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.
Fandom has lit up again with excitement as more Middle-earth movies, games, LEGO and merch are announced. Here’s what we know about who can do what and where with new LOTR projects.
New Line Cinema continues to be the cinematic home for Middle-earth
Feb 2023 – After a year of wild moves and intense backroom conversations about the future of Lord of the Rings, New Line Cinema renews its 25-year-old license with Middle-earth Enterprises (MEE) who are now owned by Embracer Group. From the fan perspective, nothing has changed: Warner Bros & New Line are still producing THE WAR OF THE ROHIRRIM starring Miranda Otto as Eowyn and Brian Cox as Helm Hammerhand.
New projects have not been hinted at, but fans are speculating if Peter Jackson will deliver his promised Super-duper-extended “Unicorn Edition” LOTR featuring deleted scenes like Eowyn’s wedding, Frodo-Gollum nightmare, and more. Peter Jackson is a newly minted multi-billionaire after selling Weta Digital’s toolsets to Unity, and winning Emmy Awards for his Beatles documentary GET BACK.
TORn Tuesday reported over seven years ago that PJ has a secret vault with a “warts and all” documentary, featuring original Aragorn footage. With his documentary awards for GET BACK and THEY SHALL NOT GROW OLD, maybe the first new LOTR project ready to go is a doc?
Unconfirmed rumors for this new WB & LOTR movie deal have a three-year timeline in place — which would be similar to the time-restrictions put in place with Amazon’s TV deal where they had to be in development within two years and in production within five years. This puts the 25th anniversary of Peter Jackson’s LOTR into play as a way to celebrate the past and herald the future.
Prime Studios and New Line play nice, for now
During production of the billion-dollar-budget RINGS OF POWER series, a cooperation deal was put in place between Amazon and WB. All episodes of Season 1 of Amazon’s show include a full screen logo credit for New Line Cinema, with the characters and some weapons bearing a striking resemblance to the aesthetic established by Peter Jackson’s movies. There have also been rumors that Prime Video will be the streaming home of THE WAR OF THE ROHIRRIM after its global theatrical run (instead of WB owned HBOmax).
But, it seems the CEO of WB’s owner, David Zaslav, does have a competitive bone to pick with Amazon’s CEO, with The Hollywood Reporter reporting that he “even name-checked Amazon CEO Andy Jassy, almost as if to tease Amazon with the threat of new “Lord of the Rings” properties… and suggested that a move to launch new “Lord of the Rings” movies would take away some of the momentum that Amazon had enjoyed from its launch of a series based on the novels.”
Amazon is solely in the Middle-earth TV business
Jeff Bezos and his team at Prime Studios negotiated directly with the Tolkien Estate for rights the family still held outside of anything New Line, MEE or Embracer have exploited in the past: rights to TV shows. Amazon currently must stay in that lane, but can create as many TV shows as they want with a minimum of 8 episodes per season. Amazon has announced five seasons of The Rings of Power, greenlit the first three, written the first two, are filming Season 2 now in the UK. They intend to make spinoff shows.
Prime has has only licensed the same exact two books that Embracer & Warner Bros has (The Hobbit and The Lord of the Rings), crafting any spinoff from any word or phrase from prologue to appendices. They have uniquely included current figurehead of the Tolkien estate, Simon Tolkien, in the development process, and he alone can approve usage of extra material from other books — such as The Silmarillion or The History of Middle-earth — on a case-by-case basis.
As secretive as Amazon is, word got out that they nearly went with a Young Aragorn show pitched by the Russo Brothers — fresh off their $2 billion Avengers Endgame run — which begs the question, why not both? Would Amazon greenlight another LOTR TV show now that more “friendly competition” from Warner Bros. is coming to cinemas?
Will there be a reboot of The LORD OF THE RINGS?
As of now, absolutely not. Nobody in control wants to reboot the most award-winning film of all time. The Tolkien Estate have mandated that the TV rights are not allowed to remake the movies. Despite WB’s record of reboots and multiverses — last count there are seven Batmans in the cinematic zeitgeist — there seems to be an effort to keep Middle-earth as one cinematic universe to rule them all. Even the new feature film spin off THE WAR OF THE ROHIRRIM is an expansion of the Peter Jackson MeCU. There are plenty of new stories to mine from the books, and no remakes are expected in film or TV format.
Is Peter Jackson returning?
Unknown as of today. Peter Jackson put out a statement though:
“Warner Brothers and Embracer have kept us in the loop every step of the way. We look forward to speaking with them further to hear their vision for the franchise moving forward.”
