This is the second in my much-delayed series of features on the Lord of the Rings stars who attended the Best of Both Worlds convention in Canberra (Australia) in late September. Enjoy, and don’t forget that Dominic Monaghan has been announced as the first guest for the next BoBW (event 21) in March 2004.
Butterflies are an odd thing to symbolise one’s time working on a film. Yet, for Sarah McLeod, (who played Rose Cotton) that’s the overwhelming image she’s taken away from the set.
“The butterflies symbolised the filming of the Lord of the Rings for me,” she says.
The joy of it?
“Just the … realness of it. And the ease of being a hobbit when you are dressed in your costume and you’ve got your wig on. And your feet and your ears.
“Suddenly there’s this transformation when you walk out onto a location where there’s the grass and the vegetables and the flowers and the trees and the butterflies and the bumblebees. And it’s like: suddenly I am no longer wearing a costume, no longer do I have plastic feet and ears – I am Rosie.”
But it wasn’t a transformation that was the result of the make-up process.
“No [I didn’t feel it] as I was being made up. But as soon as I walked on set then I’d just feel that warmth.”
Sarah knew Peter Jackson even before the Lord of the Rings project came into being, working with him on the mockumentary classic Forgotten Silver that details the life of “lost” New Zealand filmaker Colin McKenzie.
She says that Jackson’s style then was very similar to her experience working with him on Lord of the Rings.
“He didn’t have a lot to say but he knew what it was that he wanted – and he completely surrounded himself with people who were passionate about what they were doing,” she says.
“Because Forgotten Silver wasn’t made with a lot of money. So there were a lot of people on there who just a great time and felt really strongly about the project and just put everything into it.”
“[And] I think that what you come to realise is that [for] everyone involved in Lord of the Rings – it’s not about ego. It’s a really sharing supportive caring environment. And it might really sound over the top about how we feel so passionate about the project and love it so much. But I just think that’s what makes it so good.”
I wonder at the amazing spirit that permeates the entire cast and crew.
“I think that it was a really, really good project and I think it was one which just stirred the hearts of a lot of people,” she says.
“And I think it was a cumulative effect. I think it was the fact that Peter was so passionate about it and he surrounded himself with a team of people who were passionate about it.
“He employed actors that weren’t about all about ego and felt good about the project and enjoyed every day they were on [set]. So that everyone who came in was fully incorporated within the project. You weren’t made to feel left out; you were made to feel really part of it.”
And if there’s one thing that draws Sarah to a project, it’s passionate, enthusiastic people.
“I am about passion. And the thing that I would like to share with people is that it’s really important to have something that you’re passionate about in your life. And follow it.”
What’s important to me is working with people that I like. And working with people who are passionate about what they’re doing,” she says, discussing what her dream film role would be.
“So I kinda figured that what my dream role would be is to be on a project that has a director who has vision, and a passion for the project. And working with a bunch of really good actors and good crew who are enjoying what they’re doing as well.”
“And, actually, when I thought about all that I thought: ‘Actually, that’s what Lord of the Rings was.'”
Accent coaching was just one example of the huge behind-the-scenes effort for the film.
“They had it well set up. We had the dialogue coach. I had the tape that I listened to over and over again. I had pieces of paper that specified certain ways of saying the particular accent. The phonics and things like that. So I didn’t find it too difficult.”
“And it was because the support was ongoing. Before you had to shoot a scene you had the opportunity to sit down with Roisin and say your lines.
“But it’s a skill – it’s a skill you can learn. Because I’ve never been a great one for copying accents, but I am getting better at it.”
She has read Lord of the Rings, but didn’t begin reading Fellowship of the Ring until after she was cast as Rose.
“I hadn’t read it before I got cast as Rosie Cotton, but I have read it since. I loved the books. I think it’s different when you read a book when you’ve already seen the film, because it puts different images in your mind.”
“I just appreciated them for being fantastic journeys – that whole situation you get put in where it’s so vivid and has so much description and it just takes you on a journey. So that’s what I appreciated from reading them. Being taken on a journey.”
She didn’t film a lot for the Return of the King, but she is willing to say that there was more than one scene filmed – and she did take part in pickups for about a week earlier this year.
“Which is not to say that there’ll be more than one in the final edit,” she points out.
Sarah McLeod can currently be seen in Skin and Bone, which is based on a famous New Zealand play called Foreskin’s Lament and has been produced to coincide with the Rugby World Cup. It went to air recently in New Zealand – you can read about it here.
