New Line Cinema and Adult Swim’s upcoming anime film spinoff to The Lord of the Rings, titled The Lord of the Rings: The War of the Rohirrim, is still shrouded in mystery even after an industry-only preview last summer. The all-star production, starring Miranda Otto and Brian Cox, is led by Oscar winning LOTR Executive Producer Philippa Boyens and the highly respected production team behind Blade Runner: Black Lotus and Ghost in the Shell: Stand Alone Complex.

The initial announcement in 2021 listed the Emmy winning writing team behind Dark Crystal: Age of Resistance, Jeffrey Addiss and Will Matthews, who spent a year exploring the story. Since then the script has gone through normal retooling, eventually landing a new credited screenwriting duo: Phoebe Gittins and Arty Papageorgiou.

Billed as the next generation of writers by EP Boyens, childhood friends Phoebe and Arty initially were brought in to write background dialog for the movie. Through the creative process, it became apparent that their youthful perspective – raised on the exploding growth of anime — helped the film’s collaboration with the Japanese director Kenji Kamiyama and animation studio Sola Entertainment. Plus, who better to tell the story of Héra [Editor’s note: the name’s not taken from the Greek, but from the Anglo-saxon] than someone closer in age?

In a brand-new interview with Nerd of the Rings, writers Phoebe Gittins and Arty Papageorgiou join excecutive producer Philippa Boyens for an in-depth conversation on bringing the history of Rohirrim and Rohan’s shieldmaidens to the big screen. Enjoy this exclusive preview of the conversation, edited for format and clarity, which will be posted in full tomorrow.

Delivering the characters where Kamiyama needs them to be

Q: Tell us a bit about Helm Hammerhand (namesake of Helm’s Deep from The Two Towers)

Phoebe: I find one of the most redeeming qualities of Helm in the film is his love for his children. Sounds a little cheesy but some of my favorite parts of the storytelling is the relationship between Helm and Héra (his daughter and main protagonist of the film). There’s a lot of tension and a lot of conflict there, but you know at the heart there is this deep father-daughter bond. Those moments were really special, writing and working on those. That’s one of my favorite things about Helm: this love for his children. It’s so nice.

How do we as writers deliver the characters to a place that Director Kamiyama want them to be at the end of the film? That was a really fun journey to try and take on, and figure out how to do that.

Q: Did you guys revisit the films before embarking on this?

Phoebe: Didn’t really need to. I grew up with them!

Arty: I grew up around the corner from Weta Workshop. But also growing up in Wellington at that time it was infectious. It was impossible not to be captivated by this huge film being shot in the hills behind you. At night you go to bed and you look up to the hills behind with film lights. Might be normal in other places, but it certainly wasn’t normal in Wellington. It really was just like the coolest thing! My friends and I still watch the movies every Christmas, so it wasn’t a matter of trying to fall back into the world of the cinematic Middle-earth. Here was a really amazing opportunity to try and think about animation and Anime, and how that could bring a fresh look not only visually but also thematically.

Philippa: I remember the hesitation. I thought you guys would turn us down (to write on Rohirrim)!

Arty: The deep respect for what had already been done! It’s stressful because what’s going on here? It’s just what comes with it. There’s these podcasts and bloggers and YouTube channels (looks at Nerd of the Rings) who are going to judge and fly out to your country to meet up with you while you’re trying to finish the film to make sure you’re doing a good job. So that was came with a lot of a lot a lot of trepidation!

Phoebe: For us, we didn’t see foresee that being a problem because so many of the same players are making this film. You have Philippa producing, but you also have the same sound teams. You have Mike Hedges (LOTR). You’ve got Steven Gallagher composing (The Hobbit). You’ve got John Howe, Alan Lee, Richard Taylor. For us, that opened up space to be like, how do we make this blend with the world of anime. It was actually more about coming from that direction. We knew the film was in pretty sick hands!

Q: Well you guys grew up on anime too.

Arty: We grew up not just on anime but Japanese cinema in general. That wasn’t the brief (for Rohirrim) but I was such a fan of different Japanese genre films and directors. It just seemed like, this is such a cool opportunity to draw on a whole bunch of other influences in adapting this material. It ended up going from this is really scary, to wow this is so exciting. Then what sold us completely was seeing some concept art and it was like, oh hell yeah.

It also helped that we happen to be in Covid lockdown in Queenstown, and we’re walking daily by different LOTR film locations. So that probably helped a lot as well to get in the zone.

Phoebe: Yeah we were in the zone!

