Hobbit film sets and such
- Primula Baggins
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I believe it was the hobbits hiding from the Black Rider.
“There, peeping among the cloud-wrack above a dark tor high up in the mountains, Sam saw a white star twinkle for a while. The beauty of it smote his heart, as he looked up out of the forsaken land, and hope returned to him. For like a shaft, clear and cold, the thought pierced him that in the end the Shadow was only a small and passing thing: there was light and high beauty for ever beyond its reach.”
― J.R.R. Tolkien, The Return of the King
― J.R.R. Tolkien, The Return of the King
- Primula Baggins
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It has a ton to do with it. Building sets costs money, and keeping them standing unused costs money, so SOP is to shoot everything on a particular set at the same time even if scenes are separated by years in movie time. Even on location, getting people and equipment there costs money, so again, as long as the weather and season work, they shoot everything they can at once.
It's actually a job I think I would enjoy, "breaking down" a script and seeing how efficiently the shooting can be done.
It's actually a job I think I would enjoy, "breaking down" a script and seeing how efficiently the shooting can be done.
“There, peeping among the cloud-wrack above a dark tor high up in the mountains, Sam saw a white star twinkle for a while. The beauty of it smote his heart, as he looked up out of the forsaken land, and hope returned to him. For like a shaft, clear and cold, the thought pierced him that in the end the Shadow was only a small and passing thing: there was light and high beauty for ever beyond its reach.”
― J.R.R. Tolkien, The Return of the King
― J.R.R. Tolkien, The Return of the King
Unfortunately, there are times when that approach simply doesn't work. The Grey Havens scene was shot very early, and it lacks a lot because of that. The actors were clearly "acting", whereas that scene would have had far more resonance if shot at the end of Principal Photography and the actors' performances had been allowed to be informed by 18 months of living and working together. Although its rarely mentioned as such, that scene is one of the most disappointing in the entire Trilogy for me. It doesn't help that Bilbo's scale double looks and moves like a dressed up child in that scene.
The Vinyamars on Stage! This time at Bag End
- axordil
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Well, some of them pulled it off better than others. Part of being a professional movie actor is being able to get what you need on the film on demand, precisely because shooting logistics require it. That doesn't mean I disagree with your point, Alatar--it would have made a difference, I believe. But it shouldn't, ideally.
- Primula Baggins
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What Ax said.
Some of the Mount Doom scenes were also shot quite early—not by plan, but because a location was flooded and they had to shoot aomething inside instead. And I don't think those scenes suffered too much. But I agree that the Grey Havens would have worked better shot last or close to it. Shouldn't have been so, but was.
Still, the principle isn't a bad one. Most films take a month or so to shoot, not a year and a half, so sequence doesn't make a difference.
I did read that in The King's Speech, the director deliberately shot the scene where the King meets the speech therapist first off and it really was when Colin Firth and Geoffrey Rush first met on set. He wanted the natural swkwardness of the moment to work for the film. I hear it did.
Some of the Mount Doom scenes were also shot quite early—not by plan, but because a location was flooded and they had to shoot aomething inside instead. And I don't think those scenes suffered too much. But I agree that the Grey Havens would have worked better shot last or close to it. Shouldn't have been so, but was.
Still, the principle isn't a bad one. Most films take a month or so to shoot, not a year and a half, so sequence doesn't make a difference.
I did read that in The King's Speech, the director deliberately shot the scene where the King meets the speech therapist first off and it really was when Colin Firth and Geoffrey Rush first met on set. He wanted the natural swkwardness of the moment to work for the film. I hear it did.
“There, peeping among the cloud-wrack above a dark tor high up in the mountains, Sam saw a white star twinkle for a while. The beauty of it smote his heart, as he looked up out of the forsaken land, and hope returned to him. For like a shaft, clear and cold, the thought pierced him that in the end the Shadow was only a small and passing thing: there was light and high beauty for ever beyond its reach.”
― J.R.R. Tolkien, The Return of the King
― J.R.R. Tolkien, The Return of the King
- Voronwë the Faithful
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I disagree about the Grey Havens scene (except for the part about Bilbo's double; that is awful). I'm perfectly happy with the acting in that scene. Even though they had to do it completely over, because it turned out that after they had shot the scene and gotten it just right, it was slightly out of focus (if I am remembering the commentary correctly). So they had to go back and shoot it again.
"Spirits in the shape of hawks and eagles flew ever to and from his halls; and their eyes could see to the depths of the seas, and pierce the hidden caverns beneath the world."
In fact they had to shoot it 3 times, V, because the second time Sam wasn't wearing his waistcoat (vest) which he'd removed over the lunchbreak!
There is magic in long-distance friendships. They let you relate to other human beings in a way that goes beyond being physically together and is often more profound.
~Diana Cortes
~Diana Cortes
Because there was no scouring, I found it difficult to invest any emotion into the Gray Havens, so I actually cared very little whether it was in our out of focus, or whether Sam was intra or infra westcot.
however it did have it's moments, principly the return of colour to Frodo's face when he steps onto the ship, and the music which later segues into the rather lovely Annie Lennox song during the title sequence
however it did have it's moments, principly the return of colour to Frodo's face when he steps onto the ship, and the music which later segues into the rather lovely Annie Lennox song during the title sequence
Since 1410 most Welsh people most of the time have abandoned any idea of independence as unthinkable. But since 1410 most Welsh people, at some time or another, if only in some secret corner of the mind, have been "out with Owain and his barefoot scrubs." For the Welsh mind is still haunted by it's lightning-flash vision of a people that was free.
Gwyn A. Williams,
Gwyn A. Williams,
- Voronwë the Faithful
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- Voronwë the Faithful
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Well, tying that to our conversation in the other thread, maybe he is ramping up Barrels out of Bond to make it the big climax of Film One.
That works for me.
That works for me.
"Spirits in the shape of hawks and eagles flew ever to and from his halls; and their eyes could see to the depths of the seas, and pierce the hidden caverns beneath the world."
Ha-ha! That is so true, I didn't think of that at all!axordil wrote:Although sending barrels for hypothetical reuse makes a lot less sense if the river isn't on the placid side...
'You just said "your getting shorter": you've obviously been drinking too much ent-draught and not enough Prim's.' - Jude
- Voronwë the Faithful
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perhaps that will account for the missing barrels in Ithilian
Since 1410 most Welsh people most of the time have abandoned any idea of independence as unthinkable. But since 1410 most Welsh people, at some time or another, if only in some secret corner of the mind, have been "out with Owain and his barefoot scrubs." For the Welsh mind is still haunted by it's lightning-flash vision of a people that was free.
Gwyn A. Williams,
Gwyn A. Williams,
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Miramar Shots
Ringer Spy Mr. Anderson sends along these exclusive pics of The Hobbit sets being built in Miramar, NZ. If you look closely at some of the pictures, you’ll notice that the architecture seems to resemble that of Moria. I’m sure we can all draw our own conclusions, but could this be a flashforward sequence for Moria? Maybe we are getting a peak into the Lonely Moutain? Or maybe it has nothing to do with Dwarves at all! Share your thoughts and click the ‘continue reading’ below for the full gallery.
"Spirits in the shape of hawks and eagles flew ever to and from his halls; and their eyes could see to the depths of the seas, and pierce the hidden caverns beneath the world."
I have a problem with these shots being called "spy" shots. We already know what happens over there when the studio doesn't want certain images displayed publicly.
These set pieces might be for Mirkwood. Something about the fluting and the archway suggests free standing architecture rather than excavated dwelling space.
These set pieces might be for Mirkwood. Something about the fluting and the archway suggests free standing architecture rather than excavated dwelling space.