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Author Topic: The Silmarillion movie?
The White Hand
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I doubt it could be made as written, but how would it go?

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[ 05-05-2011, 12:31 AM: Message edited by: The White Hand ]

From: Memphis | Registered: Nov 2010  |  IP: Logged | Report this post to a Moderator
Artaresto
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Probably bad. []

I have great fears concerning a Silmarillion movie. It is a mythology; though perhaps the tales of Beren or Túrin could have worked, when directed someone who knows the legendarium.

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Atmospherium
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Oh golly, don't even contemplate such a thing. How to film the Music of the Ainur? How to visualise the liquid light of the Trees of Valinor, not to mention the Silmarils themselves?

Actually, Tolkien's writing is vivid enough that I can visualise much of the the Sil in my mind as I read: Oromë thundering across the plains of Middle-earth, Morgoth hurling aloft Grond in his battle with King Fingolfin, etc.

But I cannot even catch a glimpse of the beauty of Lúthien, or grasp with my mortal mind the majesty of Manwë and Varda upon the heights of Taniquetil. They are beyond me.

Some of the individual tales, as Artaresto says, could be transferred to film in a faithful and entertaining manner. Beren and Lúthien could work, though it would be merely an adventure story, and would lose much of the magic (for lack of a better word) of the printed tale.

But if that foul descendent of Saruman, Jackson, even thinks of getting his grubby paws on my Lúthien, I will personally hang his carcase from a gibbet for the sport of his own crows.

But don't let my puritanical zeal stop you from the fun of wondering how to make such a film. []

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The White Hand
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quote:
Oh golly, don't even contemplate such a thing. How to film the Music of the Ainur?
True, you'd need a real Kubrick to pull it off properly-- do any exist in this day of comic-book hacks?
But just take a look at Carl Sagan's "Cosmos..." BILLLL-yuns and BILL-yuns of stars, the formation of the universe as "one song" etc.
Today this could be done even better.

quote:
How to visualise the liquid light of the Trees of Valinor, not to mention the Silmarils themselves?
The Silmarils I'd have as huge diamonds of of this same light.
But "liquid light?" I thought it was just silver and gold like the sun and moon... but still, 3-D CGI and filters can do it.

quote:
Actually, Tolkien's writing is vivid enough that I can visualise much of the the Sil in my mind as I read: Oromë thundering across the plains of Middle-earth, Morgoth hurling aloft Grond in his battle with King Fingolfin, etc.
Would it be that difficult to put to film?
Also don't forget Tolkien's likening of Théoden to Oromë as he rode to Gondor... *awe*

quote:
But I cannot even catch a glimpse of the beauty of Lúthien, or grasp with my mortal mind the majesty of Manwë and Varda upon the heights of Taniquetil. They are beyond me.
Well true, you'd have to do better than Liv "donkeyface" Tyler or Ben "South Park butt-face" Affleck... which is why CGI "enhancement" would be needed IMHO.

quote:
Some of the individual tales, as Artaresto says, could be transferred to film in a faithful and entertaining manner. Beren and Lúthien could work, though it would be merely an adventure story, and would lose much of the magic (for lack of a better word) of the printed tale.
I'd think that Beren and Luthien would need to be the key characters-- since they were the forefathers of Numenor after all-- while Gandalf and Sauron would be the main adversaries in order to tie them to the hobbit-tales (meanwhile Saruman, Radagast and the others would be there too).

The problem with a Sil movie, is the epic "Illiad" style of the book's presentation-- rather than the "classic" single story that centered on one main character and a single objective. Here, it would be to get the Silmarils back from Melkor.

quote:
But if that foul descendent of Saruman, Jackson, even thinks of getting his grubby paws on my Lúthien, I will personally hang his carcase from a gibbet for the sport of his own crows.

(Cue visual of "Heckle&Jeckyl" Fran and Phillippa flying around pecking the meat from a hanging dwarf-skeleton wearing a beard and glasses... []

quote:
But don't let my puritanical zeal stop you from the fun of wondering how to make such a film.
Do I seem like someone who'd accept anything less than zealous puritanism?
No, this would need to be either done right, or not at all IMHO.
However unlike some excuse-makers for crap-on-a-plate, I don't think that "it can't be done" in order to say that crap is ok because it's the only thing possible.