Q: Did you have any moments like that where you a saw an interesting connection to what has come before?

Arty: What is interesting is re-reading the books. You sort of pick up on different things and like, oh wow, it really is informed by some of these things which took place in the books. Whether at the time we were totally aware of it or not, you know it was just ingrained in us. That’s been interesting.

The full interview with Boyens, Gittins and Papageorgiou

Like what you’re hearing from the writers of the new LOTR film? This spur-of-the-moment opportunity for Matt (Nerd of the Rings) to chat with them during his filming schedule at Weta Workshop was a real treat one the first time these new writers have ever done an interview. The full conversation is 90 minutes on his YouTube channel. Join TORn’s daily active chat about Rohirrim on Discord.

Big thanks to Matt at Nerd of the Rings for sharing his exclusive interview for The Lord of the Rings: The War of the Rohirrim. Watch the entire conversation on YouTube, and join us on TORn Tuesday as Matt talks about landing the interview and other fun facts he learned. War of the Rohirrim releases in December 2024 in theaters worldwide.

TORn’s complete The Lord of the Rings: The War of the Rohirrim coverage

War of the Rohirrim title logo

Twenty years on from the theatrical release of The Lord of the Rings: The Return of the King, fans continue to celebrate the monumental achievements of Peter Jackson and the team who brought Middle-earth to life. New Line Cinema and Warner Bros. Home Entertainment (WBHE) have shared with us a twelve-minute look at the making of LOTR: ROTK pulled from the archives featuring new 4K remastered footage.

Back when midnight openings were a thing, fans around the world lined up to be the first to watch Return of the King in cinemas with heralded hype. The runtime of 3 hours and 21 minutes did not dissuade anyone as book fans knew there was a lot of story to cover, and the DVD releases of the longer Extended Editions had primed audiences for a longer, well-told story. The finale exceeded anyone’s expectations. The Return of the King made $1.1 Billion at the box office, making it the second-highest grossing movie of all time at release. It was still #1 at the box office in its 4th week!

LOTR was destined for greatness from the start, as the story by J.R.R. Tolkien are the highest-selling books of the 20th century and the informal teaser from Peter Jackson and New Line Cinema broke online video records, surpassing downloads of the trailer to Star Wars Episode 1.

Above, Peter Jackson attends TheOneRing.net’s Fellowship of the Ring Oscar Party in 2002. Below, Peter Jackson returns to the 2004 fan party for Return of the King with all the Oscar trophies in hand. Return of the King matched the record for most Oscars ever won by any movie, and is the most-awarded film worldwide of all time.

In addition to the video above from WBHE recognizing Peter Jackson’s achievement, fans are celebrating together with a global watch-along on Sunday December 17 to mark the 20th anniversary of the release of Return of the King. Also look out for a new Art of Costume podcast with the award winning costume designer Ngila Dickson.

In the 20 years since its record setting award winning run, The Lord of the Rings films have become the benchmark of filmmaking with just the right balance of practical and digital effects, location and digital shooting, innovation and classical performance, and maintaining a fidelity to the source material while at the same time introducing changes benefiting the medium of film. Fans have made watching these films an annual event, and the wide use of LOTR memes are unsurpassed in quantity and relevance.

Peter Jackson is adored worldwide and fans still enjoy diving into the BTS Appendices on 4K, Bluray and DVD. Now that New Line Cinema has a fresh long-term deal to make new LOTR spinoff movies, could Jackson return to Middle-earth? His producing partner Philippa Boyens is already bringing WAR OF THE ROHIRRIM to cinemas in December 2024, telling the story of Helm Hammerhand and the history of the Rohan Shieldmaidens. Jackson doesn’t need to get back to LOTR after winning Emmy Awards with The Beatles (and directing his first ever music video for them) but, based on the daily conversations happening on our forums and discord, LOTR fans are ready for a trustworthy hand to manage the future of Tolkien’s expanding legendarium.

Before Rotten Tomatoes, TORn had RINGER REVIEWS for fans to share right after watching the film

Happy 20th anniversary to Return of the King, a film that made us all cry (multiple times) by channeling the best of J.R.R. Tolkien and the humanity of his stories. It remains the high water mark of fantasy filmmaking even today.

We hear via Deadline that Warner Bros. Animation is putting back the release of its animated feature film The War of the Rohirrim to December 2024. The new release date is December 13. Previously it was to open worldwide on April 12.

The seven-month delay is seemingly part of a cascade started by the shift of the release of Dune: Part 2 to March 15 — a slot previously occupied by Godzilla X Kong. GxK’s one-month delay has subsequently forced WOTR into a new date.

