The Annecy Film Festival “second look” at The Lord of the Rings: The War of the Rohirrim has just concluded and reactions are starting to trickle out.
It sounds like a lot of people were quite impressed. Variety described the footage as “epic” and stated that the showing received “thunderous applause”.
Screendaily probably has the most comprehensive report so far and has the news from Philippa Boyens that Fran Walsh and Peter Jackson are on board as executive producers.
“They’ve been huge supporters of this film from the very beginning; they’ve stayed in the background a little, but I’m proud to reveal that they’ve been with us all along and are in fact our executive producers.
“They wanted to stay in the background because Peter in particular wanted to give Kenji the space to find his own way into the film,” added Boyens, who produces The War Of The Rohirrim with Joseph Chou.
Warner Bros/New Line screened 20 minutes of the film to the Annecy audience. It was followed by a panel hosted by Andy Serkis, who played Gollum in Jackson’s Rings trilogy, with Boyens, Kamiyama, Chou and executive producer Jason DeMarco present.
“We did not want to make an animated version of a Peter Jackson film,” said DeMarco. “We wanted to make a Kenji Kamiyama animated feature film that lives within that world. That’s a difficult task that requires a lot of delicate balancing between two types of filmmaking that haven’t collided like this before.”
Here’s a quick selection of instant reactions and good ol’ hot takes.
A super exciting event and incredible audience reaction. Six months to go! #waroftherohirrim @stephengallaghermusic
Had the pleasure of seeing a sneak peak of The Lords of the Rings: The War of the Rohirrim. Honestly it’s absolutely stunning and I can’t wait for it to be released in cinemas. #JosephatAnnecy #AnnecyFestival #LOTR #Anime
It’s not long until Warner Bros. Animation unveils its long-awaited second look at Kenji Kamiyama’s The Lord of the Rings: The War of the Rohirrim at the 2024 Annecy Film Festival.
The 90-minute presentation, hosted by Andy Serkis (Hunt for Gollum tie-in, anyone?), will feature the first 20 minutes (or so) of Kamiyama’s 130-minute-long feature anime. People with good memories will recognise how this mirrors their appearance at the same event this time last year.
Source: War of the Rohirrim Producer Jason DeMarco
It will be interesting to hear if they show it all in single sequence, or as a series of snapshots as they did last year. It will also be very interesting to hear about the progress the animation team has made on the raw, rather-unfinished footage that they screened last year.
The Annecy presentation will also finally bring some support to the lonely promotional furrow that composer Stephen Gallagher has been ploughing this year.
On our Discord channel dedicated to all things WOTR, we’ve been closely following the trail of hints he’s been leaving on his Instagram account but I’ve long thought his efforts deserve a wider audience. So I’m going to take a thousand words or so to update you all on what’s been happening on the musical front!
Gallagher, in case you’re unaware, is a New Zealand composer and award-winning music editor. He is probably best-known to Tolkien fans for his work on The Hobbit where, as well as working as music editor on all three films, he composed the songs ‘Blunt the Knives’ and ‘The Torture Song’ for An Unexpected Journey. Read up on him in our backgrounding post here.
He obliquely revealed on his Instagram account around the end of February that The War of the Rohirrim production had shifted to scoring and recording music.
On February 25 he posted a tiny snippet of score from a piece titled “2. M03 Business” with a simple caption “Time for business…”, showing parts for at least Cor Anglais (otherwise known as English Horn), bass clarinet, (probably bass) bassoon and crumhorn. Additional, unknown, instruments are obviously further down.
Despite the absence of a key signature, TORn Discord moderator Lasswen promptly placed the score snippet into notation program Musescore4 to gauge what it might sound like, working on the assumption that it was scored in concert pitch.
We’d like to emphasise that this is our approximation based on the score provided with the notation inputted into a program to recreate the sheet music we could see, then exported as an mp3 — it’s not the *actual* thing. You can have a listen below.
2. M03 BUSINESS
Lasswen notes that
“… aside from what other instruments are in that piece, let alone missing from that sample (eg. there’s two bars after the contra bassoon that we don’t know if it’s silence or something else lower on the score is filling in), I think it’s also interesting to note that typically if piccolo, flute, oboe or trumpets were in it they would have been in that section we saw. Most of what’s there are low bass instruments.”
