To add onto this, back in the late 19th and early 20th century the primary goal of the colonists was to create an idyllic paradise, or an image of an imagined pre-Industrial Britain. They saw Aotearoa as a prime candidate for this project, and art that highlighted Aotearoa's natural beauty was very popular. Paintings such as the one below were used to help New Zealand's tourism industry and get Europeans to visit or migrate over here.
(Source: The valley of the Wilkin from Huddleston’s run, 1877, by John Gully)
Tolkien lived during this time in British history, and Lord of the Rings is written with this same nostalgia for English pastoralism. The Shire is an idealized version of pre-industrial England, and many of the themes of Lord of the Rings are rooted in this early 1900s nostalgia for a pre-industrial society. So the fact that Peter Jackson's films merge these two elements is unsurprising. Compare the above painting of the Aotearoa with the following painting of Edoras, and then the film version of it.
(Source: Edoras and the Palace of Meduseld, Alan Lee, 1993)
(Source: Shot from The Lord of the Rings: The Two Towers, Peter Jackson, 2002)
They're all very similar in style. Now, was Peter Jackson being nefarious with this? No, I don't think so. But he is filming an adaptation of a book rooted in nostalgia for a pre-industrial Britain in a country where that very same nostalgia was used as a carrot to get British people across the world and help terraform Aotearoa into the very same image that allowed it to be the perfect setting for the films. Settlers who displace and disempower the Māori in the process of this project.