the borders of Lothlórien, where Aragorn has a flashback to the days he spent there with Arwen and Frodo glimpses Gandalf in Galadriel’s mirror.
In this version, the second and third films radically depart from the book, with Arwen’s participation expanded even from the two-film draft. She follows the Fellowship to Lothlórien and then on to Edoras rescuing the refugee children from an Orc attack along the way. The love triangle is revived from the treatment, with a semi-comic rivalry established between Arwen and Éowyn. Arwen still battles at Helm’s Deep, still skinny-dips with Aragorn, still helps fight off a Ringwraith that swoops for Pippin, and still rides with the Rohirrim, but now alongside Éowyn disguised as a man (diluting the whole effect). Arwen will be left for dead by the Witch-king before Éowyn dispatches him. And Sauron still confronts Aragorn at the Black Gates.
They were constantly trying to insert the structural lessons gleaned from McKee to the glacial magnificence of Tolkien: climaxes, twists, foreshadowings, turning points and delayed reveals. Balanced with wilfully obscure references to his deep mythology. His archaic language could have enormous power when delivered by an Ian McKellen or Christopher Lee. But for clarity they would trim and edit from the book, moving passages around in the chronology or between speakers like a slider puzzle.
Boyens’ ancient prologue was still being reworked in post.
‘I first wrote it as Gandalf narrating,’ she says, running back through the manifold revisions in her head — there had been a Frodo-narrated version at one stage. ‘And then I wrote it in the voice of Galadriel. That was Fran’s idea, and it was a good one. Then when we were recording the ADR in London, I said to Fran, “Can we overlay it in Elvish?” You want that sense of strangeness of history.’
The trilogy’s overture carries the quality of a dream as Blanchett’s yearning voice pulls us across the frontier into Tolkien’s imagination.
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The creative dynamic that evolved between Jackson, Walsh and Boyens would define the trilogy: the visualist devising heart-stopping scenes; the realist seeking emotional truths; and the Tolkien authority mindful of the Elvish provenance of Gandalf’s sword. As an unwritten rule, Jackson was responsible for what they categorized as the ‘Big Print’ set-piece stuff such as the battle with the Cave-troll (which elaborates on Tolkien to great effect). Something, Boyens soon noticed, he did with an extraordinary immediacy and originality. As if in response to that strangeness in Tolkien’s world no sequence was allowed to bear the formulaic imprint of a Hollywood blockbuster. Jackson, writing in those caps in which you can feel the camera’s hungry eye: ‘The dark WATER BOILS as the HIDEOUS BEAST lashes out at the FELLOWSHIP!’
‘Philippa and I were very invested in the emotional content of the story,’ Walsh explained in a rare interview. ‘It’s easy for those things to be obscured by spectacle and the sheer sort of exhaustion of that final ascent to Mount Doom. But we wanted to touch the audience in a meaningful way. Maybe that’s an easier thing for us to do because we are women.’
Boyens did the bulk of the physical typing sitting up in bed with her laptop or at her desk. ‘We got into this rhythm. I was the faster typist and better speller. Fran’s great because she can see the scene in her head. When I write, the words don’t come unless I actually physically type them.’
They were known to spend a whole day in their pyjamas, writing, writing, writing. ‘Then Fran would have time with the kids,’ recalls Boyens. Jackson and Walsh’s children, Billy and Katie, were still only infants. ‘So it was nuts,’ she laughs. But nothing could beat that moment of breakthrough. When, as Boyens puts it, ‘the landscape held’.
Walsh was the driving force. Jackson’s partner would be the first to admit she wouldn’t naturally have chosen to adapt The Lord of the Rings. She had been seduced by Jackson’s passion for the possibility of something epic. As much as she was caught in the slipstreams off the Misty Mountains, addicted to Middle-earth, she could remain more academic about the material: how does it work as entertainment?
‘I learned how to write from her and from Pete, but mostly from Fran,’ says Boyens. ‘There’s so many holes and missteps with a film. There are so many different ways you can go and so many things that you have to break. I’m someone who would paper over the cracks. She couldn’t. The other thing that I learned from her is that it’s the ideas which are informing the story that are important. Why would anyone care? And understanding how you take what is interior, especially for a character such as Frodo, and translate it to film. She was masterful at the Gollum-Sméagol dynamic.’
Kamins can see that they were a unique producing-directing-writing unit. ‘You understood that they were close. They were willing to argue with each other to make something better. To push each other to prove why their point was right.’
And the clear distinction of roles could be deceptive. Walsh and Boyens could be good on the Big Print action scenes and Jackson excellent on the fine print of Tolkien.
Still, freed up by the obsessive dedication of his co-writers, Jackson utilized his energies across preproduction, finding the visual texture with which to clothe the bones of the words. As shooting bore down on him like a mûmak, the director took more of an ‘overarching eye’, says Boyens. Generally, after a team discussion, she and Walsh would do a draft of a scene and then Jackson would do his pass.
‘I was literally almost doing a shot list,’ recalls Jackson. ‘A lot of screenwriters say don’t tell the director what to do, but I guess as I’m the director I don’t mind. It helps when I am sitting there reading the script a year later and knowing that I had a thought to do a close-up.’
The original three 150-page scripts presented to each actor were always available for consultation, but they were only blueprints. Rhys-Davies laughed about the dreaded brown envelope that would be slipped under their door each morning with that day’s revisions.
Sean Astin describes the scripts as ‘fluid’. But if an actor wanted to adjust a line on set, try it in a different way, they would be met with resistance. Jackson would joke that he dare not cross the ‘script Nazis’. Given what Boyens and Walsh were going through, he may have been genuinely fearful. They were constructing a monumental house of cards where one minor adjustment could bring the whole edifice crashing down.
Yet the cast did contribute. Both in preproduction and production they would meet with Walsh and Boyens to talk through upcoming scenes. Viggo Mortensen, who always had the books about his person, was relentless when it came to his character. Astin likes to think of it as keeping the filmmakers’ ‘feet to the fire’. And that drive brought Aragorn to life.
Astin remembers coming up with the idea that Sam had been secretly spying on the Council of Elrond throughout. How else would he be aware of what had been decided? ‘Sam belonged there,’ he had argued to a sceptical Walsh. It was, he insists, ‘a legitimate desire to act as an audience surrogate’.
A compromise was reached where Sam is seen hiding in the shrubbery. Astin wasn’t wholly mollified, but nothing was as emblematic of the brinkmanship of writing — and indeed shooting — as mounting the Council of Elrond. ‘Just don’t make me go back to Rivendell,’ Boyens would remonstrate whenever things got complicated.
A great