Praecox_GF: переводы

→Peter: Yeah. (beat) The Council of Elrond in the movie is really quite different to how it is in the book. I mean, in the book, it’s used as a way to catch up on a lot of story points that we need to hear about: about, you know, Gandalf and Saruman, and it introduces and tells us a lot of stories about Gimli and the Dwarves, and Boromir and where he’s been, and we obviously didn’t have time, really, for any of that.

→Philippa: I think we must have driven her crazy. She came from ‘The Matrix’ and she’s gone back to do ‘Matrix’ 2 & 3.

→Peter: Yep, Victoria had to keep a real running tab on who was looking at whom at any particular time.

→Philippa: The Black Speech… This, of course, is the inscription, what you would call the Ring-spell; and a very, very tricky language to speak. And the voice that you can hear underneath is the voice of Alan Howard, a great British actor, and he is the voice of Sauron. (beat) One of the heroes of this shoot was Victoria Sullivan – the continuity script supervisor – and she had to help you with a lot of this, didn’t she, Pete?

→[Gandalf recites the Ring-verse in Black Speech] – which we’re looking at here – purely for length reasons. But, it is notable in a couple of ways: it shows Boromir’s initial fascination with the Ring, and as it includes the poem – the Black Speech poem – “Ash nazg durbatuluk” which otherwise is not really part of the movie, but here it is. We did shoot it, and it’s a moment, obviously, from the book, in which Gandalf does say those words and the clouds come over and it goes dark momentarily; and it shows the power of Black Speech within the Elven world of Rivendell and the immense, sort of, the evil force that saying those words can conjure up.

→Peter: And, needless to say, it’s not the last we see of the Evenstar: in the second and third movie, the Evenstar itself that Aragorn carries around his neck is used in different ways. (beat) The Council of Elrond was a bit of a nightmare to shoot. The scene that’s in the movie is a little bit shorter than what we originally shot, and it took us – I think it took us – six or seven days to shoot.

→Philippa: And what he carries with him.

→Fran: Pete, when you can flip a shot, why does that matter?

→Peter: And it was just one of those eye line nightmares that when you’re shooting a scene you don’t want to cross a line; so in other words, if somebody is looking to the left, then you want the next character, who’s responding to them, to look to the, sort of, right. It’s just… It’s called “don’t cross the line”: it’s one of the rules of filmmaking; and when you have a group of people – many, many people – in a circle, it becomes an absolute nightmare to figure out who’s talking to whom, who’s looking at whom, and to get their eye line direction to be correct.

→Peter: Well, sometimes you can flip a shot and get away with it, but often, if you flip a shot, people’s faces look different, because people don’t have perfectly balanced faces. And also, often, you know – not so much with this scene, perhaps – but often you can tell by things that are in the background and stuff. (beat) The Council of Elrond was always a problem because it’s so long in the book, and it was very long in the original cut of the film, and we trimmed out a section of it near the beginning

→Fran: It did, it was a week.

→Philippa: A symbol of her mortality and a symbol of what she’s giving to him.

→Philippa: [Arwen: “Your time will come”] I love Liv’s conviction here, and her strength.