I was thinking, rather, mainly about the brass-tacks regarding the storyline; the book wouldn't do, what with Melkore being chained, unchained, Thingol and Melian etc; Unless you simplified it and kept it part of the same storyline, then it would turn out a big mess, and look like the Hercules film where Lou Ferrigno bsically performed all of Herc's tasks one after another..... [] []

Instead, the story mainly would have to be about Beren and Luthien (and Elrond) and Gandalf v. Sauron. In short, you have to tie everything together via a few characters and a single plotline.

It could be done in two or three films: mainly pre-Melkor and post-Melkor, with the second and third film centering on the Rings of Power and Numenor, as well as Elendil. Ultimately, it would feature Gandalf returning along with the rest of the Istari.

[ 05-05-2011, 07:34 PM: Message edited by: The White Hand ]

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Jango
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I totally posted this in the wrong forum, so I'll just move it here (since I didn't do my research like a good boy and missed this thread altogether).

The Silmarillion isn't unfilmable and I'll explain why.

But first, I'll explain why it IS unfilmable.

NOTE: I'm approaching this from a film maker's perspective. If one sets out to make a film, whether it be original or based off of pre-existing work, the film MUST work as a movie. Also, I've put a whole of one day's thought into this so my concept is still rough. I'll also be the first to admit that I am in no way a Silmarillion expert. It's been nigh on a decade since I last read the text and I've only recently been re-familiarizing myself with the narrative through summaries. I'm only putting forth my opinion on how I think it is achievable (like it or not). That being said, I'm sure this approach will piss a lot of people off.

Why The Silmarillion is unfilmable-

Firstly, there is no single protagonist. This is the first (of many) fatal flaw. You can't have a movie without an emotional through line to carry the audience. Shortly into the film you would lose your paying audience's interest. If there is no person, no emotional struggle for us to latch on to, to identify with for the duration of the piece, it isn't going to work. And there's just no beating around that bush. Gotta have a hero!

Secondly, there is no single tangible goal. There are many, and really that's not going to make a good movie. It could work well for a miniseries, or a TV show, but I wouldn't want to see The Silmarillion on that kind of budget. Would you? Blegh. Gotta have a quest!

Thirdly, there is no cinematic structure to the story. I'm talking Act 1, 2 and 3. The Silmarillion is like The Bible or a history book. If you were to condense it that much to force it into a three act structure you would a) lose almost the entirety of the history (and I'm sure none of here would be happy about that), b) have to make the Valar your protagonists ( Clash of the Titans anyone? [] ) and c) there would be way too goddamn much exposition. F that.

So how do we achieve this insurmountable goal? Make multiple movies you say? Well... yes. And hell no. Hell no because while in solving a few of the problems you introduce a few more. Particularly, justifying sitting on your butt for three more movies about divine demi-gods and semi-divine elves would be down right ridiculous. Also (getting into business here, I promise I'll make this short) making a series of films out of The Silmarillion just isn't bankable. People know and love Lord of the Rings and The Hobbit. You could sell a bunch of tickets on the first film of this series, but any kind of vanity would soon die out and people would quickly draw comparisons to the Star Wars prequels. You can't make movies on a book that's largely estranged by readers soon after they bust out the first couple of chapters (even by many fans Tolkien's popular writings).

Cut to the chase already? Okay, let's get our hands dirty.

How The Silmarillion is filmable-

Multiple movies. Well... sort of. If I were to adapt the history of the First Age to film, I would do it in two flicks... but really it's four movies. Here's what I mean: first (and this is important to be first) adapt The Children of Hurin into one self contained movie. I'll explain the reasoning for this in a moment. Second, make The Silmarillion one movie comprised of three "shorts" ala Sin City or Pulp Fiction. Three shorter, self contained-but-intertwining stories that complete the whole.

Let me backtrack a step. Let's tackle The Children of Hurin first. Why is it so important to start in the middle of the story before telling the beginning? Because COH offers us what The Silmarillion doesn't. We have a hero we can root for, we have a visible quest and it can very easily adapt to a cinematic structure. Beyond these reasons, it's about MEN and that is hugely important. Lord of the Rings wouldn't work if Frodo was a dwarf and the realm of Gondor inhabited by elves. We care about it because there's something more emotionally at stake for us, the audience, in knowing that these guys are mortal men like us. We can identify with them. Turin is a great character and it would suck major balls (emotionally) to watch his story play out on screen. That's the emotional hook into the Fist Age. Of course, it would probably call for another prologue by Galadriel to set the stage for how the world is in this time. I would vote for the film also retaining its book ended narrative of Hurin. This way all of our main stage setting is complete, we've identified the primary antagonists and spelled out the rules of this age for the audience with the time and attention they deserve (both the audience and the rules).

