The Lord of the Rings (film series)

context: en: Each film had the benefit of a full year of post-production time before its respective December release, often finishing in October–November, with the crew immediately going to work on the next film. In this period's later part, Jackson would move to London to supervise the scoring and continue editing, while having a computer feed for discussions to The Dorchester Hotel, and a "fat pipe" of Internet connections from Pinewood Studios to look at the special effects. He had a video link and 5.1 surround sound to organise meetings, and listen to new music and sound effects generally wherever he was. The extended editions also had a tight schedule at the start of each year to complete special effects and music.
qas: question: zh_tw: 電影一般什麼時候上映？
answers: en: text: December

context: en: Howard Shore composed, orchestrated, conducted, and produced the trilogy's music. He was hired in August 2000 and visited the set, and watched the assembly cuts of The Fellowship of the Ring and The Return of the King. In the music, Shore included many (85 to 110) leitmotifs to represent various characters, cultures, and places – the largest catalogue of leitmotifs in the history of cinema, surpassing – for comparison – that of the entire Star Wars film series. For example, there are multiple leitmotifs just for the hobbits and the Shire. Although the first film had some of its score recorded in Wellington, virtually all of the trilogy's score was recorded in Watford Town Hall and mixed at Abbey Road Studios. Jackson planned to advise the score for six weeks each year in London, though for The Two Towers he stayed for twelve. As a Beatles fan, Jackson had a photo tribute done there on the zebra crossing.The score is primarily played by the London Philharmonic Orchestra (ranging from 93 to 120 players throughout the recording), London Voices, London Oratory School Schola boy choir, and many artists such as Ben Del Maestro, Enya, Renée Fleming, James Galway, Annie Lennox and Emilíana Torrini contributed. Even actors Billy Boyd, Viggo Mortensen, Liv Tyler, Miranda Otto (extended cuts only for the latter two), and Peter Jackson (for a single gong sound in the second film) contributed to the score. Fran Walsh and Philippa Boyens served as librettists, writing lyrics to various music and songs, which David Salo translated into Tolkien's languages. The third film's end song, "Into the West", was a tribute to a young filmmaker Jackson and Walsh befriended named Cameron Duncan, who died of cancer in 2003.Shore composed a main theme for The Fellowship rather than many different character themes, and its strength and weaknesses in volume are depicted at different points in the series. On top of that, individual themes were composed to represent different cultures. Infamously, the amount of music Shore had to write every day for the third film increased dramatically to around seven minutes. The music for the series turned out to be a success and has been voted best movie soundtrack of all time for the six years running, passing Schindler's List (1993), Gladiator (2000), Star Wars (1977), and Out of Africa (1985) respectively.
qas: question: zh_tw: 為什麼創作個別主題音樂？
answers: en: text: to represent different cultures

context: en: Principal photography for all three films was conducted concurrently in many locations within New Zealand's conservation areas and national parks. Filming took place between 11 October 1999 and 22 December 2000, a period of 438 days. Pick-up shoots were conducted annually from 2001 to 2004. The series was shot at over 150 different locations, with seven different units shooting, as well as soundstages around Wellington and Queenstown. Along with Jackson directing the whole production, other unit directors included John Mahaffie, Geoff Murphy, Fran Walsh, Barrie M. Osborne, Rick Porras, and any other assistant director, producer, or writer available. Jackson monitored these units with live satellite feeds, and with the added pressure of constant script re-writes and the multiple units interpreting his envisioned result, he only got around four hours of sleep a night. Due to the remoteness of some of the locations, the crew would also bring survival kits in case helicopters could not reach the location to bring them home in time. The New Zealand Department of Conservation was criticised for approving the filming within national parks without adequate consideration of the adverse environmental effects and without public notification. The adverse effects of filming battle scenes in Tongariro National Park meant that the park later required restoration work.
qas: question: zh_tw: 傑克森在多少個地點進行電影的拍攝？
answers: en: text: 150

