The New Zealand public has essentially lost access to Wellington’s Town Hall while the New Zealand Symphony Orchestra records the score for the second Hobbit movie.

The orchestra last month cancelled its Heights of Passion tour to free up time to record the score.

In a public notice today, Wellington City Council announced ”strict security” was in place at the Town Hall from now until the end of next month while the orchestra records the film score.

There will be no public access during this time, the notice said.

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Since I had so little direct linguistic information about Black Speech to go on other than what could be gleaned from the Ring-inscription (object suffixes -ul, -ulûk; verbal infinitive (perhaps) ending -at; abstract ending -um in burzum “darkness”, containing the same burz element seen in Lugbúrz “Dark Tower”; postposition -ishi “in”) I had to go on à priori notions of what a language such as Black Speech might be like — I had to get inside the mind of Sauron, and try to figure out what somebody like the Dark Lord of Mordor might put into his language.

As a matter of fact, this is something I had thought about some years before. As an undergraduate in college, I had contributed to a set of ongoing stories, where each participant wrote additional chapters and introduced characters and events as he or she pleased. Into one of these stories I introduced the character (played partly for humor, partly tragically) of a misfit Orc who, sometime after the fall of Mordor, had found himself transported through time and space into a new environment. On introducing this Orc, I thought it would add a touch of realism to let him speak in his own language; so I sketched the outline of what I imagined Black Speech might be like, and wrote a couple of paragraphs in it.

I have no idea if any copy of this text survives somewhere in my files. At any rate, I made no direct use of it, except for one small element that I retained in memory, the first person pronoun za — possibly suggested by Avestan azəm.

What I did retain, however, was the overall notion of Black Speech as a complex but consistent language, rich in affixation and inflection, but with a wholly transparent morphology. Indeed, the transparency of the morphology, the lack of any phonetic alterations between morphemes that could obscure the structure, would help explain the prevalence of clashing consonant clusters; morphemes ending in one consonant were jammed up against morphemes beginning in another, with nothing to ease the transition.

Sauron, I imagined, was an enormously practical person, who would have made the Black Speech as “perfect” (according to his notions of perfection) as he could make it, with a rigorous consistency and logic, but without making any allowance for æsthetics. It would not eschew borrowings from other languages of Middle-earth, but it would adapt them to its own style. It would in fact have been, as my friend Helge Fauskanger terms it, Sauron’s Esperanto.

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The producer behind the Lord of the Rings trilogy wants to shoot a $100 million Viking blockbuster in Norway, saying he is drawn by the “authentic landscape” and the expert knowledge local historians have about the Viking era.

Barrie Osbourne, who was also behind the Matrix films, said that he wanted to make a trilogy following the story of Harald Hardrada, the last great Viking king, who died in his attempt to conquer England in 1066.

“The movie will be about how Harald evolved from a teenager to a great leader who rallied his kingdom,” Osbourne told Stavanger Aftenbladet. “There is so much to tell about Harald that it does not fit in one movie. We need to create a trilogy. It will have the same structure as “Lord of the Rings”, where the hero travels through many countries and kingdoms.”

It was unclear whether the proposed film was the same project as a Harald Hardrada film starring Leonardo diCaprio which was reported earlier this month.

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The day-to-day operation of the website, and the events we host, require a lot more resources than when we first started nearly 15 years ago. We sometimes find it hard to ask our readers for the help we need to keep running, so we began discussing what it is that makes TheOneRing.net worth helping out. It started out as a search for the Top Ten Moments of TORn, but the list got so long because each staff member had their own idea of important moments in TORn history. Here, instead, is something more encompassing: Ten Ways TORn helps serve Tolkien and Lord of the Rings fandom (listed in no specific order).

And, if you enjoy what we do, consider a donation (no amount too small, because every bit does help!) to keep us running!

If you can’t, that’s fine as well — keep reading, commenting and contributing. Because TORn is as much you as it is us!

If you’ve ever sent in an article, submitted a photo or report, posted on our messageboards, visited our chat, or commented on our twitter, facebook or g+, you’re the reason TheOneRing.net is among the largest and most-respected pillars of the Tolkien community on the web.