Peter Jackson
Philippa Boyens, his co-producer and co-writer of LOTR who shared in Oscar glory, is currently producing THE WAR OF THE ROHIRRIM with New Line Cinema. The new film is still “in the Jackson family” with Weta Workshop, John Howe, Alan Lee, and many other Hobbit veterans involved. Could all the local commotion re-ignite Peter’s passion for Middle-earth? Would he come back in a supervisory role, similar to how Kevin Feige produces and manages all of MARVEL films? Only time will tell.
Where can I stream everything LOTR?
Many places! Netflix, Amazon Prime and HBOmax all have the LOTR trilogy Extended Editions streaming free with your account, depending on your country in the world. THE RINGS OF POWER is exclusively streaming on Prime Video and not for sale on DVD. Lord of the Rings has a fresh coat of paint in a 4K Blu-ray release from WB, which is also the version you can buy on iTunes and other digital platforms. The Hobbit movies are streaming on HBOmax, as well as the 1977 Rankin Bass classic animated Hobbit. We like to use JustWatch to see where Desolation of Smaug is currently available on any given month.
Are there really five new LOTR video games coming out?
Yes! Embracer Group, in addition to owning the LOTR rights, is a huge video game developer with tons of studios. They have announced five new LOTR games for 2023, each unrelated to the others, including:
Gollum Game
Return to Moria
Heroes of Middle-earth
Untitled Weta Workshop game
? unannounced ?
The Lord of the Rings has a long history of innovation in the video game space. LOTRO, the online MMO, is still going 15 years strong with new expansions and a larger player base than ever before. The console and PC Shadow of Mordor series introducing the Nemesis System and became one of the best of the PS4 generation games. Nearly all LOTR games are unrelated to any LOTR films — though some of us old nerds hold Return of the King fondly in memory.
Separately, Magic: The Gathering is now selling a brand new licensed LOTR card game.
Who is Embracer?
Embracer Group is the new owner of rights that JRR Tolkien himself sold off in 1968. The Swedish gaming and rights holding company purchased these rights in 2022 from Saul Zaentz Company, which was used to create the Oscar-winning LOTR films. These rights, which JRR Tolkien later regretted selling off, are perpetual rights to do anything with everything in The Hobbit and Lord of the Rings books. This includes all merch, board games, card games, movies, theme parks, toys, albums, weapons, alcohol, video games and more. Everything except make TV shows.
Because Embracer owns merchandising rights, Amazon has to go through them to make any merch for RINGS OF POWER just as all the movie merch for LOTR and The Hobbit included “licensed by Saul Zaentz” or Middle-earth Enterprises. Through Embracer, LEGO just announced a new 6,000 piece Rivendell set based on Peter Jackson’s movies that will no doubt sell out.
Prime Video has announced that Charlotte Brändström, Sanaa Hamri, and Louise Hooper will each helm multiple episodes for Season Two of The Lord of the Rings: The Rings of Power.
Readers will, of course, recall that Brändström directed a pair of Season One’s episodes: (1X06/“Udûn” and 1X07/“The Eye”).
Hamri, an acclaimed music video director who has collaborated with artists such as Mariah Carey, Prince, and Snoop Dogg, recently completed executive producing and directing The Wheel of Time’s second season. Hooper has directed episodes of The Witcher, as well the season finale of Neil Gaiman’s The Sandman.
The announcement states that Hamri and Hooper will each direct two episodes, with Brändström to oversee the remaining four and serve as co-executive producer for the eight-episode season.
Season 2 is currently in production in the UK.
The Rings of Power Season Two’s directors
Charlotte Brändström is an award-winning director and graduate of the directing program at the American Film Institute. She recently finished directing a pilot for Netflix Sweden titled The Unlikely Murder, and her other directing credits for television include The Outsider for HBO; Jupiter’s Legacy, The Witcher, and Away for Netflix; The Man in the High Castle for Prime Video; and Outlander and Counterpart for Starz. Brändström also directed the entirety of two European limited series: Conspiracy of Silence for Viaplay and Disparue for FR2, and has also directed over 30 feature films, miniseries, and movies-of-the-week. Additionally, Brändström is an international Emmy award nominee for Julie, Chevalier de Maupin.
