Rick Porras

Movie - 2003, 2h 15m • as Corsair of Umbar / Beacon Guard (uncredited)

As armies mass for a final battle that will decide the fate of the world--and powerful, ancient forces of Light and Dark compete to determine the outcome--one member of the Fellowship of the Ring is revealed as the noble heir to the throne of the Kings of Men. Yet, the sole hope for triumph over evil lies with a brave hobbit, Frodo, who, accompanied by his loyal friend Sam and the hideous, wretched Gollum, ventures deep into the very dark heart of Mordor on his seemingly impossible quest to destroy the Ring of Power.​

Movie - 2002, 2h 15m • as Self

Documentary directed about the scene rehearsals, set locations, and camera logistics in the production of the Peter Jackson's 2002 film The Fellowship of the Ring.

Movie - 2002, 2h 15m • as Self

Recounting of the long process of adapting the text of J.R.R. Tolkien's The Fellowship of the Ring for film, a project that had begun in 1997. This involved countless adjustments of scenes, about a hundred screenplay revisions, and constant reordering of key moments from the story to fit the brevity of a film.

Movie - 2002, 2h 15m • as Self

An outstanding performance featuring brilliant storytelling, high stakes drama, and unforgettable character arcs.

Movie - 2002, 2h 15m • as Self

Behind the scenes documentary of the Lord of the Rings: The Fellowship of the Ring

Movie - 2002, 2h 15m • as Self

This documentary introduces Wētā Workshop (and its design crew of sculptors and set-designers), renowned artists Alan Lee and John Howe who were brought on to join them in conceptual design, and costume designer Ngila Dickson. Topics covered include the design of Middle-earth cultures portrayed in the film, the making of props and settings for Hobbiton, Rivendell, the Orthanc interior, and Caras Galadhon, and the complexity of prosthetics.

Movie - 2002, 2h 15m • as Self

This documentary covers the early storyboard, pre-visualization, and screening processes in the production. Christian Rivers, a Wētā Workshop art director in the production team, drew most of the storyboards of the plot of the movie. After scene design was finalized, Peter Jackson used toy-sized miniatures of setting and characters, to review and decide on camera movements for each scene. The computer graphics program PreViz was then used to visualize the scenes with basic 3D models.