• Spy Reports

• Spy reports were a big part of our content when the website first started. From casting announcements to secret location pictures to leaked images of important plot points, spy reports were our bread and butter stories. Some of the reports were from random, anonymous sources, while others were official leaks from cast and crew. In fact, there were many production members who said they used TheOneRing.net to keep track of what some of the other filming units were doing. Other spy reports were just someone stumbling upon a film location and sending in a story or images and then we’d all try and guess what location it actually was. Some of our biggest spy reports were of Arwen at Helm’s Deep (which subsequently didn’t happen), Saruman’s prone body on a spiky wheel (which did happen), and TheOneRing.net was given the honor of introducing Thorin to the world. And very soon, we will be seeing stories from MrCere’s visit to the set from his Production Embed last year.

• Hall of Fire Chats and the Message Boards

• Literary discussions on the message boards and Hall of Fire chats – From the very beginning of TheOneRing.net, discussions of the books, chapter by chapter, has been a hallmark. After all, while we waited for news on who would be cast, where filming would take place, and rumors of what might be cut out, we had the books to talk about. Discussions worked by talking about one chapter at a time, and luckily, there are enough books with enough chapters, to keep those discussions going on for a long while. Since the beginning, we’ve looped through the books several times, but luckily, there are always new readers joining the discussion, and new interpretations to be had. And for something a little more dynamic, there are the Hall of Fire chats in Barlimans. Sometimes the talk is about a specific chapter, or a certain character, and sometimes it is about current events, such as new character images or reviews of a recently released trailer. No matter which forum you use, there is always someone to talk to about some aspect of Tolkien, the books or our fandom.

• TORns Live Videos

• We began with TORn Live, which consisted of Red Carpet interviews at premieres, awards ceremonies and special events like Cannes 2001 and SDCC. These would be recorded, edited and released online a few days or weeks later. But technology now allows for live streaming interviews and vlogs and the like. Quickbeam hosts a weekly TORn Tuesday event with interviews and discussions, while he interacts with a live chatroom. The Happy Hobbit ladies record and post their vlogs and post them within a day or two of their recordings, for a much quicker turnaround on video content. And right now we have the Road to DragonCon in full swing with live streaming from across the country.

• Conventions

• Convention appearances – Calisuri and Quickbeam hosted a panel at San Diego Comic Con in 2001, before the release of FOTR, and since then barely a year has gone by that TORn hasn’t had a presence at at least one convention. At many of the conventions we appear at we also have a presence on the exhibit hall floor where we have sold some of our classic TORn shirts. We love it when we get up on stage for a panel and half the people in the audience are wearing some of our older shirts.

•  

  

  Baggins Birthday Party sign

  Line Parties and Fan Events

• Line Parties and other fan hosted events – TheOneRing.net has always been a grass roots type of fan-site and that is no more apparent then looking at the Line Parties of years past. Whether it is just a few friends, or some hundreds of people signing up on the website to attend, fans like you all over the world hosted Line Parties. A few even took place over several days, and included costume contests and trivia games for prizes. Other fan hosted events over the years have been the Hobbit Day/Baggins Birthday Bash events on Sept. 22, the Tolkien Toast on Jan. 3 and the Tolkien Reading Day on March 25. TORn staff in Los Angeles have been hosting a Baggins Birthday Bash party for 11 years now, but there are fan groups around the world that have hosted similar events. Smaller moots happen around the world all the time, there is a very active group in Wellington and one in Croatia. If you are hosting a fan event in the next year or two, please feel free to tell us about it.

• The Oscar Parties

• Originally conceived as a fan event to help raise funds to buy TORn a new server, who could have imagined the Cast and Crew actually showing up to the FOTR oscar party? Even more surprising, who could have imagined the ROTK sweep and all those Oscars on stage at a fan hosted party?

• O.R.C and E.L.F.

• TheOneRing.net hosted conventions – The One Ring Celebration on the West Coast (O.R.C.) and the Eastern Lord of the Rings Festival on the East Coast (E.L.F.) were co-productions with a professional convention company, but they definitely had a TORn stamp on them. The conventions allowed us to combine our love of the films by interacting with cast and crew with our love of the books through academic discussions, the art shows and costume displays. We really did break the mold on how a commercial scifi convention is run and hope everyone who attended had a blast.

• Academic essays and editorials

• TORn has long standing relationships with many in the academic community who have posted guest essays and editorials. Over the year several staffers have posted in depth analysis to fan questions on the site as well. In fact, we have a whole section on the ‘old TORn’ (pre-crash) called Green Books for academic posts. This section had so much good stuff in it, we published a book called “The People’s Guide to J.R.R. Tolkien” and a sequel book as well.