Now, the tricky one. The Silmarillion should only be about the silmarils as the title suggests. So I say it should focus on the three most important stages of that story through three separate-but-intertwined films. I call them films because each segment (like Sin City and Pulp Fiction ) has a beginning, middle and end. Each film has its own protagonist and its own three act structure. Characters will reoccur, the antagonist will remain the same and the overall story will be told. Also, I call them each films because each would have a different narrative style. Oh and by the way, I don't imagine any of these being any longer an hour each. Shorter if possible.

Part 1, The Theft of the Silmarils. This is the most risky of the three. It should, for the love of narrative (and the audience), maintain a focus on the creation of the world, the stealing of the silmarils and the siege on Angband. We can benefit in this installment by keeping most of characters elves. In doing so, the enormous leaps in time would be feign able under their immortality. We wouldn't have to mention how many years pass, but we wouldn't have to say it happened over a short amount of time either. Keep it simple and you'll keep your audience. Consequently, much of the history between the elves would have to get glossed over or summarized. What groups go where isn't terribly engaging movie making, but it is important to the narrative. That would have to be figured out later. Ultimately, it's a history lesson that takes up too much valuable screen time. FYI this is where you start getting mad.

The big challenge is how does one introduce these heavy fantasy/mythology elements (like the creation of the world and the Valar) to a modern audience without losing them and making them care. There's the obvious approach of making it Shakespearean, but I honestly think that would stink to high heaven. Simplicity is the key. I think there is a lot to learn from Kubrik in this approach. The origin of the world would have to be distilled to its simplest and most translatable form. I would make the first 10-15 minutes dialogue free. I'm talking pure cinematic storytelling. Some kind of cross between 2001: A Space Odyssey, Fantasia and Genndy Tartakovsky's Birth of Evil episodes of Samurai Jack (if you haven't seen it, check it out, the guy is a masterful storyteller). The creation of the Valar and Melkor's rebellion can be pretty easily summed up in a visual, but more importantly symphonic, way. I would personally keep the Valar from any physical forms until the creation of the world, just for the sake of feeding the audience baby bites of mythology. Start in space, some kind of illuminating, brilliant, formless representation of Eru as he creates the music of the Valar. The Valar could be represented like stars, soaring across "space" playing their music for the God being. Without saying a word we know who the rebel is when one separates from the others and starts playing his own tune. I'm summarizing and this would modified to be as accurate to the POINT that Tolkien was making as much as possible. Remember, if I'm off on stuff from here on out, it's because I'm going off decade old memory and limited synopses. The dueling music between Melkor and the other Valar escalates to the point where Eru casts them from his presence to Earth where they are doomed to play out their struggle in the physical realm. Still, without dialogue (or minimal at most), the Valar awake in their physical bodies and discover this new world they're on. They play their roles and the elves and men begin to wake up.

Now, this is the sketchy part. There's a lot of time before the years of the sun and we have to get Valinor fast. This is The Silmarillion so lets get to some silmarils. I can imagine a lot of the important plot point regarding the history of the elves and their relationships with each other and who was where when can be referenced in COH. The point is, the story of the silmarils is what matter most. The real "story" begins with Feanor creating the silmarils with Melkor residing in Valinor, seemingly pardoned by the Valar. It makes the most sense to me to make Feanor and Fingolfin the protagonists. Feanor has the most common sense about the bad guy and is instantly sympathetic when Melkor plays him against Fingolfin. Fingolfin shows virtue in retiring the throne when Feanor and is probably the more admirable half of the brotherhood. This is the compelling emotional line that leads us through the first film. Making your protagonist a victim of an undeserved dilemma is storytelling 101. Family feud, denying the gods (his oath) and the kinslaying all make compelling story. The first film builds towards its climax with Gothmog slaying Feanor and Fingolfin's desperate attempt across the ice. The sun rises and men awake. It has potential to be a poignant moment for both men and elves and this is our main thread into the second film. But we have a story to tell, get on with the siege. The siege could be condensed thanks to the lifespan of the elves (almost 500 years of history would need to be glossed over, I know, it sucks but that's the game if you want to tell the story). Perhaps, like the way the first film opens, in pure cinematic storytelling, it could also end without dialogue as Fingolfin duels Morgoth mano a mano.

