The Annecy Film Festival — which is hosting a “first look” at The War of the Rohirrim on June 13 — has updated its site listing to reveal that the length of Warner Bros. Animation’s (WBA) forthcoming feature anime will be 130 minutes.
That’s actually substantial for an animated film and will place it among the top 50 longest animated films of all time. Length is no indication of quality, but good animation is time and resource intensive. WBA’s committment to a long feature indicates confidence in the story they have to tell.
It also helps explain the long development — the project was first announced in June 2021, and will not premiere until April 2024. For comparison, the newest Makoto Shinkai anime Suzume, began production in March 2020 and only debuted in cinemas earlier this year.
WOTR’s director, Kenji Kamiyama, has also been busy directing other projects: Ultraman, Blade Runner: Black Lotus, and Ghost in the Shell: SAC 2045.
Animation techniques: 2D/3D blending
The other thing of note in Annecy’s overview of the presentation is the animation techniques listed.
Much, of course, has been made that The War of the Rohirrim is being animated in 2D — because everyone panics mightily as soon as the words “3D animation” are even whispered. But 2D/3D blending — typically for effects or backgrounds — has become a staple in even some of themost popularanime, and can look non-intrusive and seamless when executed with skill. Apparently even Hayao Miyazaki’s Mononoke Hime contained a small amount of 3D CG rendering — something I was not aware of until I began looking into just how prevalent the use of CG effects has become in modern anime productions.
Just so long as they avoid horrors such as Golden Kamuy’s notorious CGI bear.
Animiation techniques: rotoscoping
Rotoscoping is another surprise, although Staffer Justin tells me TORn Tuesday reported industry talk that that WETA was using the “Avatar mocap technology” for The War of the Rohirrim.
It seems that talk was on the mark.
When I saw that I instantly thought that it might be used for animating horses, because as people who know far more about the art of animating than me point out, “horses populate the nightmares of animators“. And I think it would be foolish to not expect a film about the Rohirrim to not feature a lot of horses.
I can already sense readers who have seen Ralph’s Bakshi’s animated The Lord of the Rings recoiling in terror. Yet it’s important to acknowledge the time- and money-pressures that Bakshi and his crew worked under: effectively filming then animating the same film twice in a two-year period with a budget of approximately $4 million. (That’s a touch over $18.5 million in 2023 dollars — much less than many modern Disney animations.)
By comparison, Kamiyama and his crew have three years for development and production, they won’t be rotoscoping everything, and they have the substantial benefit of digital animation methods. And, one guesses, they have a larger budget.
One of our Discord regulars also smartly suggested that rotoscoping could be employed for battles, and pointed out a rotoscoped fight sequence (warning: this clip is quite gory and not suitable for children) that popped up in a recent episode of the anime Vinland Saga. It’s impressively natural and I could see something like that in a story as grim as that of Helm.
Just to further illustrate that rotoscoping can look great in the right hands given sufficient resources, check this character acting scene from Attack on Titan. Or this stunning piece of sakugafrom Kaguya-sama: Love is War that gained both popular and critical acclaim back in 2019.
Anticipating Annecy: going behind-the-scenes for 75 minutes
Kamiyama will be joined at Annecy by executive producer Philippa Boyens and producer Joseph Chou for a 75-minute behind-the-scenes presentation into their adaptation of the Helm Hammerhand story that is found in the appendices of The Lord of the Rings. The session will be moderated by fellow producer Jason DeMarco.
Right now, WBA is being very quiet about what they’ll be showcasing.
However, here’s a quick bit of speculation/guesswork that you’re free to take with a grain of salt.
I think the length of the presentation means those attending (not yours truly, sadly) will be treated to a slab of finished animation. I couldn’t see them filling a 75-minute session with just more concept art and character designs.
That animation might be a teaser, or it could be several small segments that the presenters then discuss. I recall that Peter Jackson did this for The Desolation of Smaug and, mostly due to the choice of clips focusing on Martin Freeman’s Bilbo, it was really quite effective at raising anticipation.
I’d expect dialogue and perhaps even music. Stephen Gallagher was revealed as the composer for the score back in February and must have been appointed to the role much earlier.
If it was me, I would choose scenes from places familiar to viewers of Peter Jackson’s films — both fans and casuals — to encourage the mental connection. That suggests Edoras or Helm’s Deep. But the latter might be a bit too far along in the story and reveal too much of the story, so I lean to Edoras. You could show some dramatic scenes with all the key cast — Helm, Wulf, Freca, Héra — that are root to establishing the conflict. The initial concept art that WBA put out showed Edoras being attacked so Kamiyama might tease some of that as well to show how much progress they’ve made.
Since we’re familiar with the location, it’s also possible that we could see Isengard (although, canonically, Freca’s seat of power seems to be another location at the surce of the River Adorn). This could also help set up that there are two sides to the conflict — something that Boyens emphasised was integral to the story they were telling when we spoke this time last year.