We like the creepy, unsettled sound.
Now, that might indicate a monster theme since both Executive Producer Philippa Boyens and Producer DeMarco have mentioned we should expect monsters — that there are things lurking in the White Mountains.
But there are other possibilities — particularly if, as we suspect, the numbers indicate that “Business” is a piece that arrives early in the film.
The initial, fatal conflict that arises between Helm and Freca is underpinned by an enormous amount of unease. Further, Freca, is there on his own business — the business of marriage.
‘To one of these councils Freca rode with many men, and he asked the hand of Helm’s daughter for his son Wulf. But Helm said: “You have grown big since you were last here; but it is mostly fat, I guess”; and men laughed at that, for Freca was wide in the belt.
‘Then Freca fell in a rage and reviled the king, and said this at the last: “Old kings that refuse a proffered staff may fall on their knees.” Helm answered: “Come! The marriage of your son is a trifle. Let Helm and Freca deal with it later. Meanwhile the king and his council have matters of moment to consider.”
The Lord of the Rings. Appendix A: The House of Eorl.
The “business” of the title may well be the attempt to arrange a match between Wulf and Hera. It seems an excellent fit. Could it be as Freca enters the Golden Hall and approaches Helm’s throne?
The “courtly” tone of the crumhorn could be a good fit for such an event:
The seemingly extensive use of horns also makes us wonder whether, at some point we will hear the famed Horn of Helm resounding through the Deeping Valley.
Gimli blows the Horn of Helm in PJ’s The Two Towers. Watch here.
Helm had a great horn, and soon it was marked that before he sallied forth he would blow a blast upon it that echoed in the Deep; and then so great a fear fell on his enemies that instead of gathering to take him or kill him they fled away down the Coomb.
The Lord of the Rings. Appendix A: The House of Eorl.
Gallagher’s Instagram posts indicate that he spent some time in Wellington finalising the musical score at Stroma FilmWorks and has been working with noted sound producer and mixer Pin3hot who was previously Supervising Music Editor for Peter Jackson’s The Hobbit and Lord of the Rings: Return of the King.
In a perhaps-weird coincidence, Pin3hot’s credits also include Ultraman. Ultraman, of course, was overseen by The War of the Rohirrim director Kenji Kamiyama (alongside Shinji Aramaki), and produced by Sola Entertainment — Joseph Chou’s company that happens to be handling production and animation for The War of the Rohirrim.
As near as we can tell scoring seems to have been finalised on or around February 26.
A few days later, on March 2, Gallagher posted another snippet of score labelled “Helm Hammerhand Still Stands” with a simple message: “What a week!”.
Lasswen, on TORn’s Discord server, offered some analysis, observing that:
This time all the instruments were concealed.
Although there is no tempo or clefs, the bottom stave changes to bass clef, suggesting the others are in all treble, and that there are fewer bass instruments present than in Business.
Since the five visible staves are grouped together (by the bar lines extending down across them) what we can see there is probably woodwinds (unless there are no woodwinds and these are treble brass such as trumpets and french horns).
There might still be crumhorns, just maybe not the bass ones as in Business.
Business had seven woodwinds, with a lot of bass ones, so this is likely a very different piece.
There is only one visible note at the start, though you can see that the instrument on the second staff is also playing; and it’s a lower note than in the second bar (from the curve of the slur line), but difficult to guess precisely what it would be.
The dynamic markings indicate it being quiet, at least at the start, but with some swell of sound and then a fade-away.
Like with Business, Lasswen also dropped this piece into a music editor, this time using piano as a ‘neutral’ instrument, to create two versions —the first assuming all those instruments start in treble clef, and the second with the bottom-most instrument starting in alto clef (that would mean the sound is not at all discordant for the second bar).
HELM HAMMERHAND TREBLE.MP3
HELM HAMMERHAND ALTO.MP3
But what is it about?
Well, the title alone Helm Hammerhand Still Stands feels like a strong nod to what is probably the most iconic scene of the short Helm tale in Appendix A, when the Dunlending have Helm and his retainers trapped in the fortress that would later bear his name.
