Nathalie Atkinson of The Ottawa Citizen writes: One of Howard Shore’s earliest performed compositions was the music for Doug Henning’s groundbreaking live magic show, directed by Ivan Reitman. It had a nearly five-year run on Broadway but was first staged at Toronto’s Royal Alexandra Theatre in 1973.
“How did you know about that?” Shore asks in disbelief. I explain that the credit leads his Canadian bio, which also includes Grammy, Golden Globe and Academy awards and which this weekend will be lengthened by the addition of a Governor General’s Performing Arts Award for Lifetime Achievement. Shore, 64, is one of six recipients this year, with others who include actor William Shatner and dancer-choreographer Margie Gillis. The honourees will receive their awards Friday in a ceremony at Rideau Hall, and attend a gala at the National Arts Centre on Saturday hosted by actor Colm Feore. The evening includes performances in tribute to each winner. More..
From the LOTR Trilogy Facebook Page: Ever wonder how the design & effects came together in The Lord of the Rings trilogy? Well, now you can ask the experts. Alan Lee & John Howe Illustrators & Conceptual Artists for The Lord of the Rings trilogy as well as Richard Taylor, Design and Effects Supervisor for The Lord of the Rings trilogy will be answering YOUR Facebook fan questions! Submit questions below & be sure to let us know who it’s for. More..
Sir Ian McKellen is one very cool wizard… um… guy. On his Flickr account today he’s uploaded a picture that’s truly worth a thousand words. It’s been snapped by none other than Peter Jackson on The Hobbit set.
THE HOBBIT is being filmed in 3D. Even wizards have to wear the glasses. Snapped by Peter Jackson in Wellington, 2011.
The BBC America Blog has an interesting interview with Orlando Bloom where his words seem to imply he’s going to be a part of The Hobbit (as, of course, the Elf Legolas).
Here’s one of the statements he makes:
I can’t really discuss it too much at this point, but I’m very excited at the prospect of being a part of it again. I think it will be wonderful to get back there.
Read the rest of the interview for Orlando’s thoughts on Peter Jackson as a director, and the themes of The Lord of the Rings and The Hobbit.
What do you think? Is Orlando Bloom pretty much going to be in these movies at this point? Follow the “Discuss” link to share your thoughts with fellow fans on our message boards.
On this episode of Hobbit in 5 we talk about Saoirse Ronan not taking part in The Hobbit, Hugo Weaving’s return, do a character study on Kili, and more!
Den of Geek has a great new interview with Sylvester McCoy who’s been cast in the role of the Wizard Radagast the Brown in The Hobbit. A few excerpts follow:
You’re heading off next to New Zealand to do The Hobbit, then! This must be the biggest adventure of all now?
I think it is, yeah. I think it’s a big one. I’ve had quite a lot of wonderful adventures in my life, and this one, I’m so excited.
When did you first hear, then, that you were close to landing a part inThe Hobbit? Because the rumour mill had been going for a while.
Well, last summer, Peter Jackson, Fran, and Phillippa flew over, and invited me for tea. So they got me a car, and drove over for tea. I thought it was more auditioning, because I’d screentested for it. But when I got there, they said would you play the part? Would I? No! Of course not!
They knew you from before…
Well, they saw my screentest for Radagast The Brown, and Guillermo del Toro, who was going to direct it, he’d okayed it. He was keen that I play the part. I didn’t know this, but I got it from the screentest. It wasn’t until I went to see them for tea that I knew. They were asking my permission to be in it!
There’s more Hobbit-related bits in the interview, and trust us, you’ll want to read all of them!
Nathalie Atkinson of The Ottawa Citizen writes: One of Howard Shore’s earliest performed compositions was the music for Doug Henning’s groundbreaking live magic show, directed by Ivan Reitman. It had a nearly five-year run on Broadway but was first staged at Toronto’s Royal Alexandra Theatre in 1973.
