It’s already a week since DragonCon 2015 came to an end – and we’ve just about had time to draw breath and catch up on sleep! For any of you who haven’t had the chance to attend DragonCon, it’s one long party from Thursday night (although some would say that Wednesday is the new Thursday) to Monday evening. TORn staffers did their best to keep up with it all!
We had our usual ‘fan table’ spot in the Hyatt hotel, where we sold t-shirts, buttons, lanyards and hoodies (from our good friends at LoTH Hoodies) and enjoyed catching up with fellow fans. There are folks whom we see every year at DragonCon, and it’s always lovely to see familiar faces, as people stop by to say hello.
In this feature Ringer TheHutt, who runs Russian Lord of the Rings and The Hobbit site Henneth-Annun.ru, delves into the different varieties used in Peter Jackson’s movies of The Lord of the Rings and The Hobbit.
The Lord of the Fonts
A Lord of the Rings and Hobbit Font Guide
by TheHutt (Peter Klassen)
What would the Lord of the Rings trilogy be without its iconic logo? The chiseled yellow letters are pretty close to perfection where movie logos are concerned. But that’s not the only instance of certain characteristic typefaces used throughout the trilogy and its marketing. Most of them have recurred in the new Hobbit films – but what exactly are they and where can they be obtained?(more…)
SciFiNow spoke to Daniel Falconer, Weta Workshop designer and author of The Hobbit: The Desolation of Smaug: Unleashing the Dragon (order it here if you haven’t already) about the process of creating what he describes as “the grand-daddy” of fantasy dragons.
He also reveals what Benedict Cumberbatch brought to the role, and why he feels Peter Jackson understands exactly what is required from a fantasy epic.
Don’t forget to click the link to read the entire interview.
Due to be released
on April 1 (no, not an April fools joke), the new book Smaug: Unleashing the Dragon comes from the same wonderful team behind the three The Hobbit: Chronicles books. This release will be 96 pages, exploring the creation of the title character of the second Hobbit film from concept art to digital realization. Final cover art is not yet available, but you can order the book on Weta’s website as well as Amazon.com and other online book stores. (more…)
TheOneRing.net with Galatia Films offer this exclusive interview with the always phenomenal Richard Taylor, Daniel Falconer and Peter Lyon of Weta Workshop. If you watch the video you will learn about Weta’s first meeting with Peter Lyon and how “The Lord or the Rings,” behind-the-scenes videos were created, developed and even changed people’s lives. The original interview was done for Galatia’s Live Reclaiming the Blade Day. Check out its Kickstarter page for more details and the full interview. Tomorrow we will release another interview from the live broadcast, this with one of the stars from “The Lord of the Rings” film. Tune in tomorrow to find out which one! You can also support the Kickstarter campaign for a new film that will feature “The Hobbit” swords and Narnia actors Ben Barnes (Prince Caspian) and William Moseley (Chronicles of Narnia).
Weta Workshop has produced well over fifteen thousand museum quality weapons for projects within the creative industries of film, gaming and replica collectibles, including Peter Jackson’s “The Lord of the Rings” trilogy, “King Kong,” Peter Weir’s “Master and Commander,” Edward Zwick’s “The Last Samurai,” Andrew Adamson’s “Chronicles of Narnia,” Guillermo del Toro’s “Hellboy,” Stephen Spielberg’s “Indiana Jones and the Kingdom of the Crystal Skull,” the Microsoft Halo 3 short films and, more recently, James Cameron’s “Avatar” and Neill Blomkamp’s “District 9.”
We are happy to share with you our complete coverage of the happenings at Comic-Con 2013! Check out the video series below!
Meet The Hobbit Artists
Meet several of the artists who worked on The Hobbit and learn more about what they’re up to, along with several other talented folks at Weta, including Greg Broadmore and the comedic antics of Daniel Falconer! [Happy Hobbit Goes to SDCC: Meet the Hobbit Artists]
Preview night at San Diego Comic Con is just that, a 3 hour preview of the show, with the Exhibitor’s hall open, and several sneak peeks of upcoming network Pilot shows for the Fall Season of new television. There are no panels or major presentations going on, just the room screening the pilots (no guests) and the gigantic exhibit hall. Here you see an image of the side approach to the WETA booth from a bit of a distance, just look for Gandalf watching over everyone. (more…)
Of the three trips I took to New Zealand in 2003 and 2004 to conduct interviews for my book, only the first happened before the release of The Return of the King. I didn’t go thinking that I would suddenly be privy to spoilers and secrets. Shooting was over, I assumed (wrongly), and I figured my interviewees would not tell or show me anything confidential.
But at times they did. In my previous installment of this series, “Places Full of Magic,” I wrote about the facilities I visited. Now it’s time to reveal a few things I learned there—and kept quiet about. (more…)
Once again it has been a long time since I posted in this series, but what with the run-up to The Hobbit: An Unexpected Adventure and the reaction to it, TheOneRing.net has been a busy place, and now we’re coming up on The One Expected Party on Oscar night! But I’ll delay no longer.
In the first entry I recalled getting the permission to interview the filmmakers and going down to start my work, back in September-October of 2003. The second one dealt with my first interview and tours of the Three Foot Six office building and the Stone Street Studios. Now, more of the facilities I visited.
The Film Unit
My third full day in Wellington was Wednesday, October 1. Melissa Booth called and said I could come to the new Film Unit building to meet Barrie Osborne. He, as I cannot stress often enough, was the one responsible for getting me New Line’s permission to interview the filmmakers for my book. This meeting, though, wouldn’t be for an interview. (I interviewed Barrie twice for the book, first a couple of weeks later and again during my third Wellington visit in December, 2004.) He was driving out to the old Film Unit facility that afternoon to give the people working there, sound mixers, editors, and other post-production crew members, a pep talk.
As most readers know, the race to finish The Return of the King was on by that point, and a lot of people were working long hours. I was told that Barrie often gave these pep talks, and the filmmakers really appreciated them; it was part of what gave the production that feeling of being one big family. I could at least introduce myself to Barrie and ride with him to the Film Unit; the half-hour drives there and back would allow us time to talk about my project. (more…)
Welcome to our latest “Getting to know” questions that need answering. This month we’re talking to the one and only Balrog Showgirl, Nicole Roberts.
Hi Nicole and a very big thank you for taking part and for being so patient with me.
This first question is from Rosie-with-the-ribbons who’s latest costume for RingCon has been inspired by your Balrog Showgirl costume.
R-w-t-r: Do you make your costumes yourself?
Nicole: Rosie – that is awesome! Yes, for the most part the costumes I’ve been running around in for the past several years have all been of my own making. I only started sewing back in 2004, after I moved to Los Angeles and started hanging out with even more LOTR people. The first costume I made was to wear to Comic Con that year – I was the Mumak Mahud (the guy with the black and white painted face who steers the oliphaunt in ROTK), so you could definitely say I’ve always leaned towards costumes that were a little off the beaten path! I’ve done some costumes that were direct recreations (“Barf” from “Spaceballs”is the most well-known one), but as I’ve gotten more into the sewing, I really like doing things that are more of an original design, like the Balrog Showgirl. As someone who is not of supermodel proportions (and seriously, those chicks look like scary walking lollipops anyway), I like to have the opportunity to design something that I think is more flattering to me, and I always like to learn how to do something new, like dyeing feathers for the showgirl headdress.
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