We think the much higher numbering (M38) also supports that it’s from somewhere far later in the film than we believe Business will be.
One night men heard the horn blowing, but Helm did not return. In the morning there came a sun-gleam, the first for long days, and they saw a white figure standing still on the Dike, alone, for none of the Dunlendings dared come near. There stood Helm, dead as a stone, but his knees were unbent.
The Lord of the Rings. Appendix A: The House of Eorl.
Coincidentally (or not), it’s also one of only three scenes for which Warner Bros. has already revealed initial concept art.
Concept Art for The War of the Rohirrim.
In a bit of a wrap post, Gallagher revealed that in the first week they recorded approximately 82 minutes of wind and string instruments.
Kenji Kamiyama and Joseph Chou also happened to drop by and check things out.
At this point, the soundtracking relocated to London to record other instruments — particularly brass and percussion — in London’s Angel Studios and at Air Edel.
Should be able to catch up on sleep the next 24 hours of travel – when you live in London, New Zealand really is the other side of the planet. Looking forward to @stephengallaghermusic arriving this weekend for our next batch of sessions. You didn’t think it was only strings and winds did you?!
On his Instagram, Pin3hot referred to it specifically as an Odaiko (listen to one here). A little research is intriguing:
The odaiko was once used as a battle signal, and now features in Kabuki theater (a popular form of theater that has evolved from 17th-century aristocratic theater), Zen Buddhist ritual, and traditional dances.
At the beginning of May, Gallagher was back in Wellington for even more recording working with conductor Hamish McKeich (principal conductor in residence for the New Zealand Symphony Orchestra).
This most recent, and perhaps last, batch of recording seems to have involved choral singing. And weeping. Whatever could that be about? A funeral, perhaps? Time will tell.
On a blustery March afternoon in San Francisco, when the clouds skirting past the tall buildings threatened showers of rain amidst the bashful bouts of sunlight, a handful of wanderers tucked into an office nook for a chat about a game of special significance. Three had come all the way from New Zealand to attend the Game Developer’s Convention (GDC) for the week, while two of the travelers were California locals. It was a merry meeting indeed, and I was delighted to have the opportunity to ask some questions about the upcoming video game Tales of the Shire: A The Lord of the Rings Game™.
Hailed as the first “cozy” game set in the world created by J.R.R. Tolkien, Tales of the Shire is highly anticipated by fans of the gaming genre and The Lord of the Rings afficionados alike. Made in partnership with Private Division, Wētā Workshop are creating a Tolkien experience unlike any other, centered on the quaint, quiet lives of Hobbits in the Shire.
“This is our love letter to Middle-earth,” said Calliope Ryder, the lead games producer for Wētā Workshop, “looking at it through really cosy eyes. We wanted to build something that was about the Shire, that was about Hobbits, with a visual look no one had seen before. There’s a strong narrative and strong elements of gameplay, but the most important part is that it’s peaceful. It’s about slow Hobbit living.”
Hobbitcore delight
Anyone who has followed my webseries Happy Hobbit on YouTube knows that my sister, family, and friends have been all about “slow Hobbit living” and celebrating a simple life for over a decade now. This game was music to my ears. “It sounds like it’s pure Hobbitcore,” I gushed.
“We are very keen to make all the Hobbitcore people happy,” said Morgan Jaffit, Executive Producer, with a broad smile. “That’s very important to us.”
“Hobbitcore” refers to an aesthetic similar to Cottagecore, highlighting slow living, simple food, friendship with the earth, gardening, cozy settings, and of course, quaint adventures: in short, anything that falls under the umbrella of living like a Hobbit in a romanticized fashion.
While Tales of the Shire is far from the first game set in Middle-earth, its gameplay is unique. Previous games such as the wildly successful Shadow of Mordor (2014) produced by Monolith Studios and Warner Brothers Interactive Entertainment, and its sequel Shadow of War (2017) involve gameplay centered on violence, stealth, and killing. While there is a place for such slasher games, having an alternative focused on Hobbits, food, and community is a wonderfully therapeutic accompaniment.