context: en: The first film has around 540 effect shots, the second 799, and the third 1,488 (2,730 in total). The total increases to 3,420 with the extended editions. 260 visual effect artists began work on the series, and the number doubled by The Two Towers. The crew, led by Jim Rygiel and Randy Cook, worked long hours, often overnight, to produce special effects within a short space of time. Jackson's active imagination was a driving force. For example, several major shots of Helm's Deep were produced within the last six weeks of post-production of The Two Towers, and the same happened again within the last six weeks on The Return of the King.
qas: question: zh_tw: Jim Rygiel 和 Randy Cook 帶領一群人創作了多少個特效鏡頭？
answers: en: text: 2,730

context: en: The first two films were released on standard two-disc edition DVDs containing previews of the next film. The success of the theatrical cuts brought about four-disc extended editions, with new editing, added special effects and music. The extended cuts of the films and the included special features were spread over two discs, and a limited collector's edition was also released. The Fellowship of the Ring was released on 12 November 2002, containing 30 minutes more footage, an Alan Lee painting of the Fellowship entering Moria, and the Moria Gate on the back of the sleeve; an Argonath-styled bookend was included with the Collector's Edition. The Two Towers, released on 18 November 2003, contained 46 minutes extra footage and a Lee painting of Gandalf the White's entrance; the Collector's Edition contained a Sméagol statue, with a crueller-looking statue of his Gollum persona available by order for a limited time.
qas: question: zh_tw: 前兩部電影有什麼改進？
answers: en: text: new editing, added special effects and music

context: en: The legacy of The Lord of the Rings is also that of court cases over profits from the trilogy. Sixteen cast members (Noel Appleby, Jed Brophy, Mark Ferguson, Ray Henwood, Bruce Hopkins, William Johnson, Nathaniel Lees, Sarah McLeod, Ian Mune, Paul Norell, Craig Parker, Robert Pollock, Martyn Sanderson, Peter Tait and Stephen Ure) sued over the lack of revenue from merchandise bearing their appearance. The case was resolved out of court in 2008. The settlement came too late for Appleby, who died of cancer in 2007. Saul Zaentz also filed a lawsuit in 2004 claiming he had not been paid all of his royalties.
qas: question: zh_tw: 阿普萊比因什麼逝世？
answers: en: text: cancer

context: en: To avoid pressure, Jackson hired a different editor for each film. John Gilbert worked on the first film, Michael J. Horton and Jabez Olssen on the second and longtime Jackson collaborator Jamie Selkirk and Annie Collins on the third. Daily rushes would often last up to four hours, with scenes being done throughout 1999–2002 for the rough (4½ hours) assemblies of the films. In total, 1828 km (six million feet) of film was edited down to the 11 hours and 26 minutes (686 minutes) of extended running time. This was the final area of shaping of the films, when Jackson realised that sometimes the best scripting could be redundant on screen, as he picked apart scenes every day from multiple takes.
qas: question: zh_tw: 是誰剪輯了電影？
answers: en: text: Jackson

