Pre-production During the early 1990s, producers
Frank Marshall and
Kathleen Kennedy were planning a film version. They could not find a space in Britain to shoot the film during 1996, and their plans to set the film in modern times made
Douglas Gresham oppose the film, in addition to his feeling that technology had yet to catch up. Walden Media discussed with many directors to helm the
Narnia films, including
Rob Minkoff,
John Boorman, and
David Fincher. On 1 March 2004,
The Walt Disney Studios entered into a deal with Walden Media to co-produce and finance the film and all future
Narnia films under the
Walt Disney Pictures banner. The success of ''
Harry Potter and the Philosopher's Stone prompted the producers to feel they could make a faithful adaptation of the novel set in Britain. "Harry Potter came along, and all those cultural or geographical lines were broken," Mark Johnson explained. "When The Lion, The Witch and the Wardrobe'' was being developed at
Paramount, the imperative was to set it in the U.S., and it just doesn't hold. [...] It's not the book."
Guillermo del Toro turned down the offer to direct due to his commitment on ''
Pan's Labyrinth. Following an Academy Award win for Shrek'', director
Andrew Adamson began adapting the source material with a 20-page treatment based on his memories of the book. In the novel, the battle is not seen until Aslan, Susan, Lucy and their reinforcements arrive. This was changed in the movie because Adamson said he could vividly remember a huge battle, Adamson also changed the circumstances in which Lucy first comes into Narnia. He felt it was more natural that she first see the wardrobe while looking for a
hide-and-seek hiding place, rather than just chance upon it exploring the house. Many of Weta's creature designs were designed for digital creation, so when
Howard Berger and KNB FX inherited the practical effects work, they had to spend three months retooling approved designs for animatronics. Berger's children would comment and advise upon his designs; they suggested the White Witch's hair be changed from black to blonde, which Berger concurred with as he realized Swinton's wig looked too
Gothic.
Filming Principal photography began in
New Zealand on 28 June 2004, shooting in a primarily chronological order. Afterwards, they shot
the Blitz scene, which Adamson called their first formal day of shooting. To replace the denied live reindeer,
Mark Rappaport's Creature Effects, Inc. created four
animatronic reindeer that were used in shots where the deer were standing in place. The reindeer were designed with replaceable skins to get the most usage; brown for those of
Father Christmas and white for those of the
White Witch. The cast and crew spent their time in New Zealand in Auckland before moving in November to the
South Island. Shooting locations in the South Island included
Flock Hill in
Canterbury, the area known as
Elephant Rocks near
Duntroon in
North Otago, which was transformed into Aslan's camp. The castle scene was filmed in Purakaunui Bay, in
the Catlins district, not far from the most southern point in New Zealand. They filmed in the Czech Republic (
Prague and
České Švýcarsko National Park), Slovenia and Poland after the Christmas break,
Post-production The film was edited by Jim May and Sim Evan-Jones. Jones states that he really liked the problem solving that one can do with editing. According to Sim, "The way you can just take stuff and sort it out and be the keeper of the story without having to interact with actors, crew and reign" drew him to film editing. A sequence where several creatures are set on fire was reportedly removed to secure a
PG rating from the
Motion Picture Association of America's rating board. Jim May had worked at several
visual effects facilities—
Rhythm & Hues Studios,
Industrial Light & Magic (ILM) and
Sony Pictures Imageworks—and eventually, moved into feature editorial as the visual effects editor in the
cutting room.
Music The soundtrack was composed and conducted by
Harry Gregson-Williams, having previously worked with Adamson on
Shrek (2001) and
Shrek 2 (2004). In addition there are three original songs in the film; "Can't Take It In" by
Imogen Heap, "
Wunderkind" by
Alanis Morissette and "Winter Light" by
Tim Finn.
Evanescence lead singer
Amy Lee also wrote a song for the film, but it was not included in the soundtrack. The soundtrack was recorded at
Abbey Road Studios, London, England, and in
Los Angeles, California. Gregson-Williams employed the 75-piece
Hollywood Studio Symphony Orchestra, along with a 140-member choir (mostly members of
the Bach Choir) and numerous other solo musicians such as
electric violinist
Hugh Marsh and vocalist
Lisbeth Scott (at his Wavecrest Studio). He composed the original score and then spent late September through early November 2005 conducting the Hollywood Orchestra and overseeing the recording of the English choir. The soundtrack received two
Golden Globe Award nominations,
Best Original Score and
Best Original Song (for "Wunderkind").
EMI also released a compilation soundtrack entitled
Music Inspired by The Chronicles of Narnia: The Lion, the Witch and the Wardrobe was released in September 2005. The album features songs by
contemporary Christian music artists, such as
Bethany Dillon,
Kutless, and
Nichole Nordeman. It released "Waiting for the World to Fall" by
Jars of Clay as a single. The album went on to win the Special Event Album of the Year at the
GMA Music Awards. Another song inspired by the movie is "
Lazy Sunday" (also known as "The Narnia rap") by
the Lonely Island and
Chris Parnell. The song and its music video was released as a comedy sketch in a 2005 episode of the TV show,
Saturday Night Live. The song and its video are both a spoof of
hardcore rap songs. In "Lazy Sunday", Parnell and Lonely Island member
Andy Samberg rap about among other things, going to see
The Chronicles of Narnia at an afternoon matinee. The joke is that the song's lyrics are not typical for hardcore rap, which normally depicts scenes of crime and violence. Samberg himself describes "Lazy Sunday" as "two guys rapping about very lame, sensitive stuff." Both the song and its video became an overnight hit, surprising its creators. "Lazy Sunday" is credited with helping revive
Saturday Night Live which was stagnant in the years before the song's release. Several
bootleg copies of "Lazy Sunday" were uploaded to the video-sharing
YouTube, which had only launched earlier in the year, where they were very popular and gained a combined total of five million views (a very large number for an online video at the time). The video's popularity brought widespread attention to YouTube and kick started the site's success, quickly becoming the most popular video website on the internet and one of the most popular websites overall, remaining so as of the early 2020s. == Release ==