Deadline notes that the only other movie set for a December 13 2024 release is Sony’s The Karate Kid.

However, other reasons both sentimental and practical might have contributed to WOTR being pushed back seven months.

First, for Warner Bros. and New Line Cinemas, releasing films from the Middle-earth milieu is virtually a tradition now. That ought to play well with the fandom. Producer Jason DeMarco certainly seems to think it’s a lucky one.

WOTR producer Jason DeMarco thinks December is a lucky tradition for LOTR films.
Source: Jason DeMarco twitter account. Supplied by TimB

Second, it’s no secret that the last several years have seen numerous well-credentialled anime series experience production crunches that have caused substantial release delays. Animator overwork and schedule slippage now seem so regular that insiders are asking themselves whether this situation is simply “the new normal”.

Further, film director Kenji Kamiyama and Sola Entertainment (the animation studio) CEO Joseph Chou commented recently at Annecy Film Festival about the weight of work that remained on The War of the Rohirrim and that they were seeking additional talent to help with the film.

While they mostly seem done, Kenji and Joseph have a lot more to do, they’re still deep in the production process. Kenji seemed stressed! “Probably the biggest film he’s ever worked on”. Kenji kept talking about the challenge of it, and was clearly still thinking deeply about “how he’s gonna finish this film.”

Joseph jokes about how the crew is going to have to work nights and weekends to finish this movie, which really bummed me out. Can we not normalize the brutal working hours in animation? I expect better tbh.

TORn Annecy Film Festival first look report

In that context, an extra seven months might also have been a prudent production decision.

About the author: Staffer Demosthenes has been involved with TheOneRing.net since 2001, serving first as an Associate News Editor, then as Chief News Editor during the making of the Hobbit films. Now he focuses on features and analysis. The opinions in this article are his own and do not necessarily represent those of TheOneRing.net and other staff.

After presenting their work-in-progress on The War of the Rohirrim at Annecy last week, Kenji Kamiyama, Philippa Boyens and Joseph Chou also stopped off to give a 15-minute sit-down interview with one of the festival’s staffers.

They talk about their approach, the challenge and the reception from the Annecy audience. Thanks to Lasswen on our Discord for the find.

Join the discussion: If you’d like to weigh in with your thoughts on The War of the Rohirrim, feel free to join our Discord server or the currently active thread on our forum message boards.

Annecy interview transcript

Note: I have lightly edited the transcript to remove some of the more redundant speech without, I hope, affecting the fundamental meaning.

[0:05] Interviewer
There was once an age without Annecy Animation Film Festival. There was also an age before J.R.R. Tolkien. But lucky for us, we live today. And we have both. With us today we have Mr. Chou, producer of the film, Kenji Kamiyama, Director, and Philippa Boyens producer, also… known for screenwriting a lot with Peter Jackson. So you might be the most experienced of us on the Middle-earth and…

[0:44] Philippa Boyens
For Middle-earth. Not for anime. But for Middle-earth. Yes.

[0:49] Interviewer
Well, you’re just behind. You’re just after, sorry, a behind-the-scenes presentation with Annecy audience. How did it go? Can you give us your impression for each of you?

[1:04] Philippa Boyens

I mean, I could feel the energy in the room. And I think it was amazing. I think the crowds here are really knowledgeable, which is great. And I respect that. And actually, the biggest cheer was when Joseph asked some of the guys who are actual animators who we’re attempting to kill with the amount of work they’ve got to get done, to stand up. And the audience went wild. And that was amazing to see. It was such a good thing to do. Yeah.

[1:38] Interviewer
How did you feel the moments you two?

[1:42] Kenji Kamiyama
[Answers in Japanese]

[2:04] Joseph Chou
Translating for KK: It’s the second time for him being in Annecy and… but just, just a warm welcome from the audience, and it’s just wonderful for him. And he really is very appreciative of, you know, them just being being so supportive in the moment. And just to see them, you know, in their direction. It’s very good for him. Yeah.

[2:26] Interviewer
And for you?

[2:27] Joseph Chou
Oh, yeah. I mean, I guess. I mean, they already said it. But I think just being in Annecy, you just, it just feels so nice, because of the warm welcome. I mean, I think the community of animation is a little different from, you know, other artistic communities. But, but, you know, we come here, we do feel like we’re at home and just just being — just seeing the reaction, though, from the, you know, the fans and then in life, actually, you know, just to see their live reaction. It’s something that we don’t get to see when we’re working. So it was wonderful. And it really did give us a huge, huge encouragement, just because we’re not done with the film yet, you know.

