The LOTRonPrime cast and creatives talk bringing Middle-Earth's Second Age to life.
If you missed out on Collider’s screening for Prime Video’s The Lord of the Rings: The Rings of Power and cast and crew Q&A, or even if you want to relive the magic of seeing it all up on the big screen, read on! From giving life to the Second Age of Middle-earth to the unique challenges faced by the actors of embodying J.R.R.
ISMAEL CRUZ CÓRDOVA: Without the crud, there's no promotional photos to take. I think what's so special about our show is that even that is full of artistry, even the way when we're fully covered in mud and all those things, it’s just completely to the last detail.
J.A. BAYONA: No, the truth is that because it was Second Age, there was not any example to follow, we had to create a world from scratch. So basically, we look at lots of references from art. I remember that we mentioned each world, each kingdom, had to be very particular and specific. I think one of the greatest things about working in a show like this one, a story like this one, is that everything tells a story, every color, every texture, the use of light tells a story.
ARTHUR: Can I just say, that room was phenomenal. It was our first glimpse into Middle-earth, and we've all heard of a mood board, right? This was a mood cave all full of how Kate's brain works.ARTHUR: Yes, it was a complete mess. Everything was on the floor, it was horrible. No, it was fantastic. It was incredible. And instantly when, as an actor, you walk into a project like this and you just see what you're about to be in, it just inspired. I was inspired by it anyway.
J.A. comes in pounding, I could hear the footsteps. I'm like, “Oh my goodness, what's happening?” J.A. comes in, “Sophia, you're eating too much. Please stop eating. All I can see is you chewing this lamb…” [Laughs] It's really good food, though, actually! So yeah, that was the one moment in a scene that I felt took way longer than it should have done.
The one that I thought was gonna be more of a breeze was the scene by the well, Episode 1, I think you guys watched that. I mean, I had been auditioning with versions of that scene for almost two years, so I was like, “Oh, I got this in the pocket.
Those scenes took a while because when it then came on to Rob's take, I would have to be down on the floor. So I would either be on the knees, or I remember one in particular where I was on a stool that had wheels, and because my character walks around in the scene, Rob's eyeline needed to move around, as well, but I couldn't take human steps, my steps, they had to be Dwarven steps, and therefore, the movement was shorter.
The one thing I will say, and it is negative, it's the comfort of wearing a beard, and the costume, as beautiful as it is, it's hard work, Kate!ARTHUR: Yes, exactly [laughs]. I thought you liked me. No, you do. CLARK: I think mine is the first episode, for so many reasons, but I feel that when I first watched that, even though I was there on these sets that were so beautiful and I was wearing these costumes that I knew were stunning, actually watching what we made, nothing will compare to that first episode where I got to see that.
NOMVETE: [Laughs] Stopping them from crash, bang, walloping. “Come here, come here!” I was like, “They’re going to bump into each other!” But no, they were great, they were very cool.ARTHUR: [Laughs] I think I did! Because I lifted him up, and he hit his head – well, he hit his helmet – into the lampshade! That was a mistake. I just didn’t know how tall I was.
One of the things that floored me when I was watching the series was the Balrog. Owain has heard me say this about 1000 times. What was it like for you guys reading some of the things that were in the scripts for the first time? I don't know how much you were told going in, “This is gonna be what happens in Season 1.” And for me, seeing the Balrog, I was obviously really excited.
You know, Owain prancing in on pirouette changed my vision of a Dwarf, and Sophia, and in the end, it was just about, how do we create this character together? And some of the ideas stayed and developed and became more, and others shifted and changed. It's a constant process of giving things up and moving along, so you have to kind of have your big story and then sort of tap dance really fast through the process as we're working together.
HAWLEY: And then we'd have a fitting, numerable fittings for something like this, as many as the stars in the sky. Then we had a team working on the chainmail, so there'd be a team of eight hand-welding the chainmail that we ridiculously decided would be perfect [laughs]. It took a long process, but it's constantly back and forth and adjusting, and also adjusting on a practical level and for illusion in certain moments.
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