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DainPig
Gondor
Dec 1 2016, 1:26am
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AUJ's prologue: deleted scene
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https://www.youtube.com/watch?v=LpSRZuqN7Oo
At 3:04 there's the footage of a deleted scene that is completely mysterious for me. Apparentely it is a bunch of dwarves walking through the Woods and Thranduil is there doing.. something. I don't know, this is the only informaion I have about it.
It means there's really a lot of things that PJ had to cut to make his trilogy. Sad how many possibly good things will never see daylight. But wow see Alfred is dressed as a woman so we can't complain heh
Does anyone know more about this particular scene?
(This post was edited by DainPig on Dec 1 2016, 1:30am)
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Omnigeek
Lorien
Dec 1 2016, 2:34am
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I presume you mean the brief glimpse at 3:04
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The dwarves in that brief flash don't look like they are under any duress or strain and you say it's part of the prologue so I presume it was intended to be a glimpse of the friendship that existed between the Elves and Longbeards during Thror's reign -- or perhaps it might be depicting the dwarves' journey to and discovery of Erebor.
Some interesting info on how they perceived or wanted to portray Thranduil in that video. I think I agree with a lot of it and I did like the depth they gave Thranduil (although I hated the "it was real" line and the allusion to Aragorn at the end). I did like the fact that they made Thranduil's fighting style more compact, less flashy, as I hated Legolas's frenetic jumping around in both LOTR and TH. Thranduil's style reminded me of Bruce Lee: "be like water".
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dormouse
Half-elven
Dec 1 2016, 9:18am
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There always are a lot of ideas they experiment with.....
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... that don't make it into the film, but we get to glimpse them in the background material. One of the things that makes the background material so special, I think.
And rather than snipe at them for the choices they made, I'd say that it's always like that when you develop a big project - film, book, whatever. The priority has to be the final product and you often have to sacrifice things - even favourite things - because in context they don't really work or they aren't really necessary. The enormous bonus - I think - is that with Peter Jackson's films we do get to glimpse a lot of the might-have-beens. And yes, I'd love to see that little scene, and a good few of the others - finished and in the films. I'd love to see it all - and maybe we will see some more, if ever the fabled ultimate editions see the light of day.
But if they don't - if we never see more - then for me it's rather like the books with their brief references to past history and their appendices. It's that tantalising sense that there is more - that there's a whole world behind what you're reading/seeing, and little glimpses into that world that your imagination can play with. That looks a lovely little scene. MAybe I don't need to see more of it - in my mind I can see it already.
For still there are so many things
that I have never seen:
in every wood and every spring
there is a different green. . .
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OldestDaughter
Rohan
Dec 1 2016, 1:13pm
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Thanks for sharing DainPig! I have watched quite a bit of the AUJ's behind the scenes, and what I have noticed, even if not official, there is snippets of deleted scenes, and that always makes me happy to see a little something I haven't seen before by my multiple viewings of the Middle-earth saga. Thanks for sharing!
Also, Thranduil's armor at that scene looked really cool.
"Keen, heart-piercing was her song as the song of the lark that rises from the gates of night and pours its voice among the dying stars, seeing the sun behind the walls of the world; and the song of Lúthien released the bonds of winter, and the frozen waters spoke, and flowers sprang from the cold earth where her feet had passed."
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Darkstone
Immortal
Dec 1 2016, 2:20pm
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"Like water flowing & swirling around the opponent."
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-Paul Shapcott, Stunt Co-Ordinator, describing the Elven fighting style
Thranduil's style reminded me of Bruce Lee: "be like water".
From Tony Woolf, Consultant: Cultural Fighting Styles, The Fellowhip of the Rings, The Two Towers, The Return of the King:
“I had worked with Peter Jackson before, as a stuntman on Brain Dead - that was a splatstick zombie movie set in the '50s - and I had stunt coordinated Forgotten Silver, which was about the amazing life of Colin McKenzie, the Cecil B. DeMille of silent-era film-making in New Zealand. 'Colin' was actually a product of Peter's imagination and the 'documentary' was a complete hoax. Some people didn't get the joke. Apparently it's still playing on documentary channels around the world!
“Anyway, I happened to know that Peter was intrigued with the idea of exotic fighting styles. When I heard that he would be directing the Lord of the Rings, I suggested that the fighting arts of Middle Earth should be designed from the ground up, in the same way the sets, costumes and props were being developed. The styles should be organic to the different races and cultures, rather than the sort of generic ‘stunt fighting’ that you sometimes see in this sort of movie. That jelled with what he was thinking and it was my entry into the project.
“The research phase for each style began by studying a particular culture; costumes, armour, weapons, background stories, biomechanics, physical capabilities and limitations. We pored over Tolkien's books, of course. There were also lots of meetings with other designers, graphic artists, the director, and others.
“The key was to start from an intimate understanding of the characters, then to figure out where ‘outside influences’ - animal predation and defence techniques, combat tactics, locomotion dynamics, dance and movement styles, and different martial arts traditions could seamlessly combine to create something that made sense for our story. It was a synergistic process.
“I must admit, if I had any favourite among the different styles, it would have to be Elf swordplay. It felt as if we weren’t creating something new, so much as rediscovering something very old. We visualised the Elves training in these amazing temples high up in the mountains or in deep forest glades, totally in harmony with nature. The design process involved a lot of kinaesthetic and proxemic sensing exercises.
“Here's a quote from the ‘Fighting Styles Guidebook’ we produced for continuity reference – ‘The Elves are graceful and fluid beings whose every action is poised, neither stiff nor heavy. Their breathing is centered in the lower abdomen. They are grounded from the waist down, yet light and free from the waist up. As holistic fighters, all of the Elves' senses are fully engaged in combat. Their movements are circular, fluid, evasive and deceptive, employing spiralling deflections that flow into lightning-fast slicing attacks. There is a magical, sleight-of-hand quality to their fighting techniques. They do not always look directly at their enemies in combat, seeming almost to be engaged in a kind of moving meditation.’
“I can tell you that Orlando Bloom was a very enthusiastic Elf and really got into that style, but some of his rapid-fire archery had to be digitally enhanced because humans just can't shoot that fast.
“When we started, there was actually a very deep debate to decide if Aragorn should incorporate Elf stuff into his fighting style. The consensus was that although he's an exceptionally skilled warrior, he's only human, and Elvish swordplay only really works for Elves. I imagine that he would have gleaned something from them, though — maybe some techniques or tactics, maybe more in the nature of emotional focus. The Elves can meditate in the midst of carnage.”
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Fimbrethil, Warrior Entwife
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