The Prancing Pony Podcast
Episode 382 – "We Are Those Fans: a Chat with Wētā Workshop"
Aired: September 21, 2025
Episode Overview
The Prancing Pony Podcast opens its 10th season with a deep dive into the creative world of Wētā Workshop. Host Alan Sisto and returning co-host Sean Marchese are joined by two of Wētā's leading artists: designer and chronicler Daniel Falconer, and sculptor/model-maker Leonard Ellis. The episode explores how Wētā brings Tolkien’s Middle-earth to life on screen and in collectible form, spanning stories from their own fandom origins, the creative process behind iconic designs, deep dives into recent collectibles (including the latest for War of the Rohirrim), and tales of navigating the balance between reverence for Tolkien’s vision and artistic interpretation. The conversation is filled with behind-the-scenes insights, self-effacing humor, and a palpable love for all things Tolkien.
1. Guests' Tolkien Journeys
(03:32 – 06:59)
Leonard Ellis' Introduction to Tolkien
- Came to Tolkien in his late teens, somewhat by accident when a co-worker mentioned Lord of the Rings (mistakenly thinking it was like Lord of the Flies).
- Became hooked after requesting the books for his birthday.
- Fond memories of a coworker who was excited to discuss Gandalf but didn't spoil anything.
“I was hella confused... anyway, I went and researched into it... put the Lord of the Rings on my birthday list and I was hooked ever since.” — Leonard Ellis (04:22)
Daniel Falconer's Tolkien Origin
- Childhood memory of being captivated by the Bakshi animated film posters, long before he could actually see the movie.
- Read The Hobbit at age 9 or 10, then received his mother’s battered copy of The Lord of the Rings.
- The vivid imagery in Tolkien’s world became a life-long inspiration.
“It was the imagery of Middle Earth, the imagination, the imagined world that drew me in. And that's kind of what's kept me there ever since.” — Daniel Falconer (06:34)
2. Joining Wētā Workshop: Paths to a Dream Job
(07:13 – 16:46)
Daniel Falconer's Path
- Studied design and illustration, with a goal to work in film/TV as a concept artist.
- Landed a work experience placement on Hercules/Xena sets, which led to meeting Wētā founder Richard Taylor.
- Serendipity: invited by Richard to "hang out" at Wētā, just before Lord of the Rings began production. Has been there since.
“If the Lord of the Rings ever happened again as a live action feature, that perhaps I'd be lucky enough to find my way into it. How incredibly fortunate then that I happened to be here right before it kicked off.”— Daniel Falconer (10:43)
Leonard Ellis' Story
- Was a prolific member of the Shadow and Flame forum, which led to his sculptures being noticed by Richard Taylor via Greg Broadmoor.
- Invited for work experience during the height of The Hobbit's production and got to sculpt Boromir as his first collectible.
- Joined Wētā permanently after bringing down his work—“Coincidentally” found himself in Wellington soon after.
“Collectibles is what I wanted to do, and I've been really fortunate to pretty much stay almost exclusively in the collectibles world of Weta Workshop.” — Leonard Ellis (14:14)
3. Fandom and Collecting as a Calling
(16:46 – 18:03)
- Daniel discusses Richard Taylor’s idea to obtain a license and make collectibles as a way for the creative team to remain immersed in Middle-earth.
- The collectibles division allowed authentic movie-based products, appealing to their own inner fans and connecting to fan communities globally.
“We all consider ourselves fans and collectors, first and foremost... Collecting is a way of directly interfacing with those worlds.” — Daniel Falconer (16:45)
4. The Design Process & Film Adaptations
(17:30 – 29:05)
Pressure & Process on Lord of the Rings
- Daniel describes the anxiety and responsibility of being young unknowns tasked with bringing Tolkien to the big screen.
- His "three masters": Peter Jackson (director’s vision), Tolkien’s spirit/text, and the fan community (including himself).
- The iterative process: presenting multiple designs for each character/item, balancing historical realism with fantasy, and refining based on director feedback.