Soundtrack.net appears to be struggling under the weight of demand right now, so we’re mirroring these files in an attempt to take some of the load off their server. The clips are all MP3 files and are of a length of about 30-40 seconds. This is *not* the full soundtrack.
And if you haven’t done so already, you can pre-order your copy of the soundtrack here.
And below is ST.net’s full review for your reading pleasure.
Soundtrack.net’s RoTK Soundtrack Review by Matt Barry
Has any other theme in recent film history engendered as much excitement as Howard Shore’s epic motif for the One Ring? If you’re a fan of Peter Jackson’s Lord of the Rings trilogy, you probably know it by heart – mysterious, undulating and somber. All three films open with a variation of it, and collectively the tune has become the musical equivalent of the archetypal roaring fire and worn leather chair. It says “sit down, get comfortable. I’m going to tell you a story”.
In this case, it is a story many have waited years to see on the big screen. After countless radio adaptations and one rather large animated misfire, J.R.R. Tolkien’s Return of the King looks to finally get its due this December in theaters everywhere.
Along with the release of Return of the King comes the aforementioned Mr. Shore, the series’ resident composer, and the eagerly-awaited soundtrack. As has become the style, Shore is again joined by an impressive list of musical soloists, among them American soprano Renee Fleming, renowned flautist Sir James Galway, and vocalist Annie Lennox.
Though it likely only represents a fraction of the music in Jackson’s reportedly gargantuan epic, the forthcoming CD from Warner Reprise is indeed well worth the year-long wait since Shore’s Two Towers knocked our socks off. And though the CD will be available in a myriad of packages (some with bonus DVDs and collector cards and so on) this review will be limited to the most important ingredient – the music. (Worth noting is the fact that, unlike the Two Towers CD whose Deluxe Edition featured a bonus audio track, the musical content of Return of the King looks to be the exact same across the boards.)
In the spirit of full disclosure, it’s important to get a few things out of the way before we dive into the CD proper. Number one, I have not seen the movie yet. Number two, I have read the book and know it fairly well. Number three, any analysis of so-called “on screen action” is pure conjecture on my part. Ergo, I could be very wrong about a lot of what follows.
Looking at the 72 minute disc’s track titles, a good many of them seem intentionally designed to thwart spoilers (unlike that other, older “Return” movie, whose original soundtrack had one memorable whopper called “The Emperor’s Death”. It’s a good thing, though, since the CD is set to hit store shelves three weeks ahead of the film.
One final note, a personal one: thanks to Dan Goldwasser for consistently deigning me worthy of getting the Lord of the Rings CDs before the rest of humanity. Writing these previews has been a thrill I am sad to see conclude here. And oh yeah – thank you to the five or six people who actually read this before clicking the sound samples.
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Warning: possible spoilers ahead! As with last year, we put a bandwidth limiter on the sound clips so that our site can still function happily. So, if you get an error message – keep trying! You’ll get the clips eventually…
1. A Storm Is Coming (2:51)
The final chapter begins with a light and mysterious figure in 3/4 time, a waltz-ish piece that soon segues into Shore’s theme for the One Ring. Playful, Hobbit music follows (calling to mind the increasing tempo of Fellowship’s “The Black Rider” before again turning to a solo fiddle’s reading of the theme for the One Ring. At first listen, the colors are lighter and sprightlier than last time, and even more varied. The cue wraps up with an aggressive restatement of Sauron’s theme and the low ostinato that usually accompanies the Ringwraiths.
2. Hope and Memory (1:45)
Along with “A Storm Is Coming”, this cue continues a very pleasing reprisal of all the major motifs from the previous two scores, beginning with what Shore has called the Hobbit “Hymn” and finishing with the noble return of the Fellowship theme. Never resting on his laurels, Shore also weaves a warm new figure into the piece. (Prefiguring the future heroics of Sam maybe? Merely a guess.) Clearly, this cue befits a reintroduction of the many major characters of Tolkien’s world, and the amount of musical shorthand Shore gets away with here is often astonishing. Wagner, eat your leitmotivic heart out.
3. Minas Tirith (3:37) Featuring Ben Del Maestro
Before I make a fool of myself by making up onscreen actions to correspond with this cue, I should state my opinion that “Minas Tirith” is probably a suite / tone poem comprised of moments from various points in the score (much like “The Riders of Rohan” was on Shore’s CD for The Two Towers).