• Driving fan initiatives

• After Return of the King was done and Peter Jackson moved on to do King Kong, the fans waited to see what would happen with The Hobbit afterwards. Months turned to years and still no word while studios went bankrupt, copyrights issues got tangled up and various lawsuits were filed for missing payments. Finally, a few fans decided they had had enough and started a petition to ‘Make the Hobbit Happen’. They brought it to TORn and we got thousands of you to sign so that a big pile of names was delivered to TPTB. A similar thing happened when there was talk that the production would be moved out of New Zealand. The fans could see no where else as Middle-earth, so the ‘Keep the Hobbit in NZ’ campaign was born, but this time on Social Media. And most recently, there was an explosion of Tolkien fan love over the #Votebilbo twitter event prompted by an MTV Audience Award.

• TORn Community

• This list compiles many of the things that TheOneRing.net does to keep you informed, entertained and engaged, but there is really just one thing that makes TheOneRing.net so important to keep around. And that is the community of fans that convene on our message boards, in Barliman’s chat, on Facebook and Twitter.

This site was built by fans getting together to discuss what they hoped for from Peter Jackson long before FOTR ever saw the light of day. The fact that a long existing fan-base gathered here meant engaged and informed discussion began from day one, including analyzing all the spy reports about casting and location details. We didn’t have to wait for the release of the films, or for several episodes of a new show to take off before we could discuss the minutia of every detail because our fan base was already well established.

And what is ‘fandom’ if not a community of like minded people passionate about the same thing. Sure, everyone has their own opinions, so every time a new image was released, or a new trailer appeared, the message boards and chatroom erupted into heated discussions. But as the years wore on friendships were made, some turning into marriage, and we all began meeting up at various moots, conventions, concerts, premiere events, trips to New Zealand or just coffee and a movie. How many of you newer fans were galvanized by the #Votebilbo campaign and now have a wider array of Twitter friends because of it? The fact that TORn was able to continue to exist during all those lean years between film productions is due mostly to you, the readers, sticking around to discuss anything and everything to do with Tolkien, and sometimes other bits of pop culture. We know that after the release of The Hobbit: There and Back Again we will see another decline of readership, but we also know that the community is strong, the friendships have been forged and all of you take that fandom with you where ever you go next.

So again, if you are so inclined to help support us and keep the website going, please do make a pledge or bid on one of the many cool auction items we’ve been posting about the past few days. On behalf of the All Volunteer Staff at TheOneRing.net, you have our deepest gratitude for all the support over the years.

He writes:

I still can’t answer many Hobbit questions, but for the time being, feel free to post them here and I’ll do the best I can!

I haven’t had time to scan the entire thread, but here are a couple of interesting snippets.

leitmotifs don’t always merely echo what’s on the screen. (Or in opera, what’s on the stage.) Sometimes they’re providing additional information — foreshadowing, plot threads, subtexts, etc. It’s always worth bearing this in mind. After all, what is dramatic music accomplishing if it’s limited to a strict redundancy of what’s already meeting the eye?

Question: While we are at it – what meaning does the Ringwraith theme have in TH: AUJ finale?

Nice try!

The implication — although Adams cannot say — seems to be that there is some string of relevance between Azog and the Nazgul.

Yes, there was less choral work in AUJ than in the LOTR films, but I think that has much to do with its distinct tone.

Question: Is it possible anything from the theatrical edition music will be changed for the extended cut. For instance in FOTR, Frodo’s run down to Gandalf at the beginning is muted in original while it has music in the EE. Or will any of the music already in the film for parts, be altered? I’ll say it upfront: I’m guessing you can’t answer.

Good guess. You’ll see in a few weeks/months why I had to sign so many NDAs for the EE.

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Like the dwarves of Erebor, the Celts were a group of people renowned for their warriors who were forced to flee their mountainous homeland in the east due to unknown strife around 1600 BCE (the Bronze Age). Spilling into Europe, the Celts wandered for generations, making their way west to the British Isles. It is worth noting that the term “Celts” applies to several groups of un-unified peoples who, much like the dwarves, were prone to both fighting against each other and in turn, banding together to unite against a common enemy, such as the Roman legions.

When comparing the Celts to dwarves, it is important to focus on one of the northern tribes (in modern Scotland): the Picts. They were given their name by the Romans, who found the animal shapes and designs they painted on their bodies with blue woad to be curious pictures. The Celts were also in the habit of shaping their hair before battle – using a mixture of lime and urine as a sort of styling clay that caked white onto their tresses and made their hair stand on end. For a cinematic example of these ancient warriors, check out the trailer for Kevin MacDonald’s adaptation of The Eagle (2011).