“We just all threw ourselves at it. I always thought in my head that I had three masters.” — Daniel Falconer (18:03)
Influence of Alan Lee & John Howe
- Peter Jackson’s decision to add veteran artists like Alan Lee & John Howe to the team was pivotal, blending fresh and seasoned perspectives.
- Their mentorship provided cohesion and authenticity.
“I owe them a huge amount and I learned so much from both of them and others on the project as well.” — Daniel Falconer (24:55)
Balancing Inspiration
- Daniel shares how they started grounded and “human” (hobbits relatable to the audience), gradually introducing fantasy elements as the world expanded.
- Historical research (e.g., Vikings for Rohirrim) was more important than referencing previous fantasy films.
“Peter would give us his feedback on that, basically design by design... We don't want to hit our audience over the head with the fantastical right at the beginning.” — Daniel Falconer (25:52)
5. Collectibles: Processes, Challenges & Joy
(34:39 – 55:09, 70:04 – 91:47)
Radagast’s Collectibles & The Love of Clutter
- Radagast received a series of collectibles, including a statue and an environment piece of his house (Rosgobel), and even his hat.
- These pieces celebrate Sylvester McCoy’s performance and offer fans an alternative wizard.
“Radagast is just a... favorite. Of course everyone loved Sylvester McCoy... permeated through to his Radagast portrayal.” — Leonard Ellis (34:56)
- Clutter and lived-in spaces are central to the storytelling of both films and collectibles. Radagast’s chaotic home is a fan favorite because of its warmth and relatability.
“Part of the challenge with that one, of course, was that the reference—because obviously our primary goal is to try and replicate something from the film.” — Leonard Ellis (37:33)
On Reference & Research
- The design process involves sleuthing through archives, old photos, and even discovering new details decades after the films were made.
“I liken it to archaeology sometimes... We're nearly 30 years on from it now... and yet there are still details that pop up and little surprises.” — Daniel Falconer (48:51)
- Attention to tiny details is driven both by fan expectations and the creators’ own perfectionism.
Notable Quotes on Collecting
“If something's wrong, tell us... it's a relationship and, we all ultimately want to create the most beautiful and joyful vision of Middle Earth that we can all be proud of to have in our own collections.” — Daniel Falconer (47:51)
6. Kirith Ungol, Masterpieces, & Technical Insights
(70:04 – 80:30)
Creating the Cirith Ungol Collectible
- Started with the brief: make it roughly the size of the Doors of Durin collectible.
- Used digital mockups at various sizes to find the right fit.
- Challenges included lack of perfect reference, balancing detail and manufacturability (e.g., tents over scaffolding for easier molding).
- Personal passion: Leonard asked to make Cirith Ungol for years.
“What the actual scale is, I don't know. The bigoture was probably at about 1:35th scale, probably 1:20th scale.” — Leonard Ellis (74:31)
- The video on YouTube introduced the piece to a broader audience, showing detail and craftsmanship.
7. War of the Rohirrim & Animation Design
(57:06 – 64:22, 80:56 – 83:07)
Daniel’s Role on War of the Rohirrim
- Was new to anime production, with Kenji Kamiyama’s direction to “design as if it was a live action movie.”
- Helped the Japanese animation team maintain visual continuity with Jackson’s films, tweaking familiar locations to fit the new timeline and suit the anime format (e.g., taller Helm’s Deep wall explained by "valley floor erosion").
- Background art allowed for more lavish detail since it didn't need to move.
“Luckily for us, all we really had to do as concept artists, as designers on it, was present options and throw as much at the wall as possible and see what would stick.” — Daniel Falconer (25:52)
“It was a really engaging and fun process...one of the most fun projects I’ve had to work on because it was both familiar and fresh at the same time.” — Daniel Falconer (62:57)
War of the Rohirrim Collectibles
- The “Helm of King Helm” is the first of its kind, reused and “realized” as if it would exist in the live-action universe.
- No specifics on new collectibles were announced, but feedback from fans is welcome.
8. Masters Collection: Defining the Ultimate Collectibles
(83:08 – 91:47)
What Makes a “Masters Collection” Piece?