The track begins with ominous low strings and faint rolling percussion, a texture that repeats several times over the course of the CD and evokes a tangible sense of imminent war. The music then begins what can only be described as a loping build to a triumphant reading of Shore’s theme for the people of Gondor. We first heard this theme in Fellowship (the film, not the CD) at the Council of Elrond played on a solo horn. Hearing it fleshed out here, racing and pulsing, is a major highlight of the CD and a musical moment that is nothing short of breathtaking. (Trailer fans, this is indeed the motif heard at the end of the Return of the King preview, though in a different – and less suspect – arrangement.)
4. The White Tree (3:25)
Though probably another amalgamation of cues from several points in the score, odds are even that portions of this track accompany the first depiction of inner Minas Tirith within the context of the film. Gandalf and Pippin pass the grotto holding the wilting White Tree of Gondor. The cue begins in a melancholy vein, sounding almost like plaintive John Williams, evoking the sadness of the once majestic tree. As before, Shore slowly begins to increase the tempo, strings slicing furiously and rising (through the many gates of the city?) into another triumphant reading of the Gondor theme. This is definitely an album highlight, taking the listener on a literal ride before thundering to a finish.
5. The Steward of Gondor (3:53) Featuring Billy Boyd
After our grand introduction to the last citadel of man, the action likely turns to Gandalf and Pippin as they seek and audience with Denethor, the surly Steward of Gondor and father to both Faramir and the late Boromir. The faintly rolling drums of war are here again, backing at first a staid reading of the Gondor theme, then a soaring string passage.
Then, a surprising solo vocal takes center stage. Billy Boyd (as Pippin) sings a pretty, folkish tune regarding his apprehension about the situation he has found himself in. As mentioned before, it is these strange and adventurous musical choices that really begins to set the CD for Return of the King apart from the previous two Rings score releases.
6. Minas Morgul (1:57)
In the shadow of the city in which the Ringwraiths reside, Frodo, Sam, and Gollum find themselves firmly entrenched in the evil land of Mordor. Trailers for the film seem to suggest that this may be a staging ground for another run-in with the Witch King, the leader of the Nazgul seen astride a Jurassic-sized Fell Beast. Terrified of direct confrontation, they must find another way around.
A harsh and terrifying rendition of Sauron’s theme lets the listener know with no uncertainty exactly how close to the great evil we are. Foreboding brass stands out, as does the return of the 5/4 time signature usually related to the sinister wizard Saruman.
7. The Ride of the Rohirrim (2:08)
Meanwhile, the denizens of Rohan have assembled their majestic horses for a thundering ride to the rescue of the White City (stunning imagery also seen in the preview). Shore’s stately theme for Rohan makes a reprisal, backed by more pounding drums of war. The cue then turns gentler, and a Hobbit-ish celtic flute figure peeks through, probably for the induction of Merry into the fighting ranks of Theoden’s army.
8. Twilight and Shadow (3:28) Featuring Renee Fleming
No doubt this cue depicts one of the last chapters in the plot thread involving whether or not elven maiden Arwen will leave for the Grey Havens with her people or remain devoted to Middle Earth and her human love, future King Aragorn. Soloist Renee Fleming’s voice is as haunting and ethereal as any I’ve heard, backed by unabashedly romantic swirls of strings and faint hints of Shore’s Rivendell arpeggios. The piece finishes with a touching reprisal of Two Towers “Evenstar”, one of the loveliest and most aching cues Shore has ever written (in my humble opinion).
9. Cirith Ungol (1:44)
Frodo, Sam, and Gollum have since found the “other way” deeper into Mordor, an endless climb up an impossibly steep staircase hewn into the side of a mountain known as Cirith Ungol. What Sam suspects (and master Frodo is oblivious to) is that Gollum is leading them into a deadly trap in the caves at the peak. The One Ring theme sneaks in and out of low tremolo strings before the cue finishes with incomplete snatches of several themes, including the Hobbit “Hymn”, Sauron’s theme, and even a hint of the previously unreleased passage for the Pass of Carhadras from Fellowship.
10. Anduril (2:35)
In Rivendell (possibly in flashback, depending upon how faithful the film is to the book), Aragorn watches as Elrond supervises the reforging of the shards of Narsil into Anduril, the legendary sword of kings. After listening to the Rivendell theme shrink and retreat with the Elves over the course of The Two Towers, Shore pulls one of his most satisfying musical tricks yet by giving us an utterly soaring and triumphant reading of the theme. His strings reach higher and higher, replacing feelings of loss and sadness with hope and anticipation. This is a major, major highlight and a spine-tingling return of one of my personal favorite themes from all of the Rings films.