context: en: When Universal cancelled King Kong in 1997, Jackson and Walsh immediately received support from Weinstein and began a six-week process of sorting out the rights. Jackson and Walsh asked Costa Botes to write a synopsis of the book and they began to re-read the book. Two to three months later, they had written their treatment. The first film would have dealt with what would become The Fellowship of the Ring, The Two Towers, and the beginning of The Return of the King, ending with Saruman's death, and Gandalf and Pippin going to Minas Tirith. In this treatment, Gwaihir and Gandalf visit Edoras after escaping Saruman, Gollum attacks Frodo when the Fellowship is still united, and Farmer Maggot, Glorfindel, Radagast, Elladan and Elrohir are present. Bilbo attends the Council of Elrond, Sam looks into Galadriel's mirror, Saruman is redeemed before he dies and the Nazgûl just make it into Mount Doom before they fall. They presented their treatment to Harvey and Bob Weinstein, the latter of whom they focused on impressing with their screenwriting as he had not read the book. They agreed upon two films and a total budget of $75 million.During mid-1997, Jackson and Walsh began writing with Stephen Sinclair. Sinclair's partner, Philippa Boyens, was a major fan of the book and joined the writing team after reading their treatment. It took 13–14 months to write the two film scripts, which were 147 and 144 pages respectively. Sinclair left the project due to theatrical obligations. Amongst their revisions, Sam is caught eavesdropping and forced to go along with Frodo, as occurs in the original novel. In the final treatment Sam, Merry, and Pippin infer the existence of One Ring and voluntarily go along after confronting Frodo about it. Gandalf's account of his time at Orthanc was pulled out of flashback and Lothlórien was cut, with Galadriel doing what she does in the story at Rivendell. Denethor attends the Council with his son. Other changes included having Arwen rescue Frodo, and the action sequence involving the cave troll. The writers also considered having Arwen absorb Éowyn's role entirely by having her kill the Witch-king.Trouble struck when Marty Katz was sent to New Zealand. Spending four months there, he told Miramax that the films were more likely to cost $150 million, and with Miramax unable to finance this, and with $15 million already spent, they decided to merge the two films into one. On 17 June 1998, Bob Weinstein presented a treatment of a single two-hour film version of the book. He suggested cutting Bree and the Battle of Helm's Deep, "losing or using" Saruman, merging Rohan and Gondor with Éowyn as Boromir's sister, shortening Rivendell and Moria as well as having Ents prevent the Uruk-hai from kidnapping Merry and Pippin. Upset by the idea of "cutting out half the good stuff" Jackson balked, and Miramax declared that any script or work completed by Weta Workshop was theirs. Jackson went around Hollywood for four weeks, showing a thirty-five-minute video of their work, before meeting with New Line Cinema's Mark Ordesky. At New Line Cinema, Robert Shaye viewed the video, and then asked why they were making two films when the book was published as three volumes (this was later corrected: New Line only made this choice out of economical reasons); he wanted to make a film trilogy. Now Jackson, Walsh, and Boyens had to write three new scripts.The expansion to three films allowed much more creative freedom, although in their effort to restructure the scripts, Jackson, Walsh, and Boyens did not write each film to correspond exactly to its respective book, opting instead to write a three-part adaptation with some sequences missing, some sequences created from scratch, and some sequences moved from one area to another regardless of its placement in the books. To allow the story to be clearer for viewers, Jackson takes a more chronological approach to the story than did Tolkien. Frodo's quest is the main focus, and Aragorn is the main sub-plot, and many sequences (such as Tom Bombadil) that do not contribute directly to those two plots were left out. Much effort was put into creating satisfactory conclusions and making sure exposition did not bog down the pacing. Amongst new sequences, there are also expansions on elements Tolkien kept ambiguous, such as the battles and the creatures. During shooting, the screenplays continued to evolve, in part due to contributions from cast members looking to further explore their characters. Most notable amongst these rewrites was the character Arwen, who was originally planned as a warrior princess, but reverted to her book counterpart, who remains physically inactive in the story (though she sends moral and military support).To develop fight and sword choreography for the series, the filmmakers employed Hollywood sword-master Bob Anderson. Anderson worked directly with the talent including Viggo Mortensen and Karl Urban to develop the film's many sword fights and stunts. Bob Anderson's role in The Lord of the Rings series was highlighted in the film Reclaiming the Blade (2009). This documentary on sword martial arts also featured Weta Workshop and Richard Taylor, The Lord of the Rings illustrator John Howe and actors Viggo Mortensen and Karl Urban. All discussed their roles and work on the series as related to the sword.
qas: question: zh_tw: 預算花光的情況下，米拉麥克斯對這兩部電影做了什麼？
answers: en: text: merge the two films into one