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The Palantir in Dol Guldor was a relic of an earlier version of our script, when the trilogy was going to use it to make Gandalf aware that there had been some communication between Sauron and Smaug, and that he was aware of Thorin. It was a way of sending Gandalf off on a chase to stop it, but it was a bit too much like a telephone. In the end, Thrain served that purpose for us more meaningfully, so the Palantir wasn't needed, but the prop was there on the set and added to the texture of the world. Without deviating from the books, I think it is conceivable that there might have been a Seeing Stone in Dol Guldur. If there were, it would have had to have been the Ithil Stone that Sauron claimed and had taken with him there, then later transported to his fortress in Barad-dur.

Philippa Boye...

Radagast came swerving into Dol Guldur on his bunny sled. He was the getaway driver. We had stuntmen standing in for the rabbits and pulling Radagast's sled in one of the shots. The hardest part about that was convincing them to wear the bunny ears we bought for them from a variety shop!

Glenn Boswell, Stunt Co-ordinator

An interesting observation about brainstorming: as soon as someone says something and someone else laughs and makes a joke, you know you are onto an idea with emotional weight. There is a trigger in humans that compels us to dispel tension. It is in our nature to try to make everyone comfortable, and we do it with humour, so someone making a joke to dispel the tension in a brainstorming situation that occurs when an emotionally charged idea is floated is a sure tell that there's something worth looking at. Sometimes the person suggesting it can take offence, but in my observation that joke is an unconscious acknowledgement of the idea's potential emotional power.

One of the first things Peter said was, 'Come to me with lots of ideas, and good luck!'

.....I talked to Richard Armitage very early on about wanting to be fit enough to be able to sprint out of those gates. We even discussed the idea of doing a Dwarven version of a haka, the Maori war dance. As it turned out, there just wasn't time to implement that, but that sprint out of Erebor was very important to me....

Jed Brophy

Carmelo Leggiero, one of our animators, had specifically requested the chance to work on the Beron transformation piece at the end of the battle. Carmelo had animated Beron's transformation in the second film and was eager to do it again. Beron was in the film and then wasn't, then was again, then wasn't. It went back and forth a number of times so poor Carmelo rode an emotional rollercoaster. Eventually Beron wound up in the final cut which put the smile back on our animator. Once we had confirmation that the shot was in the film it was animated in just three days.

Aaron Gilman, Weta Digital Animator Supervisor

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