Part 2, The Quest for the Silmarils. I'm going to sum up. You get the concept between the shorter films connecting together now. This film is wholly about the most famous story from The Silmarillion with Beren and Luthien. This one is pretty self explanatory and would have to take fewer risks. Already we have the through line from the previous installment, the awakened men. Beren ties us quickly and firmly into an emotional plot and Luthien will prove to be one badass babe to root for. There's no denying this has potential to be a strong character driven story. And it will benefit greatly from being able to take place within the life span of a man.

Quickly, start with Beren as an outlaw, being driven from his lands by Sauron (not the evil SOB we know from LotR) and Drauglin. Flees to Doriath, falls for Luthien and is charged with the quest for the silmarils by Thingol for her hand in marriage. There we have all the ingredients for a great movie! Most of the movie would be the quest. We get great moments like Huan besting Sauron in wolf form, sneaking into Angband in disguise, Luthien and Beren double-teaming Morgoth to steal the silmaril, Carcharoth eating the hand that feeds him jewels, ect. The climax has Beren retrieving the silmaril from the pooch, dying and Luthien's sacrifice to return Beren to ME.

Part 3, God how long is this post? aka War of Wrath.

I'm going to be honest. I have no idea who the protagonist would be of this part simply because I haven't re-acquainted myself with this chapter enough yet. I want to say Earendil would be a prime candidate, but all I know is his business with bringing the silmaril back to Valinor and convincing them to go kick Morgoth's ass and his glorious return in the Vingilot. This seems to me like the most compelling story, but again, I'd need to review his role in the actual story part of the story. The last thing we need is one big battle scene. The battle is a big part, but what is action without drama (be it human or elvish) to ground it in? The important thing is what this final film achieves: a) it resolves the story of the silmarils, b) it ends the Vala's direct role in Middle-Earth's history, c) it transforms the landscape and d) ends the first age. As the final act of a narrative, the final installment of a trilogy or last level on your video game, everything that came before should resonate. It is about resolution. Feanor's oath is fulfilled, the Valar learn from their mistakes, men and elves form a bond first cemented by Beren and Luthien and the silmarils are dispersed. It would be unwise to introduce too many elements in this film, so perhaps keeping Earendil the focus, even if he isn't a major player in the brunt of the battle itself, might be the way to go. Besides, how amazing would be to see the Vingilot come blasting in to save the day from Ancalagon?

EDIT: Oops! How could I forget the fall of Gondolin? That was almost embarassing. That would definitely be a big early element to the third "short" as it puts a lot more at stake for the final assault on Angband.

There you have it, The Silmarillion in 3 hours. Tight, fast paced, relatively complete with compelling human drama to drive it. Love it or hate it, this seems to me to be the only way to make it happen in a way that is worth anyone's time. Of course, I have my ideas on a Second Age film about the forging of the Rings and the fall of Numenor... but I'm not getting into that now.

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Tigranes
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Good ideas Jango. Now for the nitpicking part:

1) It's actually spelled "à la", not "ala". Ala is Latin and means "wing". Sorry for picking on you, but apparently every English native speaker seems to be doing this wrong and I need to start somewhere.

2) I approve of your concept but I think the whole thing should take more than three hours. Each film should have about two. Otherwise it would be really fast-paced, which is not actually cool - it's just been an incredibly annoying Hollywood fad for the last ten or so years. An epic story needs to take its time even if you don't have lengthy combat scenes at every corner. "Fast paced" works for little ADD kids but not for the broader audience.

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Hamfast Gamgee
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I do seriously think that Beren and Luthien would make a great stand-alone play! It would make a great Opera as well if someone could write the music. It does have many joyfull and indeed tragic and terryfing elements that one could do justice to. The part about the prisoners been eaten alive by a werewolf in Sauron's dungeons for a start! And around 2 hours might be just about enough time to do it as well.
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Roll of Honor Éomer
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I think the best way to do The Silmarillion would be in a series of five movies. The main throughline is, of course, Morgoth and the Silmarils. Morgoth is the only character in the whole story who has an effect on the other major characters in some manner. So Morgoth needs to have a presence in every movie.

Movie One: The movie opens with a black screen, and then a single, booming note, and then angelic voices begin to sing the Ainulindalë over the opening credits and a montage of the creation of the world, Melkor destroying the lamps Illuin and Ormal, the appearance of the Elves, and the Eldar journeying to Valinor.

Then the movie proper begins with a voice over (maybe Galadriel?) introducing Fëanor and briefly setting up his relationship with his father and half-brothers. Fëanor then creates the Silmarils. Melkor and Ungoliant then destroy the Two Trees, and Melkor kills Finwë and steals the Silmarils. Fëanor and Fingolfin go after him, the Kinslaying happens, and Fëanor and his sons sail to Beleriand while Fingolfin and his host march across Helcaraxë.