11. Shelob’s Lair (4:07)
Too late to turn back now, Frodo and Sam are led into the web-strewn lair of the ancient and evil spider known as Shelob. As Gollum ducks away into the shadows, Sam is forced into the role of makeshift hero after Frodo is stung and feared dead. Listening to the cue for the confrontation, one is reminded that before Rings, this is the kind of music a lot of filmmakers came to Shore to provide. The heart-stopping suspense of Seven and Silence of the Lambs are readily on display here, the most musically frightening passage these films have had since “A Knife In The Dark” from Fellowship. What is truly remarkable here are the changes in time signature Shore uses to evoke a sense of relentlessness and terror. If the music is any indication, this scene is going to be one hell of a showstopper.
12. Ash and Smoke (3:25)
Though this track title could be taken a number of ways in the context of the book, this cue probably involves Sam’s efforts to rescue his beloved Frodo from a tower full of Orcs (unless they omitted that scene from the film entirely) and carry him to the steps of Mount Doom to complete his task and destroy the One Ring. Again, musical terror and uncertainty abounds, notably with several big, brassy renditions of the Ringwraith ostinato as well as a spooky boys choir, sounding a lot like an evil Ring crying out against those trying to destroy it.
13. The Fields of The Pelennor (3:25)
The gigantic battle of the Pelennor fields begins with fragments of the Rohan theme set against those relentless thumping war drums. Soon Shore increases the tempo and unleashes the start of the battle to end all. As I will mention a few cues down the road, Shore deserves a lot of credit for returning to the textures he used for the ancient, opening battles of the prologue of Fellowship. Not only does this bring things full circle musically, it lets the listener know by inference that these battles we are witnessing are on the scale of those before that shaped the very face of Middle Earth.
14. Hope Fails (2:20)
As mankind continues to lose his footing in the battle at the gates of Minas Tirith, a shamed Denethor places his badly wounded son Faramir on a funeral pyre in his inner sanctum, intending to immolate them both. Locked outside, Pippin frantically attempts to stop him. The music begins with a sad elegy (presumably) for the fallen Faramir, then turns dissonant and quite dark as his psychotic father goes looking for a lighter, so to speak.
Side note: there’s a stretch early on in this cue that sounds a whole lot like Shore’s piece “Brooklyn Heights”, which you’ll remember was re-appropriated for Martin Scorsese’s Gangs of New York. Just thought that was interesting, since so many thought the music in Gangs sounded like Shore’s Rings scores, an opinion I don’t necessarily share.
15. The Black Gate Opens (4:01) Featuring James Galway
Part two of “the big one” opens heroically, dovetailing into an overdue reading of the Fellowship theme. Beyond that, Sir James Galway gives us a stretch of gentle tin whistle, likely to underline Merry’s exploits as a soldier of Rohan (and that’s all I’m going to say about that one). A much quieter, prettier cue than you might expect from the title, it ends with the first hint of Shore’s theme for the Grey Havens.
16. The End of All Things (5:12)
With a track title like that, one can safely bet this is the moment we’ve been waiting three films for. Sam carries a despondent Frodo into the cracks of Doom with Gollum still not far behind. Those who have read the book (or know the signature song from the Rankin / Bass animated version) know what’s in store here. Those who haven’t shouldn’t have it spoiled by a soundtrack preview.
As mentioned before, the choral arrangements here directly parallel “The Prophecy” from the score to Fellowship. Makes sense to me, using the same style of music to both make the ring and (potentially) to unmake it. Midway through the music, the sturm and drang subsides and the Ring itself makes a last attempt to speak to anyone who will listen: a boy soprano (always the voice of the Ring in the other films) begs Frodo to reconsider, tries to seduce him one last time. From there, it’s all choral splendor and major key action. (You do the math.) A spectacular cue that delivers on the promises of all the preceding films.