[2:34] Interviewer
It’s quite amazing because we are in an in an animation film festival, and you are coming today to present a lot of work, but which is not animated yet. So it has this interesting equation in which you present a non-animated work. And this is Annecy’s audience with its reaction that tells you what’s going to be animated or not. Is it a part…

[3:38] Philippa Boyens
Of being able to feel what they’re responding to? You mean? Yeah, you definitely got that. I think I could feel the murmur when Helm walked into the room. He’s played, voiced, by Brian Cox. And I think they just they were just swept into it, you could kind of feel it, which was, which was great. So I don’t know whatever you’re doing, keep doing it.

[4:04] Joseph Chou
[
Translates Philippa’s words into Japanese for KK, who nods and smiles.]

[4:09] Interviewer
Philippa, you’ve been following the Lord of the Rings, since its rebirth with Peter Jackson. It’s been an unexpected journey if I may say…

[4:20] Philippa Boyens
I like it. Nice. Very good.

[4:22] Interviewer
What’s the following part of the journey? Because it seems there was the first part and now it’s the beginning of the second…

[4:29] Philippa Boyens
Yeah, this has been such a good way back into the world. I’ve don’t think any of us could have faced jumping into a huge, massive epic trilogy, which was going to take seven years. But it wasn’t — it’s not just about this being, you know, maybe a little smaller in terms of the scale, but it’s still a big film. But it’s been a joy because it’s fresh, and it’s different. And everything that anime is bringing to the story is working really, really well with Professor Tolkien’s world.

Actually, I tell you something that not many people know. And that is that when — I’m not sure I’ve told you guys this — when…

Professor Tolkien, he loved to draw; he was an artist as well. And he was very poor. And he got a scholarship to Oxford University. And that was the first time he had a little bit of money to spend. So he went to his what they called digs in Oxford, his room in Oxford. Guess what one of the first things he bought was? Some Japanese prints, some Japanese woodcuts, to put on his wall.

So I think that it’s, you know, he obviously loved that visual style. And I think weirdly, that sort of must have influenced him in some way. And it’s definitely working. It’s working beautifully.

[6:01] Interviewer
And, actually, I’m not sure, as you say, that a lot of [people] know that Tolkien might have been influenced by the Japan way of…

[6:13] Philippa Boyens
No! I remembered it, and I went and checked it. It’s a reference that was made in his biography [ed: by Humphrey Carpenter]. And I thought, yeah, that makes sense. It makes, it makes sense, right? And I gave Kamiyama a book of his artwork, that Professor Tolkien actually drew, as a present…

[6:40] Interviewer
And it’s, it’s really interesting, because as a very young reader of Tolkien, and I remember that there was those drawings, always. It’s, it was not a novel, but it was a novel with hints of imagination.

[6:56] Philippa Boyens
For The Hobbit, yes. Yes. [It was] his work. Absolutely. Yes.

[7:00] Interviewer
And now that The Lord of the Rings is coming back to, to the drawings, to animation, there is a lot to explore, actually. A new Middle-earth to draw…

[7:13] Philippa Boyens
There is. And, also, we need to remember that Professor Tolkien would only have conceived of any kind of film being animated, that he would have had no conception really have it any other way. And, actually, the very first Lord of the Rings films that ever existed, were both animation, you know. So it feels, it feels right. And I know that Peter Jackson and Fran Walsh were, you know, hugely supportive of this project. Because they, they knew that this was, you know, a good direction to go. And instead of retreating old paths to do something exciting like this. So yeah, it’s really, it’s been great so far. So far.

[8:00] Interviewer
You are mentioning the previous animated version of The Lord of the Rings. I can think of Ralph Bakshi in 1978…

[8:10] Philippa Boyens
and the Rankin Bass [film].

[8:12] Interviewer
And is this a huge influence on what you are doing today with The Lord of the Rings?

[8:20] Kenji Kamiyama
[Answers in Japanese]

[8:36] Joseph Chou
Translating for KK: So, not particularly in terms of style, but, but really just trying to render the world in animation. I mean, [that] you’ve got to render it into drawings and the challenge of it. And so maybe that … is something that influenced him. Well, it is a huge challenge, and that there are all these things that you’ve got to learn — there is a lot to do. And it’s a huge challenge. And that’s something he took away from those titles.