Sanaa Hamri is a renowned film, television, music video, and commercial director from Tangier, Morocco. She recently completed executive producing and directing The Wheel of Time’s second season for Prime Video. Previously Hamri was executive producer/director for FOX’s hit series Empire, and her other episodic television directing credits include Shameless, Rectify, Nashville, Elementary, Glee, and Desperate Housewives. Hamri is also an acclaimed music video director, and has collaborated with numerous hip-hop/R&B musicians including Prince, Common, Lenny Kravitz, Rhianna, Justin Bieber, Snoop Dogg, Jay Z, and Mary J. Blige. She has also won an NAACP Image Award for India.Arie’s “Little Things” video, as well as an MTV VMA for Nicki Minaj’s “Super Bass.” In addition, Hamri directed Mariah Carey’s sold-out five arena concert documentary, The Adventures of Mimi, and has also directed the feature films Something New, The Sisterhood of the Traveling Pants 2, and Just Wright.
Louise Hooper is an acclaimed British drama director, known for the 4-part limited thriller Flesh and Blood, starring Imelda Staunton and Stephen Rea; and Cheat, the 4-part drama starring Molly Windsor. Her additional directing credits include the first season finale of Neil Gaiman’s The Sandman, The Witcher, Inside No. 9, and Treason. Hooper began her career directing BBC Arts documentaries, working with David Lynch, Helmut Newton, Arthur Miller, David Attenborough, and Björk, and has also received a BAFTA nomination for directing Our Gay Wedding: The Musical.
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.
TORn Tuesday’s co-host Justin flew around the world — at his own expense — to experience the first showings of Prime Video’s huge The Lord of the Rings: The Rings Of Power with fellow fans in NYC and London. Now having seen it twice, after years of the most spoileriffic leaks, here is his review of the first two episodes of The Lord of the Rings: The Rings of Power on Prime.
Producers Lindsey Weber, JD Payne and Patrick McKay introducing themselves to fans in NYC
Back in 2002, I sat down in a theater full of fellow Ringers at midnight as an unknown jovial British man with a deep voice walked out to introduce The Two Towers. Andy Serkis had come at the invite of TheOneRing.net to opening night. Nobody knew who he was other than the IMDb credit and 3 seconds of trailer time — and this guy looked & sounded nothing like Gollum. There was also a lot of chatter leading up to the release of The Two Towers that book lovers were terrified of — that the elves had been reassigned from the books to honor the last alliance at Helm’s Deep (ruining Tolkien’s greatest battlefield reunion in The Return of the King). Leaked set pics showed Arwen fighting at Helm’s deep. Jar Jar Binks all-CGI characterization had “ruined” Star Wars, and all-CGI Gollum was ready to ruin Tolkien.
The lights dimmed. The screen showed the familiar landscapes. Then the camera dived INTO the mountain to replay one of the greatest scenes of Fellowship (natch, film history). Oh great, I thought, another film that does “when we last left our heroes” recap. And then the camera follows Gandalf as he falls into battle with Durin’s Bane, as an epic choral music laments their fall into the great chasm. I lept out of my seat! I couldn’t believe a movie had just shown me things I had never seen before, never expected, and a style of storytelling I didn’t think possible. The Two Towers changed my movie going life, and it is still my favorite of the trilogy.
My Rings of Power take after seeing the pilot episodes twice and really diving into the visual details:
Prime Video’s The Rings of Power brings back that feeling of discovery. It changes what television is capable of. It redefines multi-storyline TV. It completely immerses you in Middle-earth from the start, and delivers an incredible storytelling experience that stays true to the tone of Tolkien while necessarily charting a new path.
The Rings of Power finally delivers on Gimli’s promise to the Fellowship that his kin would provide a warm welcome in Moria. We finally see dwarven culture at its pinnacle — a fully realized society that is well-fed, well-worked, and well-machined. These dwarves will feel familiar to Hobbit trilogy fans, with great-looking, practical makeup FX (allegedly supported by Weta Workshop), but it’s the characterizations that really take this culture beyond the comedy of the movies. Fans of deep lore will rewatch the dwarven scenes to spot the many Easter eggs of items lost to time in the books.
All the other lands and races are equally fully realized, even the orc culture. We are all aware of the amount of effort needed to accomplish creative at this level thanks to Peter Jackson’s Appendices. It’s obvious hundreds of top creative talent are collaborating on this show. There is a visible sense of pride in the work from all the details both visual and narratively. This is a billion dollar TV show and it shows. It takes that much support to realize Tolkien’s vast imagination — which is larger in the Second Age than the Third Age seen in the films. The Second Age just has more of everything. More societies. More cities. More arid lands. More areas to explore. More destruction. My biggest fear now is that future seasons of The Rings of Power may not get the same generous budget, knowing what enormous cataclysms are to come.
