— a cameo in the film as one of the titular alien-possessed teachers. Ed] And one day he came up to me, and he was like. "Dude, they're making "Lord of the Rings' as a feature. You gotta play Frodo!" And the news was really exciting, but they weren't casting for it at that point. It was just kind of in the news. I first heard about it from him, [but] I actually wasn't approached to audition for it until nearly a year later. BOXOFFICE: What was the process? WOOD: My agent called me and said. "Look, they're casting "Lord of the Rings'; Peter Jackson is gonna direct it, and you should go in and put yourself on tape." IBut] the idea of putting myself on (ape in a casting office wasn't particularly attractive to me. mainly because I wanted to try to convey my passion for i he project and for the role, and going into the casting office against a white background and being put on tape did not seem at all conducive to what 1 wanted to portray. So I [decided to do] my own tape, which I'd never done before, but I figured that this project deserved mj own interpretation and my full attention. So I got a voice coach and worked on my accent for a little while, and then a few friends of mine got together and we went up to the Hollywood Hills after getting some costumes at Western Costume, and we shot the scenes like yon would a film, [with] various angles and things. And we went that night to the Miramax offices and borrowed their As id machine and edited it together, and the next day ! brought the video into the casting office and 1 kind of let it go, just knowing that I'd put my best foot forward in terms of getting the role, and I would see what happened. And it all went from there. BOXOFFICE: It's Interesting because you have, it's been remarked, otherworldly, kind of Elvish features, whereas the Hobbits are a little more stocky and ruddy. So how did that all work out? that. Which is kind of peculiar for a Ilobbit. because Hobbits tend to not want to know about what's outside the Shire, because outside is unknown to them, and slightly frightening. So Frodo was always quite different. And, in terms of my own features, I think [they] played into that in a physical kind of way. BOXOFFICE: What's your take on the character of Frodo and his motivations. his loyalties and his conflicts? WOOD: Wow! Well, Frodo. in terms of his decision to take the ring and the journey that he ends up taking—there's a lot that plays into that. Initially, his reason for taking the ring is because [benevolent wizard] Gandalf has explained to him thai the ring that Bilbo had had all these years was actually the Ring of Power, the One Ring, and that it was intrinsically evil, and that [the dark lord] Sauron would be willing it back to him and, if he did end up getting it back. Middle Earth would be doomed. So Frodo takes the ring in an effort to get the ring out of the Shire, so that the Shire is not a pinpoint for any of the "Everyone who filled the roles that they did completely inhabited them..,. It was as if they were always meant to be those characters.' minions of Sauron. He then realizes that he's still stuck with the ring once he gets to Rivendell [home of the elT lord Elrond], at which point he doesn't want to have anything to do with it, and he simply wants to go home and live the life that he once lived. But it's during his time in Rivendell that he realizes [he must] take the ring, out of a sort of fate. The humans and the elves are all starting to disagree as to what to do with the ring -they know it can't be destroyed, WOOD: Well, the thing is that Frodo and there's a quality in humans that, if actually is differentiated from the other Hobbits in a lot of ways. He. like his uncle. Bilbo, quite interested in the one takes the ring, they themselves will be destroyed. Frodo realizes that he's the is only one who can do this, and he's outside world- the world outside the meant to do this. Shire and in Elvin lore and the history of Middle Earth. And he was