Diversity in gaming
Perhaps it is the female-dominated realm of Cottagecore content giving this impression, but I had a preconceived notion that cozy games, such as my current favorite Wylde Flowers by Studio Drydock, were largely the realm of female gamers, which isn’t the case. As Ryder explained, “If we think about it in demographic terms, the stats that I’ve seen previously say that cosy is roughly 60% women. I think you’d be surprised by the diversity in the cosy setting; It’s more about what motivation that player has to be there, and that’s what we try to deliver.”
These assumptions are not without merit. For decades, gaming was a male-dominated realm, filled with games made by boys for boys. While the gaming industry is still a notoriously toxic space for women, progress is being made, and Ryder’s career is living proof. While plenty of women enjoy slasher games, cozy games have the appeal of being simpler in nature so that, while perfectly suited to longer gaming sessions, one may dip in for 20 minutes between other responsibilities and still feel satisfied having achieved a bit of soothing escapism.
Therapeutic escape
This need for therapeutic virtual spaces became prominent during the global pandemic. The concept for the game was born out of a desire to escape into the Shire amidst the uncertainty and fear of 2020.
“That’s one of the initial inspirations to make Tales of the Shire,” explained Ryder. “It sort of sprang up around that time, and there was this big cosy Cottagecore boom at the time because people want to connect with nature. This was our version of looking at what we know, which is TheLord of the Rings and Middle-earth, [and asking], how can we create something that really gives back, and gives people an escapist experience in a place that they would really want to go to, and leans into that Cottagecore and Hobbitcore aesthetic?”
Make no mistake, this is the game I have been waiting for nearly all my life. “To me, it sounds therapeutic.”
“Exactly,” Ryder replied. “I play cosy games to relax or to process things. And this is a game in which we want people to feel like they can unwind and chill in the Shire.”
Lingering in the Shire
Before the announcement of Tales of the Shire, the closest Tolkien gamers could get to cozy virtual Hobbit content was The Lord of the Rings Online (LOTRO) produced by Standing Stone Games and Middle-earth Enterprises, a massively multiplayer online role-playing game. While segments of LOTRO take place in Hobbiton, and there is certainly much Shire exploration in the open world of the MMORPG, the gameplay centers around quests and is lovingly loyal to the novels, where little time is spent in the idyllic countryside dotted with Hobbit holes and kitchen gardens.
“The engine that drives everything when you look at the journeys across both The Hobbit and The Lord of the Rings is this love of time and place, and it came from Tolkien’s passionate reminiscing of the world that he grew up in,” explained Jaffit. “We don’t spend much time in the Shire on the screen or in the novels, but it’s always there because it’s the thing that drives the engine of everything else. It’s the special thing about which you have a sense of loss, and a sense of wanting, and a sense of home. The Shire is the place that you actually don’t spend much time in but is constantly romanticized. So why not build something there? Everyone’s talking about it all the time. Live there? Yeah!”
Childhood inspiration
Jaffit’s enthusiasm is palpable and doesn’t just originate from a love of a fictional locale. Growing up on a farm in Victoria, Australia, he and his large family, “worked on the land and worked with horses in a small country town. Certainly, my upbringing is about rural town living and what that means. And this is a game about rural living and what that means, and it means something very special because it’s also progressively fading away.”
“Not to make my childhood sound incredibly idyllic,” Ryder added, “but I also grew up on farms in the Waikato region of New Zealand which, if you know much about TheLord of the Rings films, is in the same region the Shire was filmed. Something that would make me really happy is if players can feel just a little bit of what I felt when I was growing up feeding chickens, when I was only this big,” Ryder paused to hold her hand a few feet up from the floor. “They were actually terrifying dinosaurs!”
Having likewise grown up with a family garden, chickens, horses, and other livestock, I have a keen connection with the land and forest surrounding my home. Many people are not as fortunate to have had the same experiences as we three, and providing a digital space for others to connect with an agricultural lifestyle, the cycle of the seasons, and living in friendship with the Earth is a means of keeping a fading way of life alive and accessible.
“I really want our players to get a sense of the best bits captured in my memory of what it was like growing up in Waikato, New Zealand,” said Ryder.
“As we lose our living links to the past, we see that resurgence in interest as we realize that we have to ask for those stories from our parents or else miss the opportunity to hear them,” explained Jaffit. “You have to ask about the stories of the people you meet, otherwise you miss the living link.”