Writing on the show is peak television at its pinnacle. Prime has assembled an all-star fellowship of writers from the best shows on TV — Breaking Bad, Better Call Saul, Hannibal, Game of Thrones, and more. Absolutely no characters from the vast collective on this show feel cardboard, short changed, nor one-dimensional. Everyone quickly has motivations created and their place in society established. TV has never seen a character break as bad as Sauron, the lord of all the rings, and the pilot episodes set up the stakes for Middle-earth.
J.A Bayona was absolutely the right director to establish the look and feel of this show. From his water work with The Impossible to the dark tones of Penny Dreadful, Bayona captures the existential dread that Middle-earth may not know is coming. Showrunners J.D. Payne and Patrick McKay are living our collective fan dream overseeing this massive project. Their imaginations are reaching for the same great heights that JRR Tolkien famously attempted, yet still under the guardrails and guidelines he established. Tolkien envisioned filmmakers expanding his Legendarium with his “other minds and hands, wielding paint and music & drama” and these guys are up to the task. Having chatted with them many times over the last six months it’s clear that these other and hands are the right ones to continuing shaping the history of Middle-earth.
Fans may forget that Peter Jackson’s The Lord of the Rings was full of no-name actors. It was Orlando Bloom’s first work, Billy Boyd’s first movie, and the biggest job for the hundreds of longtime kiwi actors. Rings of Power continues that tradition of unveiling top talent on the global stage. These folks are future stars. All the recent discourse of how they look and talk — also things fans also complained about in 2001 — is put to rest the minute the show starts. There is no wink at the camera or in-your-face notice me going on. These performances live in Middle-earth, period. Tolkien’s source text allow for a very expansive visual canon which the filmmakers are developing with the highest of standards. All the fears fans have of this “looking like television” are proven invalid. Better than other space and superhero TV shows, this is Middle-earth looking exactly like it should: the proper continuation of a $6 billion franchise and most-awarded film series of all time.
Even if it’s not a continuation. We have covered the rights situation numerous times over the last 4 years on this site and on YouTube. Testament to loyalty to JRR Tolkien is the involvement of Simon Tolkien (the current elder family stateman) in the production of the show, and no less that 11 living Tolkien relatives showing up to the London premiere. It’s a privilege to have Royd Tolkien a longtime friend of TORn, but to have his family there at The Rings of Power premiere unlocked a feeling I didn’t know this franchise needed: full support of the sub-creator’s legacy, and a proper continuation of his life’s work. There’s a trust in the show there, now, that I didn’t know was missing.
Royd Tolkien & Justin at the London ScreeningTolkien Professor Dr. Corey Olsen, Clifford Broadway and Nerd of the Rings debate lore of the TV show in NYC
I’m looking forward to the many debates fans will have, and we will have at TheOneRing.net, over the choices made by the filmmakers. I’m reminded of the TORn staff that walked out of The Two Towers theatrical opening, disgusted that Frodo and Sam were at Osgiliath with an unrecognizable Faramir. My favorite film of Peter Jackson’s The Lord of the Rings has its detractors and I respect their perspectives, and The Rings Of Power will undoubtedly generate similar debates that can only strengthen our love of Middle-earth. Maybe we should bring back RINGER REVIEWS so all us fans can share our assessment of each of the 50 episodes to come.
As I walked out of that first screening, and now a second one in London, my one word review of Lord of the Rings: The Rings of Power two-part pilot remains:
PERFECTION. No Notes.
Huge thanks to all the teams at Prime Video that have supported the fans throughout this journey of creation, for inviting hundreds of fans to these free screenings around the world, for all the support at Comic-Con and DragonCon, and for all the friendly (sometimes intense) conversations as we shared the excitement for this show. Fans are happy to be seen, and will be very happy with the finished product.
Tune in every Tuesday at 8pm ET for TORn Tuesday LIVE with Clifford & Justin, and chat anytime on the TORn Discord at https://discord.gg/theonering
Executive Producer Philippa Boyens is pretty pleased with the casting for The Lord of the Rings: The War of the Rohirrim.
“It’s exciting — we’ve been sitting on it for a little bit,” she says. “[But] it all seemed to come together in an organic way, which is what you want, I think. Suddenly, the right people come to the role.”
Boyens says that bringing in Otto as narrator was not an immediate decision. Rather it was one that gradually emerged.
