Lord of the Rings: Rings of Power, Season Two is produced by Amazon MGM Studios, with J. D. Payne and Patrick McKay as showrunners. Location filming took place around Surrey and Berkshire as well as in the Canary Islands
Louise Hooper directed on episodes 2, 3, 4 & 5.
The following is an exclusive Q and A with Hooper for Televisual.
Was it a daunting prospect (reportedly the “most expensive television series ever made”) and just epic in every sense?
Not daunting, thrilling! In my opinion to really thrive as a director you need to get a real buzz and joy from making the impossible happen, literally day after day. Getting the very maximum out of every set up, every moment. Pushing the aesthetic, the stunts, the shots, the choreography.
Charlie Vickers as Annatar, Credit: Ben Rothstein/ Prime Video
What was it about the production that was most important to you?
How much of the world was physical sets and how much was vfx?
Amazingly, I’d say almost about 95% of what we shot for Rings of Power is on physical sets. Mostly in the studios of Bray and Bovingdon and a little bit in Windsor Great Park for the night shoots. Most people expect a huge genre show like this to be predominantly green screen, but the exciting aspect of going to work each day in Middle Earth is that you are working in 360 degree, life like sets. From the interior of the mountain for Khazad-Dum, a whole stage of imposing and impressive grey stone structures, a labyrinth of tunnels and rooms, to Celebrimbor’s forge, a cathedral to industry, all stone, glass and machinery where the rings are made. Each set is lovingly made by Production Designer Kristian Milstead and his team. They are epic in scale and exquisite in the smallest detail and beautiful set dressing.
Credit: Courtesy of Prime Video
Of course, VFX then plays a huge part in the world building of the show, for set extensions and creating the immense kingdoms and realms that exist beyond these sets. And of course VFX is essential for creating the monsters.. I had the pleasure of directing a battle between Isildur and the spider Shelob for Episode 3.
Credit: Courtesy of Prime Video
Maxim Baldry as Isildur
It’s a thrill to work closely with the incredible VFX department headed by Jason Smith to design the look, size, feel of the spider, then think about how quickly it will move, whether it uses its long legs or its mandibles to fight, what its nest looks like.
The next thing is working with the actor, Maxim Baldry and the stunt team to choreograph the fight; what are the moves, wire pulls, action and how best to achieve this when of course there is no spider there. A puppet spider was made and two stunt men in head-to-toe green brilliantly wrangled the 8 legs so Maxim had something to work with, and the camera operators and VFX department had a reference. Once I’ve cut the sequence to its most terrifying potential the VFX department get to work to create the spider in its full and terrifying glory.
What was the most complicated scene/aspect to direct?
Everything on a show like this is enjoyably complicated, in as much as there is lot of prep, storyboards and productions meetings with the amazing HODS to design the look and practicalities of every single shot, to ensure we are always delivering the most exciting sequences.
The shot that opens episode 4 as the Elves begin their journey is a wire cam shot, choregraphed with brilliant DOP Laurie Rose. You’ve got marching soldiers, horses, a page or so of dialogue, extras in the background, a stunning set with a VFX takeover all in just one take. Working with the wire cam operators, it takes a lot of time and patience to plot all the movement and co-ordinates, the actors and background also need impeccable timing for it all to come together. You have to be tenacious with an eye for detail and timing, but it is so worth it!
Morfydd Clark as Galadriel, Credit: Ross Ferguson, Prime Video
What scene were you most pleased with?
For Episode 4 I had the joy of directing a huge battle with Galadriel, played by Morfydd Clark, fighting the orcs. The mission is always how can we make this the most exciting and exhilarating for the audience. The first is to dream up the choreography of the fight using fire, arrows, horses, chains, all to conjure up new ways to kill orcs! During my storyboard sessions with DOP Laurie Rose, we thought it would be cool if when Galadriel is racing through the wood, she snatches an oil lantern from an orc, throws it up into the night sky, shoots an arrow into it and then the hot oil and fire sets light to 3 orcs below! We pitched the idea and everyone approved, so we set to work. Cameras were positioned on cranes, a wire rig and steadicam for various angles, and all the amazing departments from VFX, SFX, Stunts, Armoury, Props, the list goes on, all bring their A game and work in unison. That is the pleasure of directing for me, having a vision that everyone has the most fun and pride in achieving all together.
Louise Hooper is known for the four-part limited thriller Flesh and Blood, starring Imelda Staunton and Stephen Rea and Cheat, the four-part drama starring Molly Windsor. Her additional directing credits include the first season finale of Neil Gaiman’s The Sandman, The Witcher and Inside No. 9. Hooper began her career directing BBC Arts documentaries, working with David Lynch, Helmut Newton, Arthur Miller, David Attenborough and Björk, and received a BAFTA nomination for directing Our Gay Wedding: The Musical.
Hooper writes and produces for her company Louise Hooper Films.
Pippa Considine
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