brought up by his uncle, hearing stories of his BOXOFFICE: And of course he has conflicts as the ring has its sway upon him. adventures and tales of the elves and things. So he's always been fascinated by WOOD: Yes, certainly. BOXOFFICE: That must have been difficult to portray, because this is a pure spirit, yet he's not totally free from corruption. WOOD: No, absolutely. Though Hobbits can sustain the power of the ring for longer than most species, it does BOXOFFICE: It's an interesting opportunity for you to be able to execute that are all at once fas all three films ir the trilogy were shot concurrently f. WOOD: Absolutely. That was brilliant. And what was kind of cool about the entire project was actually the fact that we were able to stretch out the filming over 1 5 months. BOXOFFICE: / Sarcastically/sympathetically:] Oh. yeah, that's cool! WOOD: No, in some ways, I think is, because we were given a chance to flesh out the story almost in real time. mean, the journey itself [in the three books] took place over a year, and had that same amount of time to film the movie and the story. So we had that amount of time to figure our arc out and to actually take our character to different places, as opposed to trying to figure it out in a very short amount of time, which you normally have for a film. So it was a privilege, because we had an extended amount of time to work things out as we went along. BOXOFFICE: But how did you survi WOOD: [laughs] Urn, well, it wa brilliant experience. I mean, yeah, it was 15 months, but the thing is, when I arrived in New Zealand, it immediately felt like home to me, and I was immedi ately comfortable. And within the first couple of weeks, once I'd met everyone and the Hobbits were all hanging out together and working together. "Lord of the Rings" became my life. And it became everyone's life. The kind of camaraderie that everyone felt together working over that period of time was unlike any I'd ever had before. I mean, it was a family. BOXOFFICE: Did you ever all go into town in your garb and impress the locals? WOOD: We never did. We weren't allowed, because we were afraid people would be taking pictures. We were trying to be as top secret as possible, although things leaked quite often. BOXOFFICE: For certain shots, fourfool stand-ins were used wearing masks of the actors. How surreal was that? WOOD: It was very surreal. I've never worked with a double that was to be smaller than me 42 BOXOFFIC1
ieivr.50Z(i4ig) . ; ».- aaaM mh ASSORTED CANDY ' NETWT.3.5 0Z.(99g) ' MONEY MACHINES DISGUISED AS CANDY THE SWEET SOUND OF PROFIT Among the most recognizable brands in theatres. The Sour Patch family of theatre concession products comes in package sizes to fit every price point, including 5LB theatre bulk pack. Sour Patch products are enjoyed by theatre goers of al! ages. Quality products and brand awareness are sure to increase profits and guarantee repeat sales at your concession stands. Please call for information or samples. Our products are available through theatre distribution channels. AICP American international Concession Products. Corp., 20 Dubon Court. Farmingdale, NY II735 Fax |5I6| 420 • 4042 Call Toll Free. (800) 40 • 1 2427 tSwedish Fish ©Registered Trademark of Malaco KB. Sweden, used undei 'Trademark of Trebor Allan Inc Response No 15
- Page 1 and 2: IE BUSINESS MAGAZINE OF THE GLOBAL
- Page 3 and 4: : .-: - i Comfort away from home. [
- Page 5 and 6: i — SPECIAL REPORT: SHOWEAST 2001
- Page 7 and 8: New JBL ScreenArray Two-Ways' m
- Page 9 and 10: .**V****** Local Tootsie hoii Toots
- Page 11 and 12: Barco rffgital Cinema Barco Project
- Page 13 and 14: I Am). ' , : j November, 2001 Param
- Page 15 and 16: . Charlotte I Was Universal Focus o
- Page 17 and 18: ' ; One for fhe money... «-* Light
- Page 19 and 20: SOUND th:
- Page 21 and 22: d ! Ml Mir Originators of Concessio
- Page 23 and 24: (,i 120 \< l and are nun h more efl
- Page 25 and 26: : Your business Is very Important.