She explains that Éowyn eventually felt like the natural way into the bloody and grim tale from Rohan’s past.
“Her voice was familiar,” she says. “And then I think it started to come easily for the writers.”
She hopes that it will also help locate the story for film fans who are unfamiliar with deeper cuts from Middle-earth’s history.
Yet that was not the only reason — an oral tradition felt fitting.
“It’s also so fragmentary, what we are dealing with in terms of the source material. It’s little bits of references here and there … so the oral tradition felt kind of right. The oral tradition of her telling the tale, passing the tale on.”
She doesn’t divulge to whom. But one guesses it is likely her grandson, Barahir. Tolkien not only names Barahir in The Lord of the Rings (solving any potential rights-access issues that would arise with her son, Elboron), he is also an in-world scholar and the author of The Tale of Aragorn and Arwen.
Helm Hammerhand: a complex and epic role
Boyens says that both the film’s director Kenji Kamiyama, and Warner Bros SVP and producer Jason DeMarco, were well aware of Brian Cox from his recent voice role in the English dub of Blade Runner: Black Lotus.
“They’re huge fans, of course,” she says.
“Weirdly, years ago — and this is me aging myself — I tried to go and see Brian’s performance as Titus Andronicus.”
She describes how this 1987 run of the Shakespeare tragedy directed by Deborah Warner has attained a legendary status.
“It was just one of those ones which was fresh and shocking,” she says.
“And it [the Andronicus role] wasn’t a role — this is from Brian himself — that many of the other actors were interested in taking on. But he connected to it. I couldn’t get a ticket, but I had a couple of friends saw it who were just blown away. And they talked about the way in which his rage was fuelled by this grief. And the underlying horror that was in the storytelling.
“And that kind of resonated with me when we were thinking about the Helm role. Because it just — it spans a lot of different emotions.”
She says the role — and the film — is about delving into Helm’s choices.
“And the mistakes he made as well. And then his acknowledgement of those mistakes. Was there an acknowledgement of those mistakes?” she asks.
At different points she notes Helm’s hot-temperedness, and how he almost certainly under-estimated the Rohirrim lord, Wulf, who after he is outlawed leads the Dunlending invasion of Rohan.
“[Yet], I saw the tales of him slipping out [of the Hornburg] during the siege and attacking the camp for his people as literally someone trying — even with their bare hands – to protect the people as the king should,” she adds.
“So he was a true manifestation of the king-protector.”
Helm’s heirs and the overthrow of Edoras
The grim reality, though, is that Helm is unable to protect his children.
His eldest son, Haleth, is slain when Edoras is overrun and taken by Wulf’s forces while Helm is forced to take refuge in the Hornburg. We touch only briefly on Helm’s other son but I conclude that his Hama’s fate will remain the same tragedy that it is in Appendix A.
Boyens describes the first as a shocking and powerful moment. Powerful, perhaps, for readers, to finally see things they’ve long envisaged through Tolkien’s descriptions; shocking for film fans to see the unexpected — Edoras besieged and overthrown.
On the other hand, Tolkien leaves the fate of Helm’s daughter unclear. In fact, he never names her even though Freca’s bid for her hand in marriage for his son, Wulf, is a key catalyst for war. Boyens concedes that we simply do not know a lot about her.
“Where we turn to, very deliberately, is to Æthelflæd, the Lady of the Mercians. Alfred the Great’s daughter,” Boyens says, and proceeds to provide a rapid-fire education on an era of British history that I’d barely known of until now.
“She never ruled as a queen per se; she’s known as the Lady of Mercians. But she seems to step in when her people needed her.
“Æthelflæd was also really ingenious, which comes into play in the script. [It] was an idea that Kamiyama had, and they (he and the writers) played with that. I can’t tell you too much about it. But it’s about how you save your life when you have very little to work with?”
It’s a statement that seems to suggest that Helm’s daughter – who they’ve chosen to name Héra – will play some key role after the fall of Edoras to Wulf, and the death of Haleth.
“And I really don’t think that Professor Tolkien would hate this,” Boyens says. “Because I always see him as a bit of a Mercian himself being from the Midlands.”
Héra: so named as a nod to the Anglo-Saxon
Unsurprisingly, the name Héra is chosen for alliterative effect: Helm, Haleth, Hama, Héra. Yet Boyens reveals that wasn’t initially the case.
“Someone suggested another name and I went: “Nope, it’s gotta start with “H”, sorry”,” she says.
