Henry Gee, the author of The Science of Middle-earth (which began life here on Green Books) has taken over the editor’s chair at Mallorn, the Journal of the Tolkien Society. Mallorn is usually published annually and takes reviews, fiction, criticism and artwork of interest to Tolkien aficionadoes. But Henry wants to ramp up the journal’s visibility, with a new design, more frequent publication and a change of focus. “Tom Shippey wrote that Tolkien was the Author of the (20th) Century”, says Henry. “But that was then, and Mallorn will be there to chart Tolkien’s evolving influence into the 21st”. He can be reached at mallorn@tolkiensociety.org
Day: September 24, 2007
Here’s the news from Weta HQ this week.
Hercules [Link II]
Medieval [Link II]
Further details of Weta’s work on Prince Caspian revealed
The Halo Warthog gets a test drive
Champ The Chopper launch a success
New Rayguns inspired fan art
Moon suit wearing character in Dr Grordbort’s world introduced
NZ Event: Body Art Rocks Preview
ManMelter Raygun named ‘Most Stunning Raygun’ in fan poll
Director Jay Russell sent this along: Sony just posted the first of what will be 18 video blogs which will premiere on our official website very week. The first features LOTR mega-producer Barrie Osborne.
Jamey DuVall from Movie Geeks United! writes: Just wanted to let you know that my podcast show MOVIE GEEKS UNITED!, available to a global audience throught he internet or iTunes, interviewed composer Howard Shore this past Sunday, September 23. You can access the show anytime on replay by visiting our page.
Author Kristin Thompson writes: The recent announcement that a judge has fined New Line Cinema $125,000 is a major step forward in Peter Jackson’s lawsuit. On my blog, I’ve taken a stab at explaining some of the background of that suit and what this new development might mean for the Hobbit film.
It’s hard to remember now, when every respectable household contains the Special Extended DVD Edition of Peter Jackson’s The Lord of the Rings, but the celebrated trilogy was once considered a somewhat iffy proposition. That’s part of the explanation for how Jackson, a rather obscure director from Kiwiland, was able to gain artistic control over what Newsweek once called “the most expensive and ambitious movie project in history.” And by filming in New Zealand, where he had built his very own world-class production facility, Jackson was able to use the Pacific Ocean as a moat, protecting him from Hollywood interference. The result was that rare thing, a global film franchise that bears a personal stamp — an intimate epic.