The Eagle (2011)

If the interviews with Billy Connolly from last summer are still accurate, then we can expect Dáin Ironfoot to “have a Mohawk and tattoos on my head…I arrive riding a wild pig.” Sound familiar?

It should also be noted that as a Scot, Connolly himself is a Celt. In fact, many of the actors portraying dwarves in The Hobbit are of Celtic descent, and several were allowed to keep their respective accents. James Nesbit’s Bofur speaks in his Northern Irish brogue, and Graham McTavish’ Dwalin (who also bears war-paint like tattoos) sounds like the Scot he is. Aidan Turner, Kili, is an Irishman, Dean O’Gorman, playing his brother Fili, is a Kiwi of Irish descent, and Ken Stott (Balin) is another Scotsman.

As an interesting side note, belonging to the Order of Fili (wisemen and poets) was required for a warrior to enter Ireland’s elite Fenian ranks. Kili, similarly, could be argued as an alternate spelling/pronunciation of the common Irish surname Kelly, which means warrior (and is coincidentally why I was given my TORn nickname, since it is my birth name).  Naming the two youngest of Durin’s heirs names that invoke a warrior heritage makes sense, however, it is unknown if Tolkien was aware of these linguistic connections.

Any listener of The Hobbit: The Unexpected Journey Special Edition soundtrack will know that the track “Erebor” begins with a proud bagpipe solo: a clear nod to the Scottish. Artist John Howe makes several references to Celtic inspiration in the first Hobbit Chronicles book, citing references to both Kili’s flip knife and Ori’s board game as being based on Celtic artifacts.

Even Celtic dress sounds similar to that of the dwarves: “In terms of clothing, the Celtic women wore a simple long garment with a cloak. The men wore trousers (sometimes knee length), a sleeved tunic reaching the thigh, a cloak, and sandals or boots. A metal piece of jewelry for around the neck called a torc (torques) was quite popular. Clothing dyed in bright colors was common. Men wore droopy mustaches, sometimes beards, and often long hair, all of this in contrast to the contemporary Romans.”

An artist’s rendition of male Celtic dress

However, the Celtic link to the dwarves in Tolkien’s writing isn’t as obvious as the Nordic influences, so why did the filmmakers take this route?

The easy answer is because it hasn’t been done yet. None of the races previously explored in Jackson’s Middle-earth had a Celtic slant, and identifying the dwarves with the proud warriors of the Celts distinguishes them as a race and culture apart from the rest, especially where the Picts are concerned.

The dwarves are from the north, just as Scotland is north of England, the nation that is conceivably Tolkien’s main inspiration for Middle-earth. More than any other race, Tolkien’s dwarves link their existence with the mountains, very much like Highlanders. Also like the Highlanders, Dáin and his people are renowned for their endurance, running for days to come to Thorin’s aid.

Similarly to the Dwarves, the land of the Picts was under constant threat. While such a military force may seem unimpressive by today’s standards, imagine yourself back at the dawn of the Common Era when the world was a much quieter place. The roar of a Roman cavalry charge echoing across the land like earthen thunder would have been much like the advance of Smaug. The armor of the legionnaires glinted in the sunlight like so many serpentine scales. Such a monstrous force was hitherto unknown to the indigenous Britons and was, understandably, often likened to a dragon.

Smaug the Terrible is very much a metaphor for warfare and greed. Just as the Roman invaders laid waste to villages and scattered tribal peoples, so did the dragon. The Romans modified Britain’s landscape and scoured the land for natural resources, just as Smaug scorched the earth and hoarded the treasure of the dwarves.

Scotland in the Roman era

The Picts, like Durin’s folk, stood strong against the Roman dragon and slaughtered entire legions and then some. Unable to subdue the northern tribes, Emperor Hadrian began construction on a massive wall to keep the tribes out of the fertile lands of England in 122 CE. This wall is known as Hadrian’s Wall and its remnants remain near the modern Scottish-English border. Had the dwarves ever turned on the race of Men, such a measure would have probably been taken!