17. The Return of the King (10:14) Featuring James Galway, Viggo Mortensen, and Renee Fleming
Tranquility returns to the world of Middle Earth with this cue, sounding like an upbeat cousin to “The Breaking of the Fellowship” from the first score. Several lengthy and unabbreviated reprisals of the major themes from the entire series begin to make this devoted listener misty-eyed. It’s all here folks, most of the musical threads of the score tied up in one elegant ten minute stretch, dotted with Viggo Mortensen’s own elven invocation of his kinghood and a soaring final reading of the Hobbit “Hymn”. So it’s with more than just a little wistfulness that we return to the folk-tinged bounce of “Concerning Hobbits” at the end of the piece. Musically, we are more than finishing a masterpiece. We are going home.
18. The Grey Havens (5:59)
For the mystery of Frodo’s (and others) exit from Middle Earth, Shore does not just mine previous material and tug at our heartstrings (though there’s surely enough of that here to satisfy those who would miss it). Instead, he has fashioned a finale that culminates in both a peaceful and awe-inspiring first step into a whole new world for the characters, and for the listener. His theme for “The Grey Havens” segues effortlessly into the final song on the disc.
19. Into The West (5:50) Performed By Annie Lennox
As a swan song for a trilogy beloved by many, “Into The West” will probably come under a lot of scrutiny. Light guitar pickings in the background certainly feel more like a traditional folk song than we may be used to (or have expected), but give it a chance: this track has a cumulative heft that is not to be underestimated.
Total CD Running Time (72:07)
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On the whole, Shore’s work on Return of the King (at least that which can be judged on this CD, away from the film) seems to alternately flesh out and pay off musical ideas built throughout the course of the entire Lord of the Rings trilogy. It’s wonderful to see the composer making the most of such a broad canvas, using its interconnectivity to enhance the score as a whole. For its part, Return of the King is a satisfying, powerful, and emotional conclusion to a story that has touched the hearts of moviegoers everywhere.
One can only hope that, when all is said and done, Shore may someday get the wish he makes late in the disc’s liner notes: a film version of that other Hobbit’s tale. Until then, Shore can rest assured that he has left an indelible impression with a series of scores for which the word “masterpiece” seems quite modest.
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Special thanks to Jason Cienkus at the Warner Music Group, without whom none of the articles we’ve had on the Rings trilogy for the past three years could have been possible.
The Lord of the Rings: The Return of the King. Nuff’ said!
THE RETURN OF THE KING $40.00 ($60.00 CAN) The Battle of Helm’s Deep is Over – The Battle for Middle-earth has begun!
Following on the releases of The Fellowship of the Ring and The Two Towers games, The Return of the King mirrors the events of the forthcoming film of the same name. It will take players through the key events of the movie such as the fighting at Minas Tirith, the battle at the Black Gates of Mordor, and the culmination of Frodo’s quest to destroy the Ring. Just as the film raises the action to new heights, the action in the game also rises with the inclusion of new rules, warriors, and scenarios.
The Return of the King adds greater depth and detail to the previous games with 12 new scenarios that allows players to re-create the events of the third film. The 176 page, full color rulebook also includes a comprehensive forces section that gives players all the information you need to field warriors from any of the films. From older characters such as Isuldur to newer ones like the Mouth of Sauron, from the noble High Elves to the brutish Mordor Trolls and the horrific Shelob, players will now be able to draw on an incredible variety of characters, warriors, and monsters for their armies. New rules also cover using banners and musicians in games as well as special combat tactics such as firing massed volleys at the enemy. The rulebook also includes The War of the Ring, a special section presenting an additional 5 scenarios covering the great battles raging throughout Middle-earth plus a new character to use in them.
Exciting New Miniatures for the Game
Over the coming year, Games Workshop will be releasing many fantastic new models to support the game. From Aragorn the King to the twisted Gorbag, from the Knights of Gondor to the Mordor Uruk-hai – players will see a wide variety of new miniatures adding extra depth to their armies. New warriors such as the Eastlerlings, monstrous characters such as Shelob, and heroes such as Denethor will be arriving to bolster forces on both sides.
The new game itself will come with great new plastic models, including 24 plastic Mordor Orcs and 24 Warriors of Minas Tirith, each force armed with a variety of weapons. Players also get new plastic scenery, evocative of the unique appearance of Middle-earth as seen in the motion pictures. Future issues of Games Workshop’s monthly hobby magazine White Dwarf will feature painting and modeling advice along with new scenarios and gaming material to further expand the game.