This is in addition to more concept art, and, I expect, our first look at some character designs.
Regardless, we’ll very soon know more. It’s been a long wait to get something tangible but it’s nearly over!
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.
TORn staffer ImladrisRose was in attendance at Monday night’s performance: and it reminded her of all the very best things about the Tolkien fandom, and the joy it has brought us all. Here are her thoughts on the experience.
Photograph by Ashlee Rose Scott
The Lord of the Rings: The Fellowship of the Ring 21st Anniversary Concert at Radio City Music Hall in NYC
The Lviv National Philharmonic Orchestra of Ukraine was at the helm, bringing Howard Shore’s incredible score to the packed house in Manhattan. Led by conductor Ludwig Wicki, Shore’s sweeping pieces, expertly performed by the Ukrainian ensemble, filled the concert chamber with pure magic as we were watching the film play out before us. Soloist Kaitlyn Lusk had quite the feat before her, but performed her piece with grace and ease. The Mastervoices Adult Choir sent chills through the theatre on multiple occasions, whether it be in the halls of Khazad-dum or the Departure of Boromir. The Brooklyn Youth Chorus and their shining stars brought us a deeply haunting experience through the fall of Gandalf, and with every moment they were given to shine.
The concert was a euphoric experience, one that will not soon be forgotten by anyone in attendance. Nothing compares to a live performance like this, seeing your favorite piece played out before you, feeling the synergy of the room. Uniting under one roof for a love of the arts and The Lord of the Rings…
I’ve been a part of this fandom since my mom “dragged” me to see Fellowship opening night. I was a ride or die Harry Potter fan and wasn’t willing to consider anything could impress me more. Let’s just say that I remember audibly gasping as the Fellowship rose over that mountain peak, the Fellowship theme triumphantly booming, and by that point in my first screening, I was obsessed (thanks mom!).
Twenty-one years later, my love of all things LOTR has taken me around the globe, launched my film career, given me an immense amount of opportunity and a community that I adore (looking at you, TORnSibs). I’ve seen the rise and fall, the ebb and flow of this fandom, and overall, Ringers are a group of excellent and admirable folks. With the recent release of a certain big Amazon show, I became disheartened by a lot of what I was seeing within our beloved fandom. As someone who spent many hours with my fellow staffers, moderating comments, it was causing me to lose that love and spark that I have felt for Ringers for 20 plus years. It shone a light on the underbelly of not just a fandom, but the world in general. LOTR has always been an escape from all of our societal nonsense, but this time period was a stark reminder that even within a community you love, there can be toxicity. I LOVE a good debate about anything and everything, but when things become about hate rather than discourse, your point is lost on me. In Middle-earth, all are welcome….
Monday night’s concert reminded me of why I love this fandom so much. It’s been probably ten years since I’ve been to a screening of Fellowship and this crowd was thrilled to be there! Not only would the audience erupt into cheers after hearing a favorite piece of the score performed (which, let’s be honest, is pretty much the entire score!) or after Lusk wrapped a solo, the crowd would literally go wild when a new character came onto the screen! So much so that at times you couldn’t hear the film or the orchestra!
A stand out for me was when members of the Fellowship arrived to the Council of Elrond. Aragorn received a 7/10 volume for cheers, Legolas 8/10, but Gimli received a full 10/10 in crowd reaction! My husband remarked that he was shocked Gimli got significantly more love than Legolas, to which I replied “Gimli has more substance and better dialogue!” To each their own. Fans next to my husband jumped at Bilbo lunging for the ring, and then commented that they had forgotten that part of the film. While next to me at the exact same point, a fan laughed and remarked that he always thought that part was funny. Two completely different reactions to a moment, but both existing in harmony with one another.
The majority of people there that night (I’m quite sure) have seen these films, read these books, countless times. Yet experiencing it together, as one unified group, made it seem somehow new again. The ambiance of the venue, the exquisitely performed film score, the fans reacting in utter joy and exuberance throughout… all of this made the evening a true night to remember… and I’m forever grateful.
Last September we brought you the exciting news of screenings of The Fellowship of the Ring, to be performed with live orchestra at Radio City Music Hall in New York. Time has flown by, and now those special performances are NEXT WEEK!
The good news is, two extra dates have been added; the shows are now Feb 6, 7, 8 and 9. It has also been announced that the orchestra for the performances will be the Lviv National Philharmonic Orchestra of Ukraine! AND there will be a post-concert talk, with conductor Maestro Wicki, each evening. For those of you lucky enough to be able to go, there are still some tickets available; click here to get yours!
AND – if you’re hoping to meet up with fellow fans, either before or after the concert, on Monday 6th Feb we have reserved the upstairs at McCarthy’s bar (46th and 6th). Go along before or after – the kitchen stays open until 2am! – head upstairs, and find your kindred spirits! (Or just spirits at a well stocked bar…) Have fun!