- Page 27 and 28: SUPERIOR QUARTZ PRODUCTS, INCj Air
- Page 30 and 31: der. : Herbert an . (Miramax, < 'un
- Page 32 and 33: i iuple ill ti 'li l fn In' 'Sleepy
- Page 34 and 35: I ti > appre 1 lominique When Jespi
- Page 36 and 37: Sneak Preview A WALK IN THE "PARK"
- Page 38 and 39: l< l Sneak Preview "TAPED" CONVERSA
- Page 40 and 41: Qpvet r:oLfcieN op AppeccioN lABOR-
- Page 44 and 45: — "LORD" OF ILLUSIONS FX Master f
- Page 46 and 47: WOOD: Exactly! Exactly. BOXOFFICE:
- Page 48 and 49: SPECIAL FEATURE: Books On Cinema ^
- Page 50 and 51: SPECIAL FEATURE: Books On Cinema—
- Page 52 and 53: nal American theatre circuits found
- Page 54 and 55: Magic Cinemas and its 95 screens. S
- Page 56 and 57: . FIRST PERSON: Sound WHY SURROUND
- Page 58 and 59: | k i From Rmplifier From Rmplifier
- Page 60 and 61: Desirable surround frequency respon
- Page 62 and 63: SURROUND SPEAKER PLACEMENT mathemat
- Page 64 and 65: POV: Staff Management Agreat sage o
- Page 66 and 67: SPECIAL REPORT: Security Practices
- Page 68 and 69: "That very different dynamic pre- l
- Page 70 and 71: Bettencourt says he's lucky—the B
- Page 72 and 73: . And the Best Picture Goes to... A
- Page 74 and 75: Thinking Retrofit? Think SSE! NATO'
- Page 76 and 77: SHOWEAST 2001 Special Contents INDE
- Page 78 and 79: INDEPENDENT EXHIBITION SHOWCASE DIV
- Page 80 and 81: typical day, movies are jwn at 7:15
- Page 82 and 83: SPECIAL REPORT: Showeast Awardees
- Page 84 and 85: minimi \pieatre Service &Suf>plij§
- Page 86 and 87: SHOWEAST 2001 Orlando, Florida •
- Page 88 and 89: " SHOWEAST 2001 Orlando, Florida
- Page 90 and 91: I -Mall I BAER AND ASSOCIATES 1505
- Page 92 and 93:
CINEMA CONCEPTS 219 2030 Powers Fer
- Page 94 and 95:
I -Mail 1 ; fax — CROWN INTL. 110
- Page 96 and 97:
1 1 GOLTERMAN S SABO 323 3555 Scarl
- Page 98 and 99:
ii 1 050 , mill, 1 ':'-:'" aiipon 1
- Page 100 and 101:
Cheswick, 1 . NESTLE USA 1508, 1509
- Page 102 and 103:
I I Mail ' 1 PIKE PRODUCTIONS 307 1
- Page 104 and 105:
Sic San Van t - " ^ ^^B^ ' ! , , j
- Page 106 and 107:
J U U U U U U U U U U U u u u u u i
- Page 108 and 109:
) I ratings system—the government
- Page 110 and 111:
SPECIAL REPORT: AIMC Recap 0*& over
- Page 112 and 113:
- EXHIBITION BRIEFINGS TICKER TIME
- Page 114 and 115:
1 EXHIB QUIPS 'The fight to keep sm
- Page 116 and 117:
WALLACE'S NEW SOUTHWEST PLEX Ore. -
- Page 118 and 119:
non-profit group the Amherst Cinema
- Page 120 and 121:
l( l HILL NEWS by Franceses Dinglas
- Page 122 and 123:
GREAT STATES EXTRA: INDUSTRY VETS S
- Page 124 and 125:
' ' don't hope INTERNATIONAL NEWS B
- Page 126 and 127:
SS1 INTERNATIONAL NEWS BRIEFS PACIF
- Page 128 and 129:
movieTone AOL Movietone (7/ 7 movie
- Page 131 and 132:
— TORONTO REVIEWS Jfie horrific t
- Page 133 and 134:
LANTANA — — TORONTO REVIEWS •
- Page 135 and 136:
THE GREY ZONE — TORONTO REVIEWS
- Page 137 and 138:
— TORONTO whose compassion grows
- Page 139 and 140:
TORONTO adult sexual and emotional
- Page 141 and 142:
Montreal H1Z info® — EDINBURGH h
- Page 143 and 144:
— EDINBURGH Angel Gabriel himself
- Page 145 and 146:
I I neb — EDINBURGH ing. She spen
- Page 147 and 148:
I i.nik Dern) I I In fact. "Life HE
- Page 149 and 150:
thrums ]HOPSUEY ••• — — S
- Page 151 and 152:
HEARTS IN ATLANTIS • ** Starring
- Page 153 and 154:
•• GLITTER Starring Motion Care
- Page 155 and 156:
IRON MONKEY • ••• Starring
- Page 157 and 158:
and SOUL SURVIVORS *l/2 Starring Me
- Page 159 and 160:
ADVERTISER ADVERTISERS INDEX
- Page 161 and 162:
ADVERTISERS INDEX ADVERTISER PHONE/
- Page 163 and 164:
' : ' Miami ' "'I ind fiei mi. CLAS
- Page 165 and 166:
JHf THUHB IS UGtHUm. till M: IVti l
Change language