With the release of The Lord of the Rings: The Return of the King tabletop battlegame and associated releases, players are seeing but the third installment in The Lord of the Rings Strategy Battle Game. Though this film brings the epic trilogy to a conclusion, these releases are only the latest for The Lord of the Rings Strategy Battle Game! Coming months will be seeing even more via White Dwarf magazine and new supplements, taking the action even farther in scope. Players can be assured that they can look for many years to come of miniature gaming in Middle-earth! http://us.games-workshop.com/thelordoftherings/us/sbg/default.htm#
MORDOR ORCS STARTER PAINT SET $20.00 ($28.00 CAN) WARRIORS OF MINAS TIRITH STARTER PAINT SET $20.00 ($28.00 CAN) These new sets come complete with plastic models, starter paints pots, paint brush, and painting guide. Each contains either 12 Mordor Orcs or 12 Warriors of Minas Tirith along with 6 paints designed for painting the models inside. As they include everything needed to get started with painting miniatures, these make for great presents and figure sets for new players.
WARRIORS OF MINAS TIRITH $20.00 ($22.00 CAN) The men of Minas Tirith have lived their whole lives under the shadow of the each and have never faltered. It is through their valor that the lands beyond Gondor have been kept safe from Sauron’s armies.
This box set comes with 24 of these new plastic infantry models, armed with bows, spears, shields, and swords.
MORDOR ORCS $20.00 ($22.00 CAN) Orcs are the foulest creatures to walk Middle-earth. A vile race of black-blooded creatures, Orcs are the chosen slaves and soldiers of Sauron the Dark Lord. Their natural predisposition towards violence and weak wills makes them ideal for his evil purposes. In the land of Mordor where Sauron holds sway, vast legions of the foul creatures gather for deployment in the coming war.
This box set comes with 24 new Plastic Mordor Orcs, armed with swords, bows, spears, and shields.
HEROES OF THE WEST $40.00 ($55.00 CAN) This set comes with new models of Aragorn, Eomer, Gandalf, Faramir, Legolas, Gimli, Eowyn, Merry, and Pippin (the latter three all in armor now!). These stalwart defenders stand against the forces of Mordor in the battle to protect the White City and the hope of all Middle-earth. This set of characters for The Return of the King is sure to be popular for both players and collectors alike.
Available today in America are the latest series of minatures from Games Workshop. Here are some selections from the press release
05-03 THE RETURN OF THE KING $40.00 ($60.00 CAN) The Battle of Helm’s Deep is Over – The Battle for Middle-earth has begun! Following on the releases of The Fellowship of the Ring and The Two Towers games, The Return of the King mirrors the events of the forthcoming film of the same name. It will take players through the key events of the movie such as the fighting at Minas Tirith, the battle at the Black Gates of Mordor, and the culmination of Frodo’s quest to destroy the Ring. Just as the film raises the action to new heights, the action in the game also rises with the inclusion of new rules, warriors, and scenarios.
The Return of the King adds greater depth and detail to the previous games with 12 new scenarios that allows players to re-create the events of the third film. The 176 page, full color rulebook also includes a comprehensive forces section that gives players all the information you need to field warriors from any of the films. From older characters such as Isuldur to newer ones like the Mouth of Sauron, from the noble High Elves to the brutish Mordor Trolls and the horrific Shelob, players will now be able to draw on an incredible variety of characters, warriors, and monsters for their armies. New rules also cover using banners and musicians in games as well as special combat tactics such as firing massed volleys at the enemy. The rulebook also includes The War of the Ring, a special section presenting an additional 5 scenarios covering the great battles raging throughout Middle-earth plus a new character to use in them.
Exciting New Miniatures for the Game Over the coming year, Games Workshop will be releasing many fantastic new models to support the game. From Aragorn the King to the twisted Gorbag, from the Knights of Gondor to the Mordor Uruk-hai – players will see a wide variety of new miniatures adding extra depth to their armies. New warriors such as the Eastlerlings, monstrous characters such as Shelob, and heroes such as Denethor will be arriving to bolster forces on both sides.
The new game itself will come with great new plastic models, including 24 plastic Mordor Orcs and 24 Warriors of Minas Tirith, each force armed with a variety of weapons. Players also get new plastic scenery, evocative of the unique appearance of Middle-earth as seen in the motion pictures. Future issues of Games Workshop’s monthly hobby magazine White Dwarf will feature painting and modeling advice along with new scenarios and gaming material to further expand the game.
