Join the #SilmFilm Project Script Discussion S03E11 @ 7:30 PM EST tonight!via @YouTube
Participation link to come.
Participation link to come.
Scene 1b. Near Eithel Sirion – Fëanor stops the march. His litter laid on the ground surrounded by his sons; he’s bandaged and unarmored. Amras realizing he’s dying. He breaks down and angrily accuses Fëanor of leading them to doom, into a war that’s impossible to win. Fëanor doesn’t care what Amros is saying, doesn’t even bother to respond. But he immediately sees a vision:Nicholas Palazzo said:I just saw the scene of the the sons of Fëanor pulling their wounded father from the battle in a way that gave me chills. Opening the episode with no introduction before we see short shots of the fight going in and out of focus with the sound slipping in and out with a heartbeat.
I would want to convey the sheer desperation and ferocity it would take all seven (or six) of them to drive away Gothmog! Truly one of the only great moments of true heroism we get from them all together, and I feel like we should convey their experience as best we can. We should see them gathered around him, shielding him with their blades and their bodies, even as he might wish he could have done for his own father.
I´m listening to your podcast right now... I realise the difficult discussion about sun & moon...
the problem of the vessels ,Steered Ship-like object, or smaller vessel, carried in Hands transforming into big celestial objects, the Maiar´s forems somehow melting or becoming one with them, or stepping aboard their "ships"...
that works in literature but I ,persanolly too have my trouble in visualising it. On screen it doesn´t work if you wish to stay in a physical-realistic world
, so i also can relate to the wish to not show the exact transformation but to sort of leave it out to imaginaqtion. But also the problem that an audience then maybe wouldn#t realize that the newly risen moon is identical with the fsilver fruit and how that ever happened.
But would it be completely out of choice to leave the field of believable physics? I already proposed that ,when in Aman, we might have sort of a parrelel-world to middle-earth/Ambar... and actions happening there are more dreamlike and not exactly related in sense of realism and physics to the planet. Like a different plane to talkin RPG terms...
so... why could NOT the Valar be able to take two blossoms/fruits in their hands, put them in vessels, put them on the horizon and make trhem grow and move their spirits into them?
If artfully done i COULD imagine such a scene, done with our actors in CGI
(the comic is from a Ninja turtles Book... I alkways liked that old japanese creation myth)
I do not think that Feanor will acknowledge the death of Amrod in any way. I think admitting he killed his son would be too close to admitting he did wrong, and very out of character.hile Fëanor is not the type to apologize for his actions or unsay anything that he has said, he *could* acknowledge that he's going to see Amrod before any of them do. And that might be as close as he comes to reconciling with Amras at this moment.
Feanor does have a moral conscience. He is not completely evil, there are very few things that are in Tolkien. Feanor is the spirit of fire and had an all consuming passion, whatever he did, he did with all his heart.I do not think that Feanor will acknowledge the death of Amrod in any way. I think admitting he killed his son would be too close to admitting he did wrong, and very out of character.
I did give in on making Maedhros willing to threaten his brothers with major violence, but I think it would be a mistake to write something that would make it look like Feanor has any moral conscience.
I think Curufin should be calm and collected except for two moments: one when his father dies and the second is when Dior kills Celegorm. In those two moments, especially the latter he should be completely broken.Certainly, none of us were actually suggesting that we downplay Fëanor's death. I agree with you that it's very shocking and pivotal, as he has been *the* main character since his birth over a season ago. We merely meant that by having this death happen earlier in the episode, we are not making his death the event that the episode is building towards nor the climax. Therefore, it's about the sons' reaction to the death, not the death itself. Fëanor's death is not the end of the Season nor even the end of the episode - the story continues after he leaves it, and while that doesn't lessen the impact, it does alter the meaning, a bit.
I do like the suggestion that Fëanor has 'last words' for each of his sons. That is a fitting farewell for such a character. And as you point out, that leaves the heir question ambiguous, as he had final words for each of them, not just Maedhros. While Fëanor is not the type to apologize for his actions or unsay anything that he has said, he *could* acknowledge that he's going to see Amrod before any of them do. And that might be as close as he comes to reconciling with Amras at this moment. After that, he can request they reswear the Oath and then die.
We briefly touched on the idea of why Fëanor would heed the summons to the Halls of Mandos, rather than remaining a Houseless spirit. And I think the clear reason is that...his mother and father are there. Finwë and Míriel are in the Halls of Mandos, and so Fëanor will go to them (when he would not heed the summons of a Vala at this time). We don't need a 'Lo, there do I see my father, lo, there do I see my mother...' line from him, but we could capture the idea of that, I think.
I think that we have an opportunity for a meaningful/significant/artsy title for this episode. I had suggested 'Last Light of the Trees' to suggest that while it's the birth of the sun and the moon, it's the death of the Trees and the end of an era in some ways. I modeled that off the novel title 'Last Light of the Sun' by Guy Gavriel Kay. Something like 'Dying Light' would be a double reference to the dying Trees as well as the death of the Spirit of Fire (and I suppose we'd have Hamilcar die at sunset just to round all of this death off nicely). Any other suggestions on how best to capture this?
I think that the Act 3 scene should combine the idea of shock/anger/grief and the idea of 'what do we do now?' The sons of Fëanor should seem rather moorless and at a loss after the loss of their father, and that comes out in the grieving. Maedhros is going to act rather shockingly angry in this scene, almost out of character for someone who has been so level-headed and practical up to this point. That anger is his grief, his being upset about being thrust into his father's role. Curufin's interest is less in 'who is the heir?' and more in 'how do we preserve father's legacy and continue his work?' In other words, he's fine with Maedhros being in charge (for now), but he's not fine with Maedhros changing the rules. I know it will be easy to paint Curufin as a conniving villain. Because, well, he is, a bit. But he's subtle as well, and the emphasis here is on grief. He's not scheming for the throne or anything like that. He's majorly upset over the death of his father, and that's what we want to see. Any grasping from him now would be too much.
He's not, but my objection is that he's not evil enough to murder his brothers in cold blood.I don't mind Maedhros reaching for the hilt of his sword. He is a guy, who is going to slaughter innocent refugees before it's all said and done. The same way Curufin is not a devil, Maedhros is not a saint.
I'm having trouble imagining how to do that without implying remorse/apology/guilt. What words would he use? Brainstorming... Would he state again that Amrod is entirely to blame for his own death? Or imply that whatever he says to Amrod in Mandos will be angry reproaches for disobeying his father? Or call Amrod the son who failed their mission?I agree, Feanor will not apologize nor admit guilt in this scene. That does not mean that he cannot refer to Amrod's death in some way. The fact that Amrod is dead and in the halls of Mandos is just that...the current situation.
I don't think that mentioning that he will see Amrod soon necessitates acceptance of guilt.I'm having trouble imagining how to do that without implying remorse/apology/guilt. What words would he use? Brainstorming... Would he state again that Amrod is entirely to blame for his own death? Or imply that whatever he says to Amrod in Mandos will be angry reproaches for disobeying his father? Or call Amrod the son who failed their mission?