Return to a pre-industrialized world
The irony of discussing how Tolkien created the Shire out of nostalgia for the pre-industrialized world of his childhood, as we shared our mutual love of farm life in that room in San Francisco, against the backdrop of the Silicon Valley, surrounded by skyscrapers representing “big tech,” was not lost on anyone. “We live in such a busy world,” I offered, “and in a world where there’s so much negativity being crammed down our throats from every angle. I think that the timing couldn’t be better for a game like this.”
“It’s a bit bleak that ever since we started, we were being like ‘oh, the timing couldn’t be better,’ but it’s still like that. Now the timing really couldn’t be better,” agreed Ryder. “People need this cosy game. People need cosy things and people need that link [to the natural world] you are describing, and I really hope that they will get a little taste of that experience.”
While not everyone can have access to idyllic spaces like the Shire in real life, a virtual experience brought to life by Wētā Workshop is the next best alternative.
“Wētā Workshop is better at place than anybody on the planet,” said Jaffit. “What this game is about is building a place that is warm and gentle and beautiful, that you can get to visit and be inside and understand and appreciate. I think it’s really special.”
Handcrafted with care
“This game in particular feels very handcrafted,” Ryder elaborated. “So even though we have this enormous IP that is beloved world over, it’s a very handcrafted, loving take on an experience that feels more indie. Many of us working on the game haven’t come from film, or haven’t had other experiences with LOTR, but we do come from the indie scene, and we really infuse that love and care and the closeness that we want to build with community in an organic way.”
“It is a very ‘creativity first’ approach,” I offered, and both Ryder and Jaffit agreed. As a former Wētā Workshop crew member myself (helping pen Middle-earth from Script to Screen with Daniel Falconer), I greatly admire the way the Company not only honors but celebrates the creative process and collaboration. The team behind Tales of the Shire was able to draw upon Tolkien experts Daniel Falconer and Sir Richard Taylor for feedback as the game was developed, to ensure attention to detail and accuracy; both of which are incredibly important to a fanbase known for its love of lore.
Well-known characters – and a mystery duck
Set in the Third Age of Middle-earth, Tales of the Shire promises to have some familiar faces appear. While we seem to have already glimpsed the Wizard Gandalf in the teaser trailer, Tolkien fleshed out a great many of the Shire locals, and gamers can expect to encounter them. “We have some more [obvious characters] I think most people will recognize from the world they know, and then we have a lot of subtler ones for the hardcore fans who are really deep into the lore… and you’ll have some moments with them.”
One seemingly original character who caught the imagination of fans from the very first images released from the game is a duck wearing a Dwarven helmet. TheOneRing.net’s Discord and broader social media in general has been alive with speculation over the mystery duck. “Yeah, she is in herself a bit of a tease of something to come that we haven’t seen yet,” shared Ryder. “She’s a hint. She’s the Easter egg. She’s got a name. I won’t give you a name right now, but she has one.”
While the identity of this Mystery Duck remains a closely guarded secret for now, the presence of other fine-feathered friends didn’t escape my Hobbit senses. “In both teasers, the sound effects of chickens are featured heavily,” I said, before going in for what is likely the burning question all fans want answered. “Can we expect chickens to be integral to the game?”
“They will,” Ryder laughed. “Maybe not as much as we’ve hinted, but they are definitely there. Yeah, we have had quite a bit of fun.”
The full trailer for the game and release date have yet to be announced, so I remain in suspense amidst my fellow gamers as to the role of chickens and the identity of the Mystery Duck in Tales of the Shire.
Tales of the Shire will be available on PC and consoles, with a mobile version to be released via Netflix. Watch the announcement trailer below.
Kellie is known as “Kili” on Happy Hobbit, but also writes Fantasy novels and hosts a podcast under her pen name, K.M. Rice.
Peter Jackson and other luminaries from all quadrants of the Film Business celebrate the life of Sir Christopher Lee (who played Saruman in both The Lord of the Rings and The Hobbit) in a new feature-length documentary. We caught up with the director of the film, Jon Spira, to get the real story on Lee’s personal mythology.
