behind the scenes

But Raewyn was right – what followed was definitely worth a shortened visit to the Cave. After walking roughly half a block down the quiet residential street, we climbed a set of unassuming stairs and entered the offices of Weta Workshop. We were greeted by a short, blonde woman named Anita who quickly distributed pens and sheets of official-looking paper.

“What are these?” Charlotte asked, skimming over the form in front of her.

“Confidentiality agreements,” Anita responded, double checking that everyone got one. “Oh, you don’t need them,” she said, snatching a copy back from Vic and Raewyn. “We’ve probably got a handful on file for you already.” Raewyn just laughed.

“Yes, I suppose we’re familiar faces by now.”

After we signed and dated the forms, Anita filed them away and led us down a dimly-lit hallway, followed by a narrow staircase. Around some corners and through a few doorways, and we were all sufficiently turned around. I don’t think that was the point; I think that’s just the way Weta is laid out. But, regardless, we were glad when we finally came to a stop in a relatively large, open room. The room was filled with costumed mannequins, many of them sporting armor, chainmail, and tunics recognizable from some of our favorite Weta-related films. There was also a life-size replica of a familiar large, hairy ape that Anita informed us took two costumers two months to stitch with individual hairs. I could tell that more than a few members of the group – me included – were itching to sneak a quick photo.

Anita then guided us through the bowels of Weta, pointing out unique artwork, miniatures, and staff members as we passed them. We ended up at the “Wall of Weapons,” which, contrary to its name, is actually more of a hallway. I won’t go into detail, since I’ve most certainly already breached my confidentiality agreement, but I’m sure you can imagine what we saw there.

After some time admiring the bows of elves and swords of kings, Anita led us back the way we came. As we passed through the offices, I caught a glimpse of Richard Taylor and Tania Rodger, the heads of Weta, reclining in a glass-paned office. Their faces are almost as recognizable to a Ringer as those of Peter Jackson and Elijah Wood. My heart skipped a beat as I realized that this – getting behind the scenes at Weta – was a big deal.

Depositing us in a small boardroom plastered with news clippings and autographed cast photos, Anita then played us another Weta video. This one was a “show reel,” which highlighted more of their work. They’ve worked on bits and pieces of more films than I think we realized, including a train explosion scene in “The Legend of Zorro,” weapons for “The Last Samurai,” and a naval battle sequence in “Master and Commander,” among others.

Once the DVD was over, we thought it was our cue to leave. Josephine began bundling back up in her down jacket and droopy knit hat, and Lisa wound her bright red scarf twice around her neck.
Just then Anita returned with a little gold key.