Here are compulsed all the little "stories" that happened before, during, and after the Lord Of The Rings' filming. We have also filled these pages with little facts you may ignored until now. ;-)

Information from The Lord Of The Rings, Making Of The Trilogy book : The volcanic lava in the depth of Mordor is actually made of the sauce which composes the apple pies that you can eat in a fast food. The mountain itself is designed from Queenstown's mountains The Remarkables, in New Zealand.

The first teaser trailer of The Fellowship Of The Ring has been downloaded approximately 1.6 million times within the first day of being posted on the internet.

The filming of the battle of Helm's Deep, in The Two Towers, has lasted 14 weeks = 94 nights = 3 months ! 915,000 meters of film (4,5 millions feet) have been used. WETA Workshop's studios were 6,000 m² large. There are over 550 hours of behind-the-scene footage. 400 artists have built around 350 decor sets, there were over 100 places of shooting. 2000 technicians, 48,000 assorted props. 5000 m3 of plants were planted in Hobbiton a year before shooting started. Most number of lunches served at once is 800. 274 days of principal photography. 7 years of development by Peter Jackson. 26 000 extras were needed. 1 mile long of production vehicles, if lined bumper to bumper.

For The Return Of The King, there were 2 million of feet of film shot.

The Two Towers is 60 seconds longer than The Fellowship Of The Ring.

Andy Serkis weared a body suit that monitored his muscle movements. In an interview that he gave in December 2002, he explained : "It started with Peter's vision of Gollum as a CG character with an otherworldliness about him, but he wanted it to be completely actor-led. None of us knew how we would achieve that. It was going to be he wanted an actor playing him emotionally, psychologically, physically, making all those character decisions as an actor. We shot every single scene conventionally. I was there, you have the reciprocal energy you have as actors working off each. Which is something that had never been done before, I mean truly. Not just standing there being an eyeline, but real acting. We'd always shoot two versions - we would shoot a version with me in, and a version with me out, which left avenues to work on with the animators. One was that they rotoscoped, which is painting over me, frame by frame. So for instance, all the interactive stuff, me holding a cloak or pulling Frodo out of the water or the fight coming down off the rock, we did. They literally painted over every move.

In the version where I stepped out and did the voice off, there's this kind of void that they act to, which I then fill, in post-production - which I have been doing all this year - in the motion capture studio. Which is putting a suit with dots all over it; the dots refer to joints and whatnot, anything that can move. Those dots are picked up by cameras and fed into computers. We had the plates, the footage of what we shot, with the hole where I was, with Sean and Elijah looking down at me, and then onscreen I could see a computer generated image of Gollum. A very simplified mannequin of him which moved in real time to my movements. It could pick up incredibly sensitive movements. So if I moved my right arm the puppet on screen would move it at the same time. I redid every single scene, putting myself back into the void, acting off of Sean and Elijah."

The Clothes moth which flies over Isengard in Fellowship was computer generated. But the one that Gandalf holds was a real one. The little insect had been kept in the cold to get it sleepy so that it would stay in the hand of the actor long enough.

Ian Holm (Bilbo Baggins) played Frodo Baggins in a 1970's radio production for the BBC.

The scar on Viggo Mortensen's upper lip is from a drunken Halloween night when he was 17 years old. The actor said to the Calgary Sun : "It was a combination of a fist and a barbwire fence on a particularly bad Halloween night. I was 17 and so drunk that I didn't even need an anesthetic when the doctor sewed me up."

The map that Gandalf picks up in Bilbo's study is a reproduction of the map that Tolkien drew for the book "The Hobbit". Faramir's map is a map drawn by Christopher Tolkien. But on this map Minas Morgul is missing.

The FOTR extended cut has 35 extra CG shots - the TTT extended cut has over 150. The Return of the King features almost 50 percent more f/x shots than The Two Towers and is composed of more data than the first two movies combined.

There are 540 visual effect shots in Fellowship, 799 in Two Towers, and 1488 in Return (including 250 shots for the Pelennor Fields).

Code-names were given to the production of the entire Lord Of The Rings trilogy. The codename for the whole project was "Jamboree, A Movie Tale About Scouts" (short form : JAMB). The first part of the movie was called : "Tale Of The Chocolate Fish" (honouring the favourite café of the crew, "Chocolate Fish Café" in Wellington), the preview of the second movie was called "Changing Seasons" and the second part itself was called "The Tale Of The Red Arrow".

When the people of Edoras were given their arms in Helm's Deep, a blond boy gets an axe. This is Henry Mortensen, Viggo's son. Haleth, Son of Háma, is played by Calum Gittins, son of Philippa Boyens. In the glittering caves (in The Two Towers) we can see Peter Jackson's and Fran Walsh's children : Katie and Billy. The two children are credited as "Cute Rohan Refugee Children". In Fellowship, where they also appear, they are credited as "Cute Hobbits Children".

In The Return Of The King : Sean Astin's daughter, Alexandra Astin, plays Sam and Rosie's daughter, called Elanor. Sarah McLeod's daughter plays Frodo, son of Sam and Rosie. Peter Jackson's children appear as Gondorian children.

The hardware that Weta chose consists primarily of Silicon Graphics Octane and dual-processor 330 and 230 series Linux workstations. The main 3D modeling and animation software the facility chose is Alias|Wavefront's Maya. To create the digital doubles the team scanned a generic male and used deformers in Maya to stretch the resulting model to get various body shapes. Then they laser-scanned the faces of the real actors making different facial expressions. All of the creatures - including the Cave Troll, the Balrog, the oliphaunts, and the charmingly ancient Treebeard - began as design maquettes, before being rendered as digital models. Source - Animation World Magazine : The models were then fitted with a skeleton, a muscle rig was built around the skeleton to drive the flesh, and then the characters were given texturing and lighting for the final scene. Weta supervisor Eric Saindon said : "Our muscle and skinning system, the way the muscles flex and keep their volume, the way the skin actually moves on top of the surface, is a little unique compared to most of the other systems I have seen." The muscle code for the creatures was written entirely in-house as a plug-in for Maya.

A computer program called Massive made armies of CG Orcs, Elves, and humans. These digital creations could 'think' and battle independently as well as identify friend or foe. Thanks to individual fields of vision, Peter Jackson's team could click on one creature in a crowd scene of 20,000 and see through his "eyes". Different species even boast unique fighting styles.

Source - Animation World Magazine : About the scenes featuring the Oliphaunts, Weta supervisor Eric Saindon explained : "All the soldiers are positioned there using Massive. We tell it how many guys we want on top, and the rough positioning, and Massive fills it up. The technical director sets what motions the guys have to choose from. They'll have particular motions that they have the option to do. Some guys might be shooting bows and arrows, some might just be walking around. We don't have to decide what each character is going to do, but we can give them a library of motions, and when Massive runs, they go through it themselves and figure it out." 
About the large battles, Saindon said : "For the large battle sequences, we would run simulations overnight, and come in the mornings to see what the characters had done. Sometimes, we would find they did something completely out of the ordinary, or that we wouldn't expect at all. During the early sims, once the battle started, like 30-40% of the guys would all run away. They just didn’t want to fight. So, we had to make them much 'braver,' so they'd be willing to stay and fight."

About 30 to 40 animators have worked on The Two Towers, more than double from the first film.

In The Fellowship of The Ring, there is 45 shots featuring the Cave Troll and there is 30 shots featuring the Balrog.