The new documentary is completely finished, and pre-orders for the DVD and Blu-ray editions are available on Kickstarter now. With self-distribution, the documentary bonus features will include the full, unexpurgated Peter Jackson interview as well as many other goodies. See a clip here:
Director Jon Spira talks with Quickbeam
Quickbeam: When we were making Ringers: Lord of the Fans, we were just walking around and asking all kinds of people, would you like to share your reflections on the the whole Lord of the Rings fandom. Everybody from David Carradine right on down to Peter Jackson and everyone in between was very happy to say yes. The stories just profusely came out of people. Did you find that people were just really eager to talk about Sir Christopher Lee?
Jon Spira: People really wanted to talk about Christopher Lee because he left an indelible mark on everyone he met. He was loved and admired; and and I say that as two very separate things. The people who knew him truly loved him, and the people who maybe didn’t know him as closely, truly admired him. One of the things that I found really kind of heartening and fascinating to learn was that he was somebody who was completely egalitarian. He would talk to anybody, he treated everybody as his equal, and he would sit down. He loved being on film sets, and he was just as happy talking to a runner as he would be talking to the director.
Christopher Lee didn’t differentiate between people he really didn’t see differently from someone who came from genuine aristocracy. He didn’t see that divide in people. And so he he left a legacy of genuine affection. And that was something which really kind of came out in the film.
Allowing Sir Christopher to be His Own Voice
Quickbeam: I love that that you can discover new insights into your subject without knowing you’re going to arrive there. You you begin as a filmmaker, as a documentarian, you start somewhere and you always surprise yourself and ending up with new places and new information you’ve discovered that actually does recontextualize what you’re trying to present (as a filmmaker).
Jon: There’s some apocryphal stuff out there, but most of those crazy lists are completely true. Really weird stuff. Like, he met Rasputin’s killers and he witnessed the last-ever guillotined person in Paris. You know, all that strange stuff is true!
I trust the process now. I don’t always know going into it. I don’t always know what I’m making. One thing that I really knew was that I wanted Christopher Lee to narrate this film somehow. Like, I knew that he had to be the narrator of the story, because I knew that he was the unreliable narrator.
Christopher Lee is descended from Emperor Charlemagne of the Holy Roman Empire, related to Robert E. Lee the Confederate general, and nearly married into the Crown Equerry to the King of Sweden pic.twitter.com/iUa1AxDUsY
(Editor’s Note: Jon helped us clarify that Sir Christopher was indeed NOT related to Gen. Lee)
Sir Christopher’s Deep Fascination with Tolkien
Jon: He was completely obsessed with Tolkien. He read Lord of the Rings when it first came out, like, you know, chapter by chapter. And he read it every year. He would read the whole of Lord of the Rings cycle once a year. He was completely obsessed with it. When it was announced that Peter Jackson was going to make the films, he basically grabbed hold of his son-in-law, who was, to a degree, his defacto manager at the time, and basically said: “You have to get me in these films, no matter what. You have to get me in these films–so get online.” Because he personally was a very early adopter of the internet as well, and using it for his fan base, he was like, “Get online, make sure all the fans are talking about this, and make sure that these people know that I need to be in these films!”
I think one of the greatest parts of the documentary is a part that I didn’t direct. Throughout the film we use lots of animation and lots of kind of crazy stuff to tell his stories, and we got a guy called Dave McKean.
Jon: Yes! The crazy thing is, I said to him, “You don’t need to consult with me on this.” Without much time, I was expecting kind of a series of slightly moving images like an animatic. But his animatic was really good. How is he going to do it better than this? He ended up doing a whole studio shoot. He created full masks for people. He created a set. And he composed a score for it.
The best part is, Dave Mckean chose to animate the moment where Christopher Lee met J.R.R Tolkien!
The filmmakers express gratitude to @archmodelstudio for their great assistance creating this puppet!
On the Future of Saruman
Justin: For these recreation scenes, now there’s A.I. where you can do voice duplication.
Jon: We went even better than that. Have you heard of Peter Serafinowicz?
Justin: Darth Maul?
Jon: He was our first choice. And he was absolutely amazing. He’s very famous over here as a comedian. Had his own comedy show, and he was on a lot of other kind of shows. And he actually does great work.