[9:04] Interviewer
When you give birth to new parts of a legend, how do you manage to write the new chapters? We know that there are a few books in Tolkien’s work. And one, one title is tickling me. It’s Unfinished Tales. How do you get to finish the tale actually with authority says okay, that’s the good end. Is there a Christopher working with you?

[9:36] Philippa Boyens
[Christopher] was very responsible, I think, for preserving — not just the integrity of his father’s work — but also I think he was responsible for pulling together the threads of his father’s unfinished work. And he put out some beautiful… So, after Professor Tolkien’s death, Christopher was able to take all those papers, take all those writings and give us more, which was to everybody’s benefit. The world’s benefit, I think.

But, for us, I think we… you have a responsibility, obviously, to the source material. But you also have a responsibility to the film. And we have a responsibility to the studio too — they put a lot of money into this. So, you know, that’s always been a bit of a conflict there. But, you know, we’ve got to somehow make that … story work on film. First and foremost, it needs to work on film. With this story and why it works so well, I think, is because we only have about three or four paragraphs that are really, really relevant to the story. We know a bit about the characters. We know about Helm, we know that he had two sons, we know that that he was challenged by one of his nobles called Freca who suggested Wulf marry his daughter.

And here’s the interesting thing. We know there’s a daughter, but we don’t know her name. We know nothing else about her, which was actually a gift for us. Because we could then take her, take what we knew from the way Professor Tolkien wrote other female characters like Éowyn, and draw upon some history that was very relevant to the Rohirrim and create her and tell her story. So, hopefully, it’s a mix of being as faithful as we possibly can to his original works.

But there was a quote that Professor Tolkien himself said, and he wrote it in one of his letters (to, I think it was a fan) that he hoped other lines would come to this mythology he had created, wielding music and drama, and art, which is perfect. So I think he was open to that idea. Because if you’re going to keep a story alive, if you’re going to keep a mythology — because he didn’t just write stories, he wrote a vast world of imagination — then you need to, you need to let other people in. And, nothing we do can take away from the magnificence of what he’s done. All we can do is share our interpretation. It’s just like Shakespeare can be reimagined a million times.

And, you know, it doesn’t take anything away from him. So hopefully, our little morsel that we’re dropping into — he called story “a pot of soup”. So we’re checking in our morsel into the pot of of soup of story.

And we’ll see if people want to drink it!

[12:57] Interviewer
Thank you very much for Thank you. Mirror of the meeting. We are really glad to have you here in Annecy and we cannot wait for you coming back with the rest of the work.

War of the Rohirrim annecy panel
The War of the Rohirrim Annecy panel. Source: Jason DeMarco.

Our anime-insider has brought us this exclusive report from the Warner Bros. panel at Annecy in France that presented an exciting “first look” at The Lord of the Rings: The War of the Rohirrim.

Be warned: depending on your knowledge of the Helm Hammerhand story and what you’ve been reading of our coverage so far, there may be spoilers below!

War of the Rohirrim annecy panel
Source: WB SVP Jason DeMarco.

Panel members:

Kenji Kamiyama – Japanese director

Philippa Boyens – writer/producer (Philippa shared shoutouts from Peter Jackson, Fran Walsh, and Andy Serkis.)

Joseph Chou – producer and owner of Sola Studios 

Jason DeMarco – studio creative exec with WB. (Described as being “made in a lab to make this movie” because he’s an anime and Lord of the Rings nerd.)

Making of the film:

 WB raised the idea of an animated film. Philippa felt the question was “Do we want to see familiar characters from the live action films animated?” Her kids love anime, which is her connection to the medium. 

She talked about the need for a level of realism, to bridge the gap between live action and animation. 

They wanted to tell a complete story that was separate from either of the trilogies, and a story without the direct influence of the Ring or the shadow of Sauron. 

Wanted to find a story in Middle-earth that “fit with anime, culturally.” 

Kenji Kamiyama is also a writer, so Philippa found it was an easy collaboration — he’s really good at keeping the story together, understanding place and scale, and keeping Philippa on track when she went down rabbit holes. 

The writing process began with Will Matthews and Jeffrey Addiss [Editor’s note: they recently won an Emmy for their Netflix series The Dark Crystal: Age of Resistance] who have comedy chops but were not versed in the lore of Middle-earth. And Philippa didn’t want to write it: “I felt too old, honestly.” So she brought in her daughter Phoebe and her partner Arty Papageorgiou. Phoebe literally grew up on the sets and most importantly, she understands the rhythm of Tolkien’s language. Kenji was so excited to have a young female writer onboard. 

