Wallace & Gromit’s Hidden Lord of the Rings Connection Will Blow Your Mind

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In Netflix’s “Wallace and Gromit: Vengeance Most Fowl”, there is a moment that may appear recognizable to certain viewers, especially fans of “The Lord of the Rings“.

The whimsical inventor Wallace and his loyal dog Gromit make their comeback, but this time they’re faced with the return of the penguin villain, Feathers McGraw, who seeks revenge. The narrative resumes with Feathers being held captive in a zoo, scheming tirelessly to escape – no matter the cost. Enter Wallace’s newest creation: Norbot, a helpful garden gnome designed for pruning, picking, and cultivating tasks. However, Feathers, using his wit, manipulates Norbot into transforming into an evil sidekick bent on causing destruction to Wallace, his local business, and his reputation.

In the course of the night, I, under the influence of malevolent intentions, construct an army of replicas, who, with haste, erect a fortress within Wallace’s basement. This hideout serves as our storage for pilfered garden tools, which we then dismantle and melt down. Additionally, we use these resources to fabricate a submarine.

The initial moment when Gromit uncovers Norbot’s hideout echoes a scene from “The Lord of the Rings.” As explained by production designer Matt Perry, this concept was inspired by the construction of the Uruk-hai army, thus creating an atmosphere similar to sparks and bustling industrial work.

The intention was to create a highly dramatic atmosphere within the basement setting, and it’s effectively achieved. The basement, being Norbot’s lair, is portrayed with an unexpected level of drama, serving the narrative purpose of conveying impending doom or negative events. The colossal structure built by the clones serves as a stark reminder that something sinister is brewing.

Perry clarifies that the preliminary blueprints depicted an enormous structure. He mentions, “We increased the basement’s height twice for this purpose, aiming to create a sense of grandeur.” He further explains, “The reveal of Norbot’s lair was entirely practical,” and adds, “We aimed to give the impression that the scaffolding enclosed something under construction – that ‘something’ being a submarine.” For the interior design, Perry shares, “We incorporated Victorian gardening tools to infuse a gothic ambiance.

In the scene where Perry appears, there’s a tribute to another well-known work, “20,000 Leagues Under the Sea.” During filming, Feathers’ chair was affectionately referred to as “The Nautilus,” a name reminiscent of the fictional submarine from Captain Nemo’s novels and movie adaptations by Jules Verne. Perry explains, “During production, we gave it this name. The chair is a classic cast iron piece, and when Feathers sat on it, there was an aura around his head and wings that made him look almost angelic despite being the most wicked villain in cinematic history.

Consider this: So far, just three animated films have been nominated for the Best Picture Oscar (“Beauty and the Beast”, “Up”, and “Toy Story 3”). It takes a whole community of craftspeople to create these animations. Typically, the artisans involved in animated features don’t receive recognition except for composers, lyricists, and sound teams. However, this year, “The Wild Robot” is an exception to that rule.

In the years ahead, it’s possible that Academy Award voters may become more inclusive in recognizing talented production designers such as Perry for their nominations. This is because they invest equal creativity into their work, on par with their live-action counterparts, and actively collaborate with all other department heads to enhance the storytelling process.

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2025-02-12 20:47