Justin: With new Lord of the Rings coming from Peter Jackson and Prime Video, is the technology advanced enough to digitally recreate Christopher Lee’s Saruman? Or do you think recasting Saruman in these new tales is a better path?
Jon: I think recasting. I’ve talked to a lot of people and I’ve looked at deepfakes a lot, but he has qualities that can’t be echoed. I always think back to Rogue One where they kind of tried to do Peter Cushing, and you just go: “But it’s not him!” And at the end they did Carrie Fisher and you just go: “But it’s not her.” It feels off. You can’t recreate life. Not close up. Not that kind of thing. You can’t. The human eye is something which can’t be replicated because it’s the window to the soul. Everything that’s ever happened to someone is kind of behind their eyes.
It’s great for creating creatures and it’s great for creating original things. But if you’re trying to replicate a human being, I honestly don’t think it’ll ever get there. I think there is an anarchy in organic chemistry which will never quite be replicated.
Order the Compete Documentary on Blu-ray
You can watch the entire 90-minute conversation with the director of The Life and Deaths of Christopher Lee on YouTube. Clifford “Quickbeam” and Justin dive in deep with Jon Spira about the myths and legends about Lee, his core drives in life, and how much LOTR fandom really meant to him. Order your copy of the full documentary + bonus features, including interviews with Peter Jackson and Lee’s family, on Kickstarter now.
It’s Friday 17 May 2024 – and a seismic shift in The Lord of the Rings adaptations has been felt around the world. Here’s all the news you may have missed:
Rings of Power S2 gets a trailer, a date, and a BTS video
Prime Video unveiled season 2 of The Rings of Power at their UPFRONTS, an advertising industry event designed to lure more advertisers to buying commercials during shows. Prime also updated the show’s social media handles from LOTRonPrime to @TheRingsOfPower and released a 3 minute Behind-the-scenes look at S2.
Season 2 of The Lord of the Rings: The Rings of Power debuts Thursday August 29, 2024 with a 3-episode premiere, then settles into weekly episodes for the remaining 5 weeks.
LEGO Barad-Dur tower date and price
The 5,471 piece set is available June 1 for $459.99.
We see you. You can't hide your passion for the new Lord of the Rings: Barad-dûr™ set ☄️ pic.twitter.com/wx7ANVApcS
The first movie in the new WB LOTR license is The Hunt for Gollum, directed by Andy Serkis, who also will play the character again. Produced by Peter Jackson, Fran Walsh and Philippa Boyens, with a screenplay by The War of the Rohirrim writers Phoebe Gittins and Arty Papageorgiou. Read more about how they landed on this particular story in the Legendarium.
In a technical slip up, the automated YouTube and WB copyright system temporarily took down the 15-year-old fan film The Hunt for Gollum, which was back up within hours and is still free to watch.
Rohirrim preview in June while scoring continues remotely
Exec Producer Jason Demarco announced a “big chunk of the film” will be screened at Annecy animation festival in June, and shared a new logo for the movie.
Composer Stephen Gallagher continues to post updates on the scoring of the new Anime LOTR movie coming this December.
Middle-earth Enterprises owner Embracer Freemode shared an in-depth interview with CEO Lee Guinchard, where he lays out the strategy going forward to build The Lord of the Rings into a premium, high quality brand that is collaborative and fan-first.
LOTR Executive Producer Mark Ordesky has teamed up with the Blair Witch creators to launch a new fantasy project: an omni-channel disc-world universe with a dice game on Kickstarter.
Black Milk Clothing has finally restocked its official LOTR apparel, including this Arwen dress.
Christopher Lee feature-length documentary, featuring a brand new interview with Peter Jackson, enters its final Blu-ray pre-order days with a Dracula inspired premium box set.
The Hunt for Gollum Producer Peter Jackson has opened up to Deadline on why this story, and this character, are right for this crucial moment to extend a Middle-earth resume that’s reaped $6 billion at the box office. It is a follow-up discussion to the Middle-earth shattering announcement of two new The Lord of the Rings movies from last week.