They collaborated with many people from the live action film. We saw concept art from John Howe, Alan Lee, Richard Taylor, and Mark Wilshire were also involved. They also worked with WETA closely, and literally used their models of Edoras. It fully takes place in the world of the film trilogies and many of the images will look very familiar to fans!

When Kenji was approached with this idea, he thought it was “impossible”. 

Adapting the world to animation was a struggle. They worked with Daniel Falkner (sp? Editor’s note: Dan Falconer, I think!) who was an art director on the live action films and “knew where the bodies were buried” — [he] could help them find old assets and consult about the history. They talked about the number of horses — so many! — and how hard horses are to animate. But that’s a huge part of the story. Kenji said they needed to use all their tricks to pull this off. They sent the animation crew to horse barns to film, ride, and “be scared”. 

Animation process: they used detailed CG models of the characters and layouts, some from WETA, and assembled a layout in Unreal. They would choose shots and cuts from this and assemble a rough cut. This served as a base for the mocap director who would film actors. Then it all went to the animators, who used that to do the animation. Kenji stressed that this is NOT ROTOSCOPE — it’s an interpretation/translation. 

Kenji said that usually, a character animator will take a lot of time to learn a character. They really need to understand them. But this movie had a tight timeline, hence the motion capture. 

I don’t think Howard Shore is composing the music, but they are using his score — so cool to hear it! 

Philippa said it’s been “a joy” to work on an animated project. She also talked about working with Jason DeMarco, and how he made sure to get some “monster vs. monster” moments in the film. 

I talked with Philippa later and she wanted me to share a detail: in Carpenter’s Tolkien biography, when Tolkien first had a room in college he decorated it with Japanese prints. She found that really cool to now be doing this distinctly Japanese take on animation. 

While they mostly seem done, Kenji and Joseph have a lot more to do, they’re still deep in the production process. Kenji seemed stressed! “Probably the biggest film he’s ever worked on”. Kenji kept talking about the challenge of it, and was clearly still thinking deeply about “how he’s gonna finish this film.”

Joseph described it as “a huge privilege” to work on this. They want to do Japanese animation proud, and they are very aware of all the fans who are watching and want this to be done right. Also this is the first time he and Kenji met Philippa in person! This was started during Covid. 

Joseph jokes about how the crew is going to have to work nights and weekends to finish this movie, which really bummed me out. Can we not normalize the brutal working hours in animation? I expect better tbh. 

They ended with saying that they are currently recruiting talent for the film. Presumably in Japan. (Editor’s note: I wonder if that means additional animators … or Japanese voice talent?)

Finally, the movie will be out 4/12/24 in theaters only!

Spoilers below – you have been warned!

Story details:

There may be “a character or two we recognize” from the live action films. (Editor’s note: Saruman, Saruman, Saruman and Saruman.)

It’s about the failure of Helm Hammerhand, the war that results from it, and the characters who stepped up in the wreckage. Edoras is destroyed at the end of act 1 — we saw some beautiful art of a burned Meduseld — and the rest of the movie as about “the wreckage of war”. 

Discussion of the Rohirrim culture as being based by JRRT on the Mercians — a warrior culture with a code. Family-based power structures and struggles, with honor and loyalty being more important than wealth and riches. 

Alluded to a “ghost story” and a “surreal story” within this movie — all suited to the medium of animation. 

We saw concept art images of Oliphants and orcs (I think — maybe they were wildmen) surrounding Edoras. We saw a rider with long yellow hair and a horn riding in front of an Oliphant. The art style reminds me of some 90s anime. We saw art of Isengard on its own, and surrounded by tents and wildfires. We saw a lot of background art of Meduseld — really beautiful translation in my opinion, and so familiar. 

Lots of consultation with experts to figure out what Middle-earth would look like 260 years before the events of The Lord of the Rings. 

The movie begins with a voiceover from Éowyn — Mirando Otto herself! She talks about Héra, how she is a rebellious child and how she is not named in the old tales. We got to see a rough cut of this beginning, with a combination of CG models and hand drawn animation. Héra rides across the plains, rides to the top of a bluff, and tosses a huge hunk of meat into the air, where it’s snatched by a giant eagle. She almost touches the eagle — but it flies away before she can. 

We saw another scene in Meduseld, where a herald talks to Fréalaf about heraldry, and then Héra comes in to explain the shieldmaiden herald and what it means. She and Fréalaf are cousins i think? Reminiscent of Éomer and Éowyn. Helm comes in, commanding the attention at the room, and sits at the throne. 