With the release of The Lord of the Rings: The Return of the King tabletop battlegame and associated releases, players are seeing but the third installment in The Lord of the Rings Strategy Battle Game. Though this film brings the epic trilogy to a conclusion, these releases are only the latest for The Lord of the Rings Strategy Battle Game! Coming months will be seeing even more via White Dwarf magazine and new supplements, taking the action even farther in scope. Players can be assured that they can look for many years to come of miniature gaming in Middle-earth! http://us.games-workshop.com/thelordoftherings/us/sbg/default.htm#
06-23 MORDOR ORCS STARTER PAINT SET $20.00 ($28.00 CAN) 05-23 WARRIORS OF MINAS TIRITH STARTER PAINT SET $20.00 ($28.00 CAN) These new sets come complete with plastic models, starter paints pots, paint brush, and painting guide. Each contains either 12 Mordor Orcs or 12 Warriors of Minas Tirith along with 6 paints designed for painting the models inside. As they include everything needed to get started with painting miniatures, these make for great presents and figure sets for new players.
05-27 WARRIORS OF MINAS TIRITH $20.00 ($22.00 CAN) The men of Minas Tirith have lived their whole lives under the shadow of the each and have never faltered. It is through their valor that the lands beyond Gondor have been kept safe from Sauron’s armies.
This box set comes with 24 of these new plastic infantry models, armed with bows, spears, shields, and swords.
05-28 MORDOR ORCS $20.00 ($22.00 CAN) Orcs are the foulest creatures to walk Middle-earth. A vile race of black-blooded creatures, Orcs are the chosen slaves and soldiers of Sauron the Dark Lord. Their natural predisposition towards violence and weak wills makes them ideal for his evil purposes. In the land of Mordor where Sauron holds sway, vast legions of the foul creatures gather for deployment in the coming war.
This box set comes with 24 new Plastic Mordor Orcs, armed with swords, bows, spears, and shields.
05-29 HEROES OF THE WEST $40.00 ($55.00 CAN) This set comes with new models of Aragorn, Eomer, Gandalf, Faramir, Legolas, Gimli, Eowyn, Merry, and Pippin (the latter three all in armor now!). These stalwart defenders stand against the forces of Mordor in the battle to protect the White City and the hope of all Middle-earth. This set of characters for The Return of the King is sure to be popular for both players and collectors alike.
Beverly Hills, CA – November 8, 2003 – Fans of the Showtime sci-fi series Jeremiah want what’s been promised to them by the cable network. They’re making themselves heard, with thousands of letters, faxes and emails.
Upon hearing about and being amazed by the international efforts by fans, Jeremiah star Sean Astin (Lord of the Rings) contacted Jeremiah Executive Producer Scott Mitchell Rosenberg via satellite telephone to give his views on the situation and get his message out to the show’s millions of fans. Astin, who had just finished a 3-mile hike up Table Mountain in South Africa, said: “The power of the fans can have real impact. I certainly hope this isn’t the end of Jeremiah and want to keep it going.”
Last week, Showtime announced in its weekly newsletter that November is the finale of Jeremiah’s second season. The season’s final two episodes, being aired several times, will be on Showtime Too the next two Saturdays at 9p.m. (11/15 and 11/22.)
Confused by what seemed like a shortened season and no mention of anything to come, fans quickly realized that eight more episodes- enough for another season-had already been produced, and had even been described extensively online. Additionally, ratings have risen every week since the season began (according to IGN.com.)
Showtime has not yet given word about when these remaining episodes-labeled by fans as “The Missing 8”-will be aired, leaving fans wanting an explanation, as well as assurance from Showtime that their favorite TV show will continue.
According to Astin, “I certainly hope this isn’t the end of Jeremiah and want it to keep going. I’m happy to learn that Luke Perry and Malcolm-Jamal Warner want it to keep going too.”
Jeremiah fans immediately joined forces via the Internet, distributing contact information for executives at Showtime, MGM (the show’s world-wide distributor) and Platinum Studios, the comic book entertainment and production company which adapted Jeremiah from the award-winning graphic novel series. The companies have received phone calls, faxes and emails from fans, urging key executives responsible for the show to air the “Missing 8” episodes and make the show an ongoing series with additional seasons.
Webmasters of Jeremiah websites and message boards are collaborating with others who maintain fan-sites for the show’s stars, Sean Astin and Luke Perry. Says Monica Hübinette, webmaster of the leading website dedicated to Jeremiah, “We each are focusing on reaching a segment of the viewers who care about the show- Sci-Fi fans, Sean Astin fans, Luke Perry fans and people who love thoughtful and intelligent TV. Then we give them what they need to act-the reason and the means. The fans have instantly risen to the occasion-literally organizing in days and working non-stop to make a difference. We believe time is of the essence.”