“The Gollum/Sméagol character has always fascinated me because Gollum reflects the worst of human nature, whilst his Sméagol side is, arguably, quite sympathetic. I think he connects with readers and film audiences alike, because there’s a little bit of both of them in all of us. We really want to explore his backstory and delve into those parts of his journey we didn’t have time to cover in the earlier films. It’s too soon to know who will cross his path, but suffice to say we will take our lead from Professor Tolkien.”
Peter Jackson, via Deadline
The new feature film, The Hunt for Gollum (tentative title), seems to be a natural follow up from the writing and producing team behind The War of the Rohirrim. Newcomers Phoebe Gittins and Arty Papageorgiou wrote Rohirrim under the watchful guidance of Oscar winner (and Phoebe’s mother) Philippa Boyens, and the results have been impressive enough that they are already been engaged to work on this second Middle-earth film.
Peter Jackson and partner Fran Walsh are not officially involved in Rohirrim, but the activity around Weta from all their old collaborators may have been enough inspiration to get back into the game. Just as his original plan for The Hobbit was to hand off directing duties to someone else, Jackson has brought in Gollum himself Andy Serkis. “Their search for excellence never ends, and now I get to help reach that bar again. It was Philippa who first called me actually and said, look, this is what we’re thinking. And I was just flushed with a sort of, oh my God, I’m going back in there,” says Serkis.
Andy was already shooting his shot early last year, telling BroBible he was ready to come back on one condition: that Jackson is involved.
The Imaginarium production company, founded by Andy Serkis and Jonathan Cavendish, will help bring The Hunt for Gollum to life. They previously made Mowgli on Netflix and have three state-of-the-art motion capture studios in London, used on everything from Planet of the Apes movies to Napoleon. Andy is excited to film Gollum with complete mobility and freedom that the latest technology from Apes and Pirates movies now allow, and he is hyping up a more expressive full-body performance for this new iteration of the character.
Andy Serkis has kept busy directing feature films Venom: Let There Be Carnage, Mowgli: Legend of the Jungle, Breathe, and Animal Farm. Fans who have watched PJ’s The Lord of the Rings Extended Edition Appendices will of course know Serkis was Second Unit Director on The Hobbit films. He has also received accolades playing Caesar in the recent Planet of the Apes movies, setting a new standard for digital character performance.
How does The Hunt for Gollum fit with the LOTR trilogy?
“We don’t want this film to be just the fourth film in the trilogy. This film has to work in its own way,” Jackson tells Deadline. “I know there’s plenty of people out there who will be like, oh no, why are they doing this? Why are they going back in? Well, that’s our job. Our job is going to have to be to prove why we think that it’s a good idea.”
So it’s absolutely thrilling to be able to go back and do a deep dive into his world again, and specifically into Gollum’s psychology. I know we’re all interested in investigating on a deeper level who that character is, and on top of that, to be able to direct and hopefully create a film which has its place within the canon, but also something that’s fresh and new and a different approach.”
Jackson confirms the films will shoot in and around New Zealand.
What characters will be in TheHunt for Gollum?
“We are just literally having very early state script discussions and ideas of exactly where and how we’re going to drop anchor with [Gollum] and his journey and how he is or comes into contact with other characters, and the characters that we know and don’t know. So still, I would hate to say anything that’s going to commit us at this point, because it’s literally all up for grabs.”
“We have the right to The Lord of the Rings and the appendices, and that’s it,” says Philippa Boyens. “Fans always get nervous that there’s only so much story that is in there. But look at War of the Rohirrim. It’s a page and a half at first glance in the books. But there are lots of threads in there throughout the book.”
But really, why Gollum?
“Gollum’s story is one of the most compelling to us in terms of a character that we couldn’t go as deeply into as we wanted to before, which sounds strange when you say that, given how familiar he is to everybody,” Boyens told Deadline. Gollum had 34 minutes of screen time in the LOTR trilogy, just above Legolas and Gimli who both have 31 minutes, plus he’s featured in The Hobbit in a big way. According to LOTRProject Gollum is the most-mentioned antagonist in both The Hobbit and The Lord of the Rings books. Only eight characters receive more mentions across all the books, and they are all the main heroes. Of course, the data may be skewed because he always coughs his name twice.
Read the whole interview with Andy, Peter, and Philippa at Deadline.