We saw a still image of Helm frozen in front of the Edoras gates, knee deep in enemies. Again I’m not sure if they’re orcs or Wildmen or both. (Editor’s note: maybe the concept art below? Which is more likely to be the gates of the Hornburg (then called Súthburg), not Edoras) 

Helm Hammerhand concept art for The Lord of the Rings: The War of the Rohirrim

The Characters:

Héra (VA: Gaia Wise) – female main character. Not named by Tolkien, but Helm’s daughter is mentioned and she was the character they wanted to explore. Wanted to explore a female POV in Middle-earth, but she’s not a warrior princess per-se — she doesn’t become king. For her character, they they drew on the historical figure of Æthelflæd — the Lady of the Mercians, who defended her people.

We saw expression sheets and designs for Hera. She reads very 90s anime girl — kind of reminds me of the Rankin Bass Éowyn. She has red hair in a messy braid, leather armor, and a sword. We also see designs of her in formal dress. They describe her as “vulnerable and wild”, a tomboy type character. She has a growth in the film — maybe tied to needing to lead her people in a time of chaos. Philippa loves that her hair is never perfect. 

Wulf (VA: Luke Pasqualino) – the other main character, the main antagonist. I think he’s from the Wildmen? He’s a big muscly dude with long hair, scruffy, an axe and furs and a ragged cloak. A scar over one eye. They solicited “lots of ideas from the female staff” in the studio. The note they got was “he does bad things, so make him beautiful”. And he is. 

Helm Hammerhand (VA: Brian Cox) – daddy vibes. he’s got a big beard and a crown, we saw an expression sheet and a polished design. Red and blue clothing with beautiful intricate gold details. 

Freca (VA: Shaun Dooley) – He’s the leader of the Wildmen, and he offers his son’s hand in marriage to Héra. That’s the inciting incident of the movie and leads to “Helm’s big mistake”. He’s wide with leather armor, a cloak, and some kind of bearpaw maul on a chain. He has facial tattoos. “Helm doesn’t take him seriously.” He’s trying to take over Rohan with this marriage. He’s strong and tragic, but also a comedic figure. Philippa quoted a line from the movie: “fat and prosperous is when men are at their most dangerous”. 

Fréalaf (VA: Laurence Ubong Williams) – I think he’s Héra’s cousin, he “wins everything in the end” and becomes king. 

Thank-you WB and Philippa Boyens for all your kindness and generosity. We look forward to seeing The War of the Rohirrim next April.

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The Annecy Film Festival “first look” at The Lord of the Rings: The War of the Rohirrim has just concluded and reactions are starting to trickle out. While we wait for fuller reports from our own Crebain, here’s a selection of thoughts from the internet.

(It does seem quite positive and I am personally very excited by that.)

@RyanGrobins

Just finished the work in progress talk for the new #LotR film #WaroftheRohirrim, and I have to say that the marriage between Lord of the Rings and #anime never looked so good! The world and characters looked very authentic. I can’t wait to see this in theaters next year.

@GuillameGas

Art-books, chara-design and extracts enriched this exclusive presentation of the future “The Lord of the Rings: The War of the Rohirrim” in the company of his team, including Kenji Kamiyama (director) and Philippa Boyens (screenwriter of the LOTR saga ).

@RafaelMotamayor

LordOfTheRings War of the Rohirrim is already shooting to the top of my most anticipated movies of 2024. The (very short and unfinished) footage shown at #Annecy2023 looks fantastic. This is 100% in line with the original trilogy while also very much an anime. Can’t wait.

@CloneWeb

I’m drying my wet eyes, I’m cleaning up all these pages of notes and I’m telling you, but #WarOfTheRohirrim is in very good hands.

This is beautiful 2D from new drawings by John Howe and Alan Lee. It’s full Rohan and the story, based on three paragraphs, is led by a young woman, Hera, the daughter of Helm Hammerhead [sic. i think that should be “Hammerhand”.]

@mpmorales

Two scenes were shown (one of them, the opening, not finished) and the producers commented on the importance of trying to unite the world of Lord of the Rings movies with anime ones. And it really was an interesting combination. It reminded me a bit of Castlevania.

Castlevania! That’s interesting. I’ve not watched it (Netflix jail something something), but I understand it’s well-regarded. Two scenes is also interesting, and accords more or less with my expectations of what they’d reveal.