Looking for a friend, many of the fans have directed their messages to Platinum Studios’ Chairman (and Jeremiah Executive Producer) Scott Mitchell Rosenberg because of his long history of being fan-friendly and responding personally to mail. Rosenberg is seen as “getting it”, as he also founded and created Malibu Comics (which he later sold to Marvel) and produced a popular line of comic books, including developing the Men in Black comic and signing it with Sony to become a billion-dollar film and television franchise. “I’m a geek, so I know all about passion for characters,” said Rosenberg.
“The amount of mainstream support the show has received from fans young and old, male and female, shows me that Jeremiah is clearly not just another sci-fi series. It’s a realistic “what if” series about the collapse and rebuilding of society after a devastating virus wiped out everyone over the age of puberty. It’s a show of hope, inspiration and the un-crushable human spirit.”
According to Rakshi, webmaster of jeremiah.sean-astin.net, “I’ve had fans send me letters saying that they were incredulous that Rosenberg had been personally responding to them. That’s a rarity in letter writing campaigns and shows his commitment to the show.”
Actor Sean Astin agreed with Rosenberg about the viability of Jeremiah during a satellite telephone he made to Platinum Studios this morning (midnight from where he was calling from in South Africa.) “I am tickled that the fans took it upon themselves to influence the future of the show,” said Sean during the phone call. “I’m amazed at how quickly they were able to organize and synchronize their efforts. It shows they believe in what we’re doing, just like I do.” Sean continued, “I would be extremely disappointed if those remaining second season shows weren’t aired. I directed the 13th episode myself, and it’s a pivotal episode in the overall story.”
Indeed, the episode he directed goes to the genesis of a terrible threat to what should be a free world: an aggressively expanding organization led by an enigmatic figure named Daniel, with no regard for human rights, acting to take over North America by offering captured peoples the choice of servitude or death.
Astin and Rosenberg also discussed scenes for an upcoming Jeremiah comic book featuring Astin’s “Mister Smith” character, slated for national publication in early 2004. Astin is also very enthusiastic about his popular Mister Smith character being a part of Platinum’s upcoming 50 episode comic book (which will debut in February 2004 as a weekly strip on the web, then collected in print after each year’s run.) “That’s cool-I’m into being in the comic book and figuring out where my character should go. There are some interesting surprises coming”, said Astin.
“I think this will be Sean’s first time acting on a comic book page,” said Rosenberg. “Rather than specifically adapting the television episodes, the stories will be all new and bring new depth to the characters and world, as well as a planned springboard for an expansion of the world into text fiction, video games, television and features.”
Jeremiah follows the adventures of Sean Astin, Luke Perry, and Malcolm Jamal- Warner fifteen years after all of the adults were wiped out in the year 2006 by a virus called the Big Death, leaving only the world’s children to fend for themselves. In addition to Sean Astin who has joined the cast as of this season and stars as Mister Smith, Luke Perry (Beverly Hills 90210) plays Jeremiah and Malcolm-Jamal Warner (The Cosby Show) plays Kurdy. Astin plays a mysterious prophet who seems to know the future, both the good and the bad.
Executive Producers are J Michael Straczynski, Luke Perry, Ervin Rustemagic, Scott Mitchell Rosenberg, Joe Dante and Mike Finnel, co-executive produced by Grant Rosenberg and produced by George Horie. Created for television by Hugo award-winning writer/producer J. Michael Straczynski (creator of Babylon 5), Jeremiah is comic book entertainment company Platinum Studios’ comic-to-film adaptation based on the award-winning graphic novels by Hermann Huppen, published for 20 year as in over 20 languages by Strip Art Features.
James writes: Just a quick email to say that Ian McKellen was on current affairs, comedy quiz show ‘Have I Got News for You!’ on BBC1 last night. For those who missed it, it is repeated on BBC2 tonight at 2230 English time.
There were a few LOTR references including funny comparisons of English politicians and LOTR characters, McKellen reproducing his Gandalf voice for a double act performance with his team captain who did a hobbit voice, while most interestingly, McKellen says that there are gnomes in ROTK but “you can not see them because they are very small and there are too many to be able to count” and adds that 5 gnomes riding on squirrels kill an orc! (I think he was joking)