Fëanor and his sons arrive in Beleriand and reunite with Thingol and the Sindar. They join forces and attack Morgoth (a compression of the First Battle and the Dagor-nuin-Giliath), where Fëanor is killed. Morgoth then retreats to his new fortress of Angband. The movie ends with Fingolfin and his people reaching Beleriand just as the Moon rises for the first time, and they blow silver trumpets to announce their arrival.

Movie Two: The movie opens with a sunset, and then a shot of a host of Men marching West, chasing the Sun, with a voice over telling of the coming of Men (maybe add a brief scene without dialogue of Finrod meeting Bëor) and the Siege of Angband. Then the Dagor Bragollach happens, and Fingolfin rides to Angband and duels Morgoth, wounding him severely before being killed. Morgoth is frightened by this and vows never to leave his fortress again, and takes measures to ensure his safety.

Fast forward to Beren, a wanderer and an outlaw after the destruction of his homeland, Dorthonion. He ventures into Doriath and comes upon Lúthien. Their story then proceeds pretty much as it does in the book.

Movie Three: The movie begins with the Nirnaeth Arnoediad. Morgoth's forces rout the Noldor and the Edain, but the focus is on Húrin and his brother Huor. The brothers encounter Turgon during the battle, and Turgon remembers Ulmo in Valinor telling him that the House of Hador would aid Gondolin one day. Huor tells Turgon that "a new star shall rise" from them. The Men of Dor-lómin hold off a force of Orcs to give Turgon time to escape. Huor is killed, and Húrin is captured.

Morgoth tries to get the location of Gondolin from Húrin, but he refuses. Morgoth then places a curse on Húrin's children and forces him to watch from his prison as it unfolds. The story of The Children of Húrin then continues pretty much as in the book. At the end, Húrin is released by Morgoth and makes his way to Nargothrond. He kills Mîm and takes the Nauglamír, then brings it to Doriath (alone, no Outlaws) as 'payment' to Thingol for 'taking care' of Húrin's kin. Melian manages to calm Húrin, and he realizes everything he's done has only aided Morgoth, and he flees, never to be seen again.

Movie Four: The movie begins with Tuor, son of Huor, living with the Elves in the caves of Androth. The Elves are attacked by the Easterlings, human servants of Morgoth, and Tuor is captured. He then escapes and becomes an outlaw. After Tuor speaks into a spring in a cave, pleading for aid, Ulmo reveals himself to Tuor and guides him to Vinyamar. Tuor's story then continues pretty much as in the book, with the climax of the movie taking place during the Fall of Gondolin. Maeglin, son of Eöl the Dark Elf, also plays a large role.

A third, minor storyline would take place in Doriath, with Thingol enlisting the Dwarves to set Beren's Silmaril in the Nauglamír. After doing so, however, the Dwarves want it for themselves, and murder Thingol. The Dwarves of Nogrod and the sons of Fëanor then assault Doriath (combining the two sackings for simplicity), where Dior, son of Beren and Lúthien, is killed, but his daughter Elwing escapes with the Silmaril.

Movie Five: Eärendil, introduced as a child in Movie Four, is now an adult and married to Elwing, with whom he has two sons, Elrond and Elros. One day, while Eärendil is at sea, Maedhros, Maglor, and Amrod attack his people at the Mouths of Sirion to try and retrieve Elwing's Silmaril. Elwing, rather than be captured, takes her Silmaril and leaps into the Sea. Rather than her dying, however, she's saved by Ulmo, who brings her to Eärendil's ship. Desperate to end the suffering caused by the Silmarils, Eärendil and Elwing sail for Valinor to seek aid from the Valar.

The story then continues pretty much as it's written. Eärendil reaches Valinor, the War of Wrath happens, and Beleriand is broken and drowned while the surviving Elves and Men flee to Middle-earth. Instead of riding on his ship, though, I'd probably have Eärendil ride on Thorondor and slay Ancalagon from the Eagle's back. Eärendil then takes the Silmaril and becomes the morning star, while his sons Elrond and Elros are given the choice to live as Elf or Man. Elrond chooses to remain with the Eldar, while Elros decides to go with the Edain.

