Recent content by Rob Harding

I assumed we were talking about second final death. Maybe even a final series shot Emeldir has a precedent for leading people to safety during dark times, sacrificing her chance to spend time with her own family

What if it’s somewhere non descript. No where ‘special’. We could just see a single grave with names on a marker. Pan out and it’s in a wood with hemlock and white flowers. But we don’t need to specify where. It’s quiet and peaceful?

We could design him so he naturally has none or that they've been removed or something. Up to us. I just think it adds another dimension inkeeping with the character of him as this experimental animal weapon

One thought: no eyes. Led by scent. This very primal hunting, sensory, hungry kind of longing. He's been tortured on the surface level and what we are left with is this being running on scent which I think has clear ties to hunger and feeds into the lust and hunger themes through the series...

I picture it more as being a landscape of bizarre rock formations and natural standing stones. Lots of books and crannies but eerie and warped.

If we go with that scene as is. I know there' been back and forth chatter about how we make it play and Corey has touched on the subject himself directly. I'm personally not keen on the 'chase' element as it's just an image of relationships I don't love, but I can also see why people like it

For me, the personal draw of this is that you can do it in a compressed sense because it is something people have seen before in film. Someone else suggested even having the backstory as flashbacks be part of this sequence. In essence, we could meet Beren while trapped but not know it. We can...

For me, the most impactful sense of release from bondage for Beren is grief and trauma

So for me, the horror I like and write, the horror has to come from a real place. I like to write horror relating to the things that scare me. So it's often tied to parenthood and fears for kids (as a Dad). You can have awesome monsters but you have to have a real hook to make that horror hurt...

I mean, if you want horror input at any point THAT is totally my bag

I think this is the problem we keep coming back to is that the planning starts with events first not story arcs. I’m gonna check out of this one I think. I just find the podcast and the planning too jarring a process to know where to contribute personally. Sorry folks. I think for this project...

Its show don’t tell though right. We see the trauma of losing people. We see him travelling. You can show it all in a montage. Or a sequence of events. Conservative is key. His journey is obviously vital. But scenes of him killing spiders or being alone, as cool as they are, are real estate we...

I’d say a travel montage, on shot of which is him fighting a giant spider. And just get to story

Oh it wasn’t a slight. I’m well up to speed on choices made and enjoy them. Was just explaining why I personally didn’t invoke the Test. Odala reiterated the issue in her last post. But I’m not suggesting we’re doing the bear minimum, obviously not.

The Bechdel Test is what I was leaning into though not invoking directly as I don’t think it’s the be-all end-all. It’s kind of the bare minimum and I think a lot of scripts tend to think simply having two women talk qualifies them as complex or insightful. I’m aware we inherit Tolkien’s lack...