Microphones in Middle-earth...the BBC Lord of the Rings

[ArathornJax]

Estelyn here are some links:

http://www.sf-worlds.com/lord-of-the...-eye-1979.html

http://search.barnesandnoble.com/The...116726/?itm=20

HighBridge is what Mindseye has become.

http://www.highbridgeaudio.com/jrrtolcol.html

I think I'd mentioned this, but there are many things I do not like about the Mindseye LOTR: the elves, the voices of Sam, Merry and Pippin, the writing, some of the acting. The BBC version is much more. For The Hobbit thought I do recommend the Mindseye or Highbridge version. Though not perfect, I do enjoy it.

Edit: I tried to put this into a private message but for some reason it is not working:

I also don't usually post something from YouTube but since this is only 3:28 of a 4 hour presentation and that is less than 10% I will post it as being ok under fair use.
This is a clip from the song the dwarves sing at Bilbo's.
http://www.youtube.com/watch?v=MFcnMSJdnvA

[ArathornJax]

Transcript: http://www.tolkienradio.com/mastersamwise.html

Here are my thoughts on this episode. The interaction between Denethor, Gandalf and Faramir is well done. There are some major parts edited out, parts that I think really reflect not only the nature of the family relationships, but how they are different. Thought this is left out, I think the adaptation captures the notion of how it shows that Faramir is linked closer to Gandalf then to his father. I also like the discussion of what Denethor wished had been done with the ring. For me this is a wonderful interaction that shows Denethor's pride and vanity, that he could withstand the ring and would only use it IF it was a last choice. This reveals Denethor's hubris and how deceived he is. What was the deciding factor in putting the script together yet keeping it as true to the book as possible? Again, here I think that was done quite well.

One of the things I've noticed and again, I am not sure if it has been discussed, but I wonder how Brian and company decided on the order of events to display. I guess this episode really brought to me how the time frame of the book is not followed here. I would love to know how the decision was made to fit the various parts where they are in the adaptation.

The interaction between Frodo and the Witch King is interesting. I'm not sure if it could be done any better with the focus being on radio. It again conveys the meaning from the text while shortening the sequence. I really did miss the Phial of Galadrial that assisted Frodo in having the strength to resist the ring. For me this is important because it shows that Frodo needs the assistance of others in order to accomplish the quest. I still would like to see this brought out here in any adaptation because the Phial plays a role in what is coming, and this would show how it impacts evil when it confronts it.

Again we next see Aragorn and the army of the dead go forth to battle and take the Black Fleet over. I enjoyed the sequence here and that it shows Legolas hearing the cry of the gulls and the sea.

The highlight for me is the encounter with Shelob and the tower at Cirith Ungol. Sam and Frodo, Sir Ian Holm and William Nighy really do a great job here. I love the sound effect of Shelob, what sounds were used to make her? I also LOVE the song sung by Sam, In Western Lands . . . What tune is used there, anyone know? I also love how at the end Frodo/Sir Ian shows how the ring has corrupted him.

I really enjoyed this episode and have started the next.

[Brian Sibley]

Originally Posted by ArathornJax

One of the things I've noticed and again, I am not sure if it has been discussed, but I wonder how Brian and company decided on the order of events to display. I guess this episode really brought to me how the time frame of the book is not followed here. I would love to know how the decision was made to fit the various parts where they are in the adaptation.

This may have been answered previously, I'm not sure...

Basically, I sat down with the book and Tolkien's date-by-date chronology ('The Tale of Years', LOTR Appendix B) and worked out a structure that was, as you note, different to that of the running narrative in the book.

This decision was dictated by two things: the need to be able to follow the story in, as far as possible, a chronological order and to be able to include material in each (originally 30-minute) episode featuring all the major character groups.

At that point I also took some decisions about cuts and omissions (the loss of Tom Bombadil being the biggest) and selected which story elements had to be included.

This structure was then followed by Michael Bakewell and myself when we came to write the actual episodes - though that process occasionally led to some unavoidable horse-trading so that material in over-long episodes could be accommodated elsewhere.

Further compressions and cuts were made in studio when the scripts had been read and accurately timed and more in the editing process following recording - necessitated by the fact that music and effects can add considerably to the running time.

Originally Posted by ArathornJax

The highlight for me is the encounter with Shelob and the tower at Cirith Ungol. Sam and Frodo, Sir Ian Holm and William Nighy really do a great job here. I love the sound effect of Shelob, what sounds were used to make her?

We wanted Shelob to sound real -- and female -- so the spider was 'played' by actress Jenny Lee, whose voice-sounds were then treated radiophonically.

Originally Posted by ArathornJax

I also LOVE the song sung by Sam, In Western Lands . . . What tune is used there, anyone know?

Like all the music in LOTR, the tune was composed by Stephen Oliver.