After the War of Wrath, Maedhros and Maglor, Fëanor's last surviving sons, stole the last two Silmarils, but their actions have cursed them and they cannot bear to touch the Jewels. Maedhros casts himself and one of the Silmarils into a fiery chasm, while Maglor throws his into the sea. He is last seen wandering the shores of Middle-earth, singing a lament for the Silmarils.

The movie then ends with Elros and the Edain sailing across the sea, the shores of Númenor in their sight, with the star of Eärendil guiding them.

[ 06-01-2011, 12:03 AM: Message edited by: Éomer ]

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Jango
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Tigranes, good call! I did not know that about "á la" (learn something new every day!).

And I do agree that more time is due to convey the full stories. If it were my call, I would opt to keep the battle sequences as short as possible and invest the time into the story and characters. There are always extended editions for prolonged action sequences! But God knows that approach doesn't sell as many tickets. []

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Hamfast Gamgee
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Most Shakespeare plays, on stage, adopt this approach as it is rather hard to potray mass battles on a stage setting!
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Numenorean Sword Trainer
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I thought the Silmarilion was expounded by Morgoth's Ring.
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Numenorean Sword Trainer
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Jango:
quote:
Why The Silmarillion is unfilmable-
Firstly, there is no single protagonist.

Let's not forget that the Silmarillion is a prequel, ala Star Wars, which also had no single protagonist; it wasn't needed, since everyone already knew that the protagonist was Luke Skywalker, and we met many of the original characters as their younger selves; Obi-wan, Yoda, Vader, Boba Fett, Palpatine etc.

Here they'd similarly know that the protagonist is Frodo.
So what to do? Also show the later characters as their younger selves: Sauron, Galadriel, Gandalf, Elrond, Glorfindel, Arwen, the Nazgul, the Men of Numenor, Isildur, Elendil: perhaps even the Balrog of Moria: all of them that are shown in LotR, but who weren't born in the Third Age.

quote:
Secondly, there is no single tangible goal.
Certainly there is: set the stage for the events of LotR (and The Hobbit); show Arda, and how it got to that point, beyond the cursory explanation of "The Dark Lord Sauron gave out rings with strings, but some resisted and Isildur took the Ring.".

quote:
Thirdly, there is no cinematic structure to the story. I'm talking Act 1, 2 and 3.
Au contraire: The Phantom Valar, Attack of the Maiar, Revenge of the Silmarils.

quote:
There are many, and really that's not going to make a good movie.
As long as it gives an idea of the background of LotR, then it can't possibly fail, since it's not a stand-alone story.
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faithfull
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I heard a rumor that makes me shudder - PJ . . . []

I hereby declare that, unless PJ has reformed himself and will stick to the spirit of JRR Tolkien, PJ will not earn so much as a dime off of me. []

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Snöwdog
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Sure, why not. He may as well ruin the whole legendarium. []
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Roll of Honor Varnafindë
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I guess that unless PJ has reformed himself and will stick to the spirit of JRR Tolkien, he will not be allowed to buy the filming rights to the Silmarillion.
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faithfull
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quote:
I guess that unless PJ has reformed himself and will stick to the spirit of JRR Tolkien, he will not be allowed to buy the filming rights to the Silmarillion.

Oh, I sincerely hope that is the case. [] Where did you hear that?
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The Flammifer
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quote:
Sure, why not. He may as well ruin the whole legendarium. []
Sic 'em!! S-Dog [] []
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Roll of Honor Varnafindë
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quote:
Oh, I sincerely hope that is the case. Where did you hear that?
The current owners of the rights to everything other than LotR and The Hobbit (Christopher Tolkien is a prominent member of that group) are not pleased with Peter Jackson's work. I think it's highly unlikely that they will sell him any of those rights.

They didn't sell him what he's got either - Tolkien himself sold off the rights to LotR and The Hobbit during his lifetime, and these rights have been traded around quite a bit before Peter Jackson got hold of them.

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faithfull
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Thanks, Varnafinde - I hope that those who own the rights will steward them wisely, and not be carried away by the lure of temporal gain. Truly, Tolkien's legacy is worth preserving. []
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Snöwdog
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quote:
I hope that those who own the rights will steward them wisely, and not be carried away by the lure of temporal gain. Truly, Tolkien's legacy is worth preserving. []
Hear Hear! I agree with the watery tart Goldberry on that! []
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Snöwdog
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faithfull
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The Flammifer
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Mithrennaith
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Done.

[]

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Create a New Topic  Reply to this Topic Minas Tirith Forums » Other Tolkien Productions » The Silmarillion movie?
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