Ruins of Hadrian’s Wall

Tolkien would have been well-aware of this history, and in fact, even his beloved Anglo-Saxons found the Celts to be formidable opponents. The Icelandic sagas written in the 13th century warn their people not to go to Scotland if they wished to live. One Scot in the saga, said to be Grjotgard, a kinsman of Melkolf (the king of Scotland), was quoted as saying to the Saxons: “You have two choices. You can go ashore and we will take all your property, or we’ll attack you and kill every man we lay our hands on.”

Given that the tale survives, it’s not difficult to tell which option the Icelandic warriors chose. It also isn’t difficult to imagine Thorin Oakenshield issuing such an ultimatum to invaders.

We must await the next two films to see what further Celtic traits will be shown through the dwarves. But as a Celt myself, I applaud Jackson and Weta’s decision to explore a facet of British culture that was previously understated in Tolkien.

Staffer Kili is one-half of the TORn Happy Hobbit crew. The views and opinions presented in this article are her own, and do not necessarily represent those of TheOneRing.net or its staff.

Johnny Fraser-Allen. Photo: FAIRFAX NZ.

Johnny has a standing invite to appear on TORn Tuesdays to further chat with fans, when he’s able to break free from his many obligations!

Here, mainstream magazine Stuff now profiles Frazer-Allen’s rising career.

There is a fairytale-like feeling to the story of 28-year-old Johnny Fraser-Allen. A chance encounter with Weta Workshop’s Sir Richard Taylor at the airport, and the pivotal decision to miss a flight home so he could talk to him, landed Fraser-Allen his dream job at Weta at the age of 19. Nearly a decade on, he has put working for the creative company on hold to focus on his latest adventure – writing and illustrating children’s books, and gearing up for his second exhibition.

Landing his dream job at Weta took a touch of fate for Fraser-Allen. He had flown from Christchurch to Wellington, hoping to show Taylor his final high school design portfolio at a photography exhibition by Lord of The Rings star Viggo Mortensen, but Taylor was a no-show.

Despondently waiting for his flight home, he spotted Taylor at the airport. “I had the choice of missing my flight or talking to him, so I missed my flight.”

The meeting was a turning point.

“Richard took a lot of time with me, gave me a lot of advice, then he gave me his card and told me to bring my portfolio up in person.”

When Fraser-Allen got home, he scrapped his portfolio and started again, based on the Oscar winner’s advice.

When Taylor eventually looked at his portfolio, he said Fraser-Allen’s skills weren’t good enough for the design room, but he employed him based on his enthusiasm.

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Also, this weekend (Saturday August 24 at 6pm EDT (New York time)) we’ll be returning to our Lord of the Rings book chats. This week we begin the first chapter of book four — The Taming of Smeagol — so be sure to join us for this exciting topic!

Richard Armitage, Thorin Oakenshield, dwarven king in exile

Richard Crispin Armitage was born on 22nd August 1971 and raised in Leicestershire. At 17 he joined a circus in Budapest for 6 weeks to gain his Equity Card. Armitage returned to Britain to pursue a career in musical theater. He appeared on stage in various musicals, including Cats as Admetus and Macavity.

his first major television role was John Standring in the 2002 BBC drama Sparkhouse. “It was the first time I went to an audition in character. It was a minor role but it was something I really got my teeth into… I couldn’t go back. I knew I had to approach everything the same way.” After this he took a variety supporting roles in the TV productions of Between the Sheets, Cold Feet (series 5), and Ultimate Force (Series 2).

A few of his many roles since then include police officer Lucas North in the acclaimed series Spooks, notorious villain Guy of Gisborne in Robin Hood and John Porter in Strike Back. And, of course, he’s our tragic hero Thorin Oakenshield in The Hobbit!

This week, Richard turns 42!

If you missed TORn’s interview with Richard last year, check out what the man himself had to say about his role as Thorin.

I looked mainly through Tolkien – I looked at all of his work, looked to mainly the dwarves, coz he writes about dwarves in general … In terms of preparation, it kind of happened by accident coz I was doing vocal work, coz I wanted him to sound a certain way. I wanted to pitch my voice lower, I wanted him to be able to speak quietly but resonantly … and I ended up using Henry V, Richard III and Macbeth as soliloquies that I could use to get some vocal production going.

But I found in all three of those characters [aspects of Thorin] … the whole idea of the rallying cry of a leader on the battlefield is very much Henry V; the self hating deformity of Richard III was sort of relevant; and also the Macbeth figure when it comes to the gold lust – this man who believes he is doing the right thing and gets corrupted by something which ultimately destroys him … I just felt that those three figures were all going to be pretty useful for me to have in my head.