@RyanGrobins

For #WaroftheRohirrim, a lot of Unreal and motion capture is being used to help figure out the shots. But no rotoscope is being used, it is only for reference. Then it is all getting the traditional anime treatment for the final look. It looks amazing! #LotR #AnnecyFestival

It is only for reference: right now, I’m interpreting that as meaning for fight scenes pending further clarification. I do think they are trying to not scare/alienate people who’ve seen Bakshi’s rotoscoped LOTR treatment with that clarification.

@MatteoSapin

I saw the first images of the (Japanese) anime “The Lord of the Rings: The War of the Rohirrim” To be honest, not particularly convinced for the moment, I was hoping for something else BUT we really find the style of PJ’s films and the sets seem successful.

The first fence-sitter! And more for the adherence to PJ-style than anything else? Interesting.

@RyanGrobins

There was a really early layout of what looked Ike [sic] the opening sequence: starting from a map fly through to a sequence with Hera on a horse with some great eagles. Then a talk scene in I assume Edoras with Hera talking about the shield Maidens. #LofR #WaroftheRohirrim

A little bit more detailed information about the scenes that were shown.

@RyanGrobins

Some work in progress footage, and then at the end a montage of completed shots. It really looks like a lot of care is being put into it.

Aaah, wish I’d been there to see!

KEY UPDATE

French publication Allocine comes in with the first extended report on the “first look”. I’ve used the googlemonster’s auto-translate to pull out some key details, but you should peruse the original article in French here.

This animated prequel set 260 years before the cult trilogy is inspired by the Appendices provided by JRR Tolkien at the end of The Return of the King (Appendix A, Chapter II: The House of Eorl).

This is a curious one since earlier publicity material has stated events occur 183 years before the events chronicled in the original trilogy of films. Even factoring in the canonical delay between Bilbo’s party and Frodo setting out for Rivendell, something still seems wrong. It’s also … well… trivial, so I’ll return to this weirdness when I have time.

The film features a female character Hera, “neither a princess in distress nor a warrior” , the daughter of King Helm whose hand is coveted by Wulf, himself the son of Freca the leader of the clan of wild men.

I really like the neither/nor. It feels more complex and open to a nuanced presentation. By-the-by it also accords with the vibe I got from my discussion with Philippa Boyens last year.

“The attraction of this film was to tell a film that follows neither the story of the Ring nor that of Sauron” summarizes the New Zealand producer, who also hinted that some characters well known to fans of the trilogy could appear in this film.

The Helm story is a very human one, and on the face of it, remarkably unmagical. No elves, no dwarves, no wizards. Except Saruman at the very end. They really want to say Saruman, but they’re only willing to tease it.

To explore Tolkien’s universe using anime codes, several different animation techniques were employed, ranging from CGI to more traditional 2D animation as well as the employment of performance-capture techniques . For the sake of realism, the animators of the film were asked to study horses and practice horseback riding.

As I wrote yesterday (completely stealing the line from the incredibly smart anime art anaylsts over at Sakuga Blog), “horses populate the nightmares of animators”. It makes a lot of sense — Rohirrim as Tolkien outlined in Letter 144 is a Sindarin name meaning “the host of the Horse-lords”. Kyoto Animation had people on their staff who knew Kyudo (Japanese archery) for their series Tsurune. The results of that practical knowledge applied to their work speaks for itself.

Three non-finalized excerpts were broadcast in exclusive preview during this panel. The opening sequence, introducing the character of Hera, a dialogue scene in King Helm’s throne room, and finally a short teaser announcing the film’s main action scenes.

No Eowyn seemingly? Kinda surprsing, but I’ll take a cookie for guessing Edoras would feature. Hera and Helm suggests to me that the familial relationships will be critical. Hera may end up our viewpoint character. Why? She survives wheras all her close kin — Helm, Haleth and Hama — perish.

Big ups again to Allocine for the summary!

SLASHFILM also has a very nice report up now. Unfortunately, at time of writing, they appear to have confused Charlie Cox for Brian Cox, who is the real voice actor for Helm Hammerhand. we all make typos but hopefully the eds over there can fix that one soon.

ARROBA NERD has an even better and more detailed report. It’s getting late over here in Oz so I’ll leave it to others to break it down, but it has more details about character designs and dialogue that you can read about here.

IMPORTANT (because i know a lot of people will wonder): Producer Jason DeMarco clarified about the status of the footage shown to attendees — “We presented work in progress for attendees of the festival but it won’t be widely released.”

NOTE: I’ll keep updating this as more reactions come in (hopefully with more details), so be sure to check back!

Helm Hammerhand concept art for The Lord of the Rings: The War of the Rohirrim