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If "The Silmarillion" is ever made into a Movie or Series..


Perdogg

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I'd think more along the lines of a-capella choir (as large as possible) and organ. Although, more cowbell can never hurt.

No organ.

Why not? Iluvatar would have to be differentiated from the Ainur in some way, also this would be difficult to achieve just with voices:

"Then he raised up both his hands, and in one chord, deeper than the Abyss, higher than the Firmament, piercing as the light of the eye of Iluvatar, the Music ceased."

If voices were used for this, they'd have to be amplified and put through a pitch-shift/chorus effect or something, to achieve that otherworldly range.

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And how do you get voices to sound like Viols, lutes and harps.


I'd think more along the lines of a-capella choir (as large as possible) and organ. Although, more cowbell can never hurt.


No organ.

Organs is one of the things the voices of the Ainur sounded like in the text.

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Ainulindalë alone would be a major challenge to any composer. A great opporturnity but also a great challenge.

I would go with banjo and maracas.

The Ainulindalë requires vuvuzelas for Melkor.

The theme of Sauron sounds like that Shore consulted The Silmarilion.

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And how do you get voices to sound like Viols, lutes and harps.

You don't. You compose the piece for a huge orchestra and chorus.

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To answer the thread's question:

The movie route: 2.5 hours of Middle Earth mythology (we're looking at you, Eru Illuvitar and the Ainur), followed by Elven incest & fratricide (maybe even a cameo apperance of the Blue Wizards)

The series route: Same thing, but stretched out over a mini series, with every other episode being about the exploits of a random Valar (except Morgoth. Hey, there's only so many times you can hit the snooze button on your 15 minutes of fame, The Artist Formerly Known as Melkor)

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Why not? Iluvatar would have to be differentiated from the Ainur in some way, also this would be difficult to achieve just with voices:

"Then he raised up both his hands, and in one chord, deeper than the Abyss, higher than the Firmament, piercing as the light of the eye of Iluvatar, the Music ceased."

If voices were used for this, they'd have to be amplified and put through a pitch-shift/chorus effect or something, to achieve that otherworldly range.

credo.jpg

Not good enough?

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It's too early in the story for the names Morgoth or Bauglir to appear in the score!

You don't understand the Jackson way of filmmaking: the main villain has to be introduced in the first scene of a film!

And because you need three characters to make a scene interesting, we will see Iluvatar, Morgoth, and a random Valar.

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Why do we need to see Illuvatar in a Silmarillion movie? Did The Ten Commandments or Ben-Hur start with Creation and the Deluge? Just skip the Ainulindale, it's basically just a rehash of Genesis.

But.. But... But we need to see how Melkor falls and gets evil to drive the story. Oh whatever.

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In order to make The Silmarillion into any kind of effective film that reflects the book in any kind of effective way, it would have to be something akin to a fantasy-genre 2001: A Space Odyssey. That kind of visual emphasis, patience in revelation, and musical-centeredness. And I doubt that a) there's a director out there who could pull that off; b) that any current composer could tackle such a monumental undertaking (though it's certainly not impossible, but it shouldn't be Howard Shore); and c) audiences expecting something similar in sight and sound (musically) to the LOTR and Hobbit films will be disappointed, likely even angered, by any such result. There are a lot of folks who enjoyed the books who tried their hand at The Silmarillion and couldn't handle it. In order to be accurate to the novel in any way—as any filmmaker should be—they would have to expect a similar reaction to the movie. And why would any studio go in for that kind of thing?

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True that! If someone had some good sense about them, they might realize that this is material that could rival Game of Thrones for extended storylines and material. I would still have to be styled in the right fashion—patiently, visually striking, musically huge—but I think that could be made to work. (It might even be cool if the action sequences were given a visual approach similar to the 300 movies.)

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Because the stories aren't told in that sort of heavy-handed dramatic way, even if the content of them is somewhat similar. I can't think of an example of the way in which you'd have to approach adapting this book. It would really have to be entirely groundbreaking for it to not be shit.

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It would really have to be entirely groundbreaking for it to not be shit.

Definitely. But if such ground could be broken, I think it would be a great chance to show people something they've never seen before.

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It's too early in the story for the names Morgoth or Bauglir to appear in the score!

You don't understand the Jackson way of filmmaking: the main villain has to be introduced in the first scene of a film!

And because you need three characters to make a scene interesting, we will see Iluvatar, Morgoth, and a random Valar.

Manwe

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I think The Silmarillion's more suitable as a resource for drawing various stories from (for cinematic adaptation) independently rather than something to turn in to one film or sequence of films. The story of Túrin, for example, could provide the basis for a film of more than one installment.

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I think The Silmarillion's more suitable as a resource for drawing various stories from (for cinematic adaptation) independently rather than something to turn in to one film or sequence of films. The story of Túrin, for example, could provide the basis for a film of more than one installment.

I dunno, I suppose you could pull off a "standalone" film of the Turin story, but I don't think you could do a Beren and Luthien movie without explaining atleast some of the backstory of the Silmarils and Morgoth.

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...I don't think you could do a Beren and Luthien movie without explaining atleast some of the backstory of the Silmarils and Morgoth.

I'd say that the relevant backstory could be conveyed without requiring a full adaptation. The Lord of the Rings didn't tell much about Sauron or Rings of Power or the Last Alliance, but got enough across for casual viewers to know who the goodies and baddies were and what was at stake...

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How would you condense these?

Explanation of who the Valar are (easy to do though) and Morgoth's Backstory
Of Feanor, his sons, the making of the Silmarils, and the Oath and Doom stuff.
Felagund's backstory
Thingol and Melian's backstory
Beren's backstory

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I think The Silmarillion's more suitable as a resource for drawing various stories from (for cinematic adaptation) independently rather than something to turn in to one film or sequence of films. The story of Túrin, for example, could provide the basis for a film of more than one installment.

I dunno, I suppose you could pull off a "standalone" film of the Turin story, but I don't think you could do a Beren and Luthien movie without explaining atleast some of the backstory of the Silmarils and Morgoth.

I think The Beren/Luthien tale could possibly be made into a standalone film (it's a bit more standalone than your average Silmarillion chapter, and even stands a bit on its own by being the only Tolkien tale (to my knowledge) to mention vampires), and perhaps the Akallabêth as well, but not much else. Most of the rest gets much of its impact by being a part of the whole cycle.

However, Akallabêth should perhaps really be turned into an opera...

But before we continue, I move that nobody who gets less than 20/20 in this quiz is qualified to participate in this discussion. ;)

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