Richard Armitage is Thorin Oakenshield.

John Howe, Tolkien illustrator and conceptual designer

John is, of course, one of the chief conceptual designers for The Hobbit and the Lord of the Rings films. Born in 1957 in Vancouver, John’s been drawing since a young age and studied at the Ecoles des Arts Décoratifs de Strasbourg.

He’s responsible for translating some of Tolkien’s iconic scenes and characters from prose into visual art. This week he turns 56!

Even the Weta folk are in awe of Howe’s skills, as designer Paul Tobin explained to TORn at San Diego Comic-con.

[Alan Lee and John Howe] are incredibly experienced. They’re so gifted with their pencil. I was just about to reduced to tears one morning when I was working up a design for some elven armour and John was on the same brief. We were given the brief in the morning, to come back in the afternoon and show where we were at. And this was pretty early on, I’d only ever met John very briefly.

And I showed him my work-in-progress — a digital painting. Then John unrolls this A1, poster-size pencil sketch of an elven warrior … nearly life sized. And, literally, I was nearly tearing up — I can’t compete with that. That’s the difference between me and someone like John.

Morgoth and Ungoliant before the Two Trees of Valinor by John Howe.

Alan Lee, Tolkien illustrator and conceptual designer

Alan Lee, born on August 20, 1947, is the other half of the conceptual design team on Peter Jackson’s Lord of the Rings and Hobbit movies. An English book illustrator, he was born in Middlesex, England and studied at the Ealing School of Art.

This week Alan turns 65!

Some of Alan’s most notable illustrations for the works of J.R.R. Tolkien include the centenary edition of The Lord of the Rings (1991), a 1995 edition of The Hobbit, and the famous first edition of Narn i Chîn Húrin: the tale of the children of Húrin which was first released in 2007.

Aragorn and Eowyn by Alan Lee.

The rest are:

Anna Karenina by Dario Marianelli
Life of Pi by Mychael Danna
The Master by Jonny Greenwood
Skyfall by Thomas Newman

With an awards show in Belgium, there are also categories for “Film Composer of the Year,” and “Best Original Song Written Directly For a Film.” You can see the full list of nominees and learn more about the organization right here. Tickets are available on the site as well.

Weta designer Paul Tobin

TORn staffer Justin caught up with Weta conceptual designer Paul Tobin at the San Diego Comic-Con last month and scored this long, informative chat about the intense effort that went into the design of the dwarves of the Company, and about John Howe’s immense artistic talent.

As well as working on Peter Jackson’s The Hobbit Trilogy, Tobin has worked on James Cameron’s Avatar (2009) and Andrew Adamson’s The Lion the Witch and the Wardrobe (2005), Prince Caspian (2008).

Speaking to TheOneRing.net, Tobin said the effort the designers put into perfecting the look of the dwarves was enormous.

The design team created over 500 different beards and hair designs in under two weeks. Crazy, crazy, crazy stuff.

He says that, generally, they would initially take the actor and paint the beard and hair up in Photoshop.

Then Peter, Fran and Philippa would discuss it … if they liked it then it would get marquetted onto the actor’s bust, of their head, so they could walk around and get a sense of the volume.

If that was good, the hair was carefully peeled off. They would then start the finishing all the prosthetics. And then the hair department would take of designing the rest of it from the photographs of the bust.

So it was quite an elaborate process.

Tobin says he himself worked on more than 50 different renditions of Thorin’s beard and hair — and other designers working were working on their own concepts.

Thorin didn’t come easy. Because he’s a really important character, we played around with a lot of different options.

He says that Ori, on the other hand was locked in within six or seven iterations.

Tobin praises the talents of Alan Lee and John Howe

The Fall of Gondolin by John Howe

He’s also a big fan, both personally and professionally, of John Howe.

[Alan Lee and John Howe] are incredibly experienced. They’re so gifted with their pencil. I was just about to reduced to tears one morning when I was working up a design for some elven armour and John was on the same brief. We were given the brief in the morning, to come back in the afternoon and show where we were at. And this was pretty early on, I’d only ever met John very briefly.

And I showed him my work-in-progress — a digital painting. Then John unrolls this A1, poster-size pencil sketch of an elven warrior … nearly life sized. And, literally, I was nearly tearing up — I can’t compete with that. That’s the difference between me and someone like John.

Click to watch our exclusive interview with Paul Tobin in full!