- Higher level of detail, less constrained by cost or edition size, allowing for greater artistry and complexity.
- Lower production runs for quality assurance.
The Nine: Fellowship in Moria Statue
- Daniel and Leonard discuss the upcoming centerpiece: all nine members of the Fellowship in an off-screen moment climbing a shattered Moria staircase—a vertical rather than horizontal display.
- Each character interacts, with layers of storytelling (Gimli examining a fallen dwarf's helmet, Boromir helping Sam, Gollum lurking below, etc.)
“There's a little bit of storytelling going on with those characters... and you get a sense of what's going through their minds individually.” — Daniel Falconer (85:39)
9. Creativity, Inspiration & Avoiding Burnout
(91:10 – 98:33)
- Both find endless wells of inspiration in Tolkien’s rich world—simply rereading the books or exploring new letters/releases reignites excitement.
- At Wētā, everyday inspiration comes from the iconic “weapons wall”, a corridor lined with the original props and swords.
“If I'm ever uninspired, all I have to do is pick up those books and read. Tolkien never fails to light a fire in me.” — Daniel Falconer (91:48)
“The weapons wall is virtually every wall in Weta Workshop… At any time, I can walk into that room and I can pick up one of those swords… and the simplicity and beauty of Strider's sword… That's one of the ways I keep… motivated.” — Leonard Ellis (94:21)
10. Looking Ahead: Fellowship 25th Anniversary and More
(98:35 – close)
- The upcoming Masters Collection Fellowship in Moria is the first major step in marking the 25th anniversary of The Fellowship of the Ring.
- Many more collectibles are planned, from “mini monsters” to major pieces across all timelines; details are under wraps for now.
- The 25th anniversary will extend across the next three years, with surprises in the works.
Notable Moments & Memorable Quotes
- “We are those detail-obsessed fans.” — Daniel Falconer (47:51)
- “The rules of that world started to form in Peter’s mind and in our minds, and it started to become easier…” — Daniel Falconer (29:05)
- “Take me to the weapons wall any day.” — Leonard Ellis (98:12)
- Humorous aside: Daniel’s own collecting passion is a “danger” at home: “They is you!” — Daniel Falconer’s wife, on the dilemma of bringing home new creations (40:24)
- On Alan Lee: “He went away and thought about it and drew himself wearing [a hat] to decide... isn’t that wonderful?” — Daniel Falconer (56:15)
Key Timestamps
- 03:32 – Guests’ Tolkien discovery stories
- 07:13 – Starting at Wētā Workshop
- 16:46 – Why make collectibles? Fandom as identity
- 18:03 – The pressure and thrill of designing for Lord of the Rings
- 24:55 – Importance of Alan Lee & John Howe
- 25:52 – The iterative design process; balancing inspiration
- 34:39 – Collectibles Deep Dive—focus on Radagast
- 48:51 – The research behind collectibles (detail-obsessed craftsmanship)
- 70:04 – Making the Kirith Ungol collectible: scale, challenges
- 80:56 – War of the Rohirrim collectibles
- 83:08 – What is the Masters Collection? The upcoming Fellowship-in-Moria piece
- 91:10 – What keeps them inspired and avoids burnout
- 98:35 – Plans for the Fellowship’s 25th anniversary and future projects
Final Thoughts
This episode stands out as a passionate, detailed window into the world of professional Tolkien fans who have translated their lifelong love of Middle-earth into careers that continually give back to the global fan community. Both Daniel Falconer and Leonard Ellis exemplify the marriage of technical mastery, artistic passion, and deep respect for Tolkien’s source material. The Prancing Pony Podcast hosts create an inviting pub-like atmosphere where even the deepest lore and the most technical aspects of collectibles become engaging storytelling—reminding every listener that, truly, “we are those fans.”
For more details and to see the referenced collectibles and concept art, visit Wētā Workshop’s website or follow them on social media.
Contact info: Listeners are encouraged to send feedback, collectible ideas, and favorite Tolkien stories to the podcast at Barliman@theprancingponypodcast.com.
End of summary. For timestamps, memorable quotes, and recommended further listening, see above.