“Actually, Fran Walsh named her. I told her we were stuck. It’s actually Héra (I get a quick pronunciation lesson and discover the é functions a little like the “ai” in hair) — that’s why it has the accent. Not so much based on the Greek [goddess] Hera, but a nod to the Anglo-Saxon.
“And I like to think she wasn’t a character that [the writers] tried to create wholesale — pulling things out of thin air. Héra is very much drawing from sources that fit with the storytelling that Tolkien himself is drawing on.”
In case you’re wondering, Boyens confirms that neither Fran Walsh nor Peter Jackson have an official production role. It’s more that, since they’re long-time collaborators and have so much experience within Tolkien’s Middle-earth, they’re sometimes just a natural sounding board for ideas.
“I also want to give a shout out to Gaia Wise who voices Héra. I think you guys are going fall in love with her. She is fantastic, she’s amazing. She just had such innate sense of who the character is and how to play her. She was great.
“She had a very natural sense of fiery-ness, but without it being petulance defiance.”
Mûmakil, mercenaries and money
While we’re discussing events at Edoras, conversation inevitably veers toward the Mûmakil that were prominent in the initial concept art released in January.
“In order to understand the use of those [ideas],” Boyens says, “you need to understand the character of Wulf and the position that Wulf is in — and had found himself in. And who he would be turning to.”
At this point she pulls in another fact, mentioning the great wealth of Wulf’s father, Freca.
“His father was not an insignificant Lord of Rohan. He had indeed grown fat and prospered,” she says, referencing Helm’s comment in Appendix A about Freca’s large waistline.
Boyens doesn’t expand any further, but my own guess is that The War of the Rohirrim will establish Wulf as the organising mind behind coordinated assaults on Gondor and Rohan, using resources wealth from his father to secure the assistance of Corsairs and Haradrim.
As Appendix A states:
Four years later (2758) great troubles came to Rohan, and no help could be sent from Gondor, for three fleets of the Corsairs attacked it and there was war on all its coasts. At the same time Rohan was again invaded from the East, and the Dunlendings seeing their chance came over the Isen and down from Isengard.
It was soon known that Wulf was their leader. They were in great force, for they were joined by enemies of Gondor that landed in the mouths of Lefnui and Isen.
A human struggle that becomes increasingly claustrophobic
If this sounds like a very human — and political — struggle, Boyens concurs. I suggest the absence of elves, dwarves and hobbits makes it a very different tale to The Lord of the Rings that most know.
She indicates that this was one of the reasons for choosing Helm’s story.
“It’s not about the Ring, it’s not about the Dark Lord. All of that is very peripheral to the story.”
She says it’s also the attraction of examining honour, revenge and familial ties — on both sides.
For Helm, there’s madness born of grief from the loss of the child. With Wulf, there’s his relationship with his father, and with Héra.
“He is his father’s son, but he has a different character. So he does actually offer [to wed] her and the writers asked: ‘Why?’ What was driving him? Was it just his father demanding that he do this? Was it his ambition? What was at play there?”
Even the historical grievances of the Dunlendings — that the lords of Gondor gave what the Dunlendings felt was their land to the Rohirrim — should come through in the film.
She says that all those things are in the Helm tale.
“When I talked to Kamiyama about it, it resonated with him. So that was the genesis,” she says.
“And there’s a moment in the film, which is incredibly gut-wrenching and powerful where Wulf commits himself to a course of action he cannot turn away from. And once he does that, the story darkens.”
She says it was here that the screenwriters Phoebe Gittins and Arty Papageorgiou really connected with Kamiyama.
“So, yes, it begins with these quite large-scale battles, but it actually becomes more intense and … claustrophobic,” Boyens says.
“And the nature of the film changes almost into a ghost story.
“As the siege takes hold, as the rumours of horror begin to spread. And I can give you a little tease and let you know that, although we said this isn’t about The Ring and this isn’t about the Dark Lord … there are the White Mountains and there are creatures [out there].”
Somewhat to my relief she squashes speculation that she might be referring to the Dead of Erech. Instead, she suggests that orcs inhabited the area — a historically more agreeable inclusion.
“Also, I can just add — and I thought it was, again, really interesting in the way that Kamiyama approached this — this was a long, cold winter that was hurting everyone.”
This suggests that there won’t be space to see Gondor’s own struggles. Gondor may come to the rescue in the end, but it seems the focus will be squarely on a life-and-death struggle within Rohan.
She won’t even confirm or deny the presence of Saruman the White in the film. We’ll just have to wait and see.
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.
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