Both CRIMES OF THE FUTURE and THIRTEEN LIVES featured the Aragorn actor in top fashion, yet there was no fan discussion nor viewership numbers worth reporting from any studio. Taking into consideration this was the year of the inescapable RINGS OF POWER, the most expensive TV season ever telling the story of Aragorn’s heritage, we have to ask: what happened?
source: THR
Crimes of the Movie Going
Viggo Mortensen re-teaming with Howard Shore should be enough to grab any LOTR fans attention, then add in that it’s David Cronenberg returning to his shock-scifi roots. There should be an ongoing buzz about this in 2022 right? But CRIMES OF THE FUTURE came and went with barely a whisper. According to Rotten Tomatoes it is a respectable 80% Fresh, and JustWatch says it is currently streaming on Hulu.
Not only does it have a new Howard Shore score (who has worked with Cronenberg on most of his films), CRIMES OF THE FUTURE is the fourth collaboration between the director and Mortensen – who was nominated for a Best Actor Oscar for their hit EASTERN PROMISES. Yet there’s been close to zero conversation on our message boards or twitter feed, as if nobody gave this film a try.
To be clear, Cronenberg films can an acquired taste and you the viewer should be prepared for full dark, body-shock genre storytelling. This movie was never going to be a blockbuster, but with a very fervent fanbase for both LOTR and Cronenberg and Shore, it’s surprising this film didn’t find its footing in cinemas or streaming.
THIRTEEN LIVES, NO THEATERS
The other Viggo Mortensen film that should have been a huge 2022 hit is THIRTEEN LIVES, directed by Ron Howard and co-starring Colin Farrell and Joel Edgerton. Critics and audiences agree that this is a great movie! An all-star cast, story ripped from the headlines, with one of the top directors of all time. It also was the best test-scores in MGM studios history.
THIRTEEN LIVES tells the story of the cave-diving rescue of a team of kids stuck underground in a Thailand monsoon. There’s also a meta-cultural touchpoint since this is the rescue event where Elon Musk called rescuers horrible names and promised a technological solution that never materialized, and Elon is one of the most talked about persons on the internet in 2022 with his takeover of Twitter. So between cultural relevance, meme opportunities, a real human story of heroics, epic test scores, this had all the hallmarks of a huge box office hit. Plus, THIRTEEN LIVES is produced by Amazon Studios, home to RINGS OF POWER.
We can guess why this film was direct-to-streaming, as Amazon wants people to sign up for Prime Video. But this film is a perfect theatrical experience where every thrilling hold-your-breath moment would be shared with strangers in a dark cinema. Prime Video has stated it still believes in theatrical distribution with its recent acquisition of MGM studios, so why didn’t this get a summer release? Top Gun Maverick is Tom Cruise’s biggest film of his career, while WB released several blockbusters on both HBO Max and theaters simultaneously.
Why wasn’t THIRTEEN LIVES put in theaters?
Why didn’t Prime offer this movie after each episode of RINGS OF POWER?
Why did Amazon make a movie with Isildur’s heir, in a year with their show about Isildur, and not promote it?
Does this movie show up in your Prime dashboard after watching the entirety of Rings of Powers?
Viggo Mortensen is turning in some of the best performances in 2022. As the movie industry enters awards season, maybe these films will get renewed interest and some nominations. Fans of Viggo Mortensen should definitely give THIRTEEN LIVES a go on Amazon Prime, and if you can stomach a jaunt with CRIMES OF THE FUTURE on Hulu.
With many new Lord of the Rings projects on the horizon, maybe there’s room for Viggo Mortensen to direct, write, score or star in more Middle-earth. Amazon or Embracer, give him a call.
Earlier this week, TORn staffer greendragon had the chance to sit down with composer Bear McCreary. Greendragon was fortunate to be invited to attend a recording session for the Rings of Power soundtrack in London last April; it was an incredible experience, watching skilled musicians bring McCreary’s score to life. So she was thrilled to have the chance to catch up with the composer, and see how he’s feeling about Season One – and what might be in store for Season Two of The Rings of Power.
McCreary is a huge Tolkien fan himself, and he shared how Peter Jackson’s movies – and in particular, Howard Shore’s score – were important influences in his growth to become the composer he is today. He discussed the luxury of time which Amazon’s big budgets provide, and the importance of music to enhance and communicate emotion and drama. He also revealed that he has already started work for Season Two!
BATS Theatre in Wellington, NZ is well-known to our Lord of the Rings and Hobbit movie family. Many of the New Zealand actors from the films have performed there, and back in 2011, to save the theatre from eviction, Peter Jackson bought the building in which they are housed. It’s a local theatre which particularly supports new and emerging talent.
Now BATS Theatre are having a fundraiser, supported by Richard Taylor and Weta Workshop. Part of the fundraising effort includes a chance to win epic prizes, including having prosthetic make-up done by Taylor himself! You can read all about it here; there are only a couple more days to enter, so don’t delay, if you’d like to support a worthy cause and maybe win something incredible.
