THE WAR OF THE ROHIRRIM’s Writers Delve Into Bringing Tolkien to Anime Fans and More

As a lifelong fan of J.R.R Tolkien’s Middle-earth and an anime enthusiast, I can honestly say that The Lord of the Rings: The War of the Rohirrim has been an absolute dream come true for me. Having worked on this project, I feel like I’ve stepped into a magical realm where my two passions have finally converged.

In a grand entrance, “The War of the Rohrrim,” an innovative take on J.R.R. Tolkien’s epic, has burst onto the scene with the thunderous blasts of Rohan’s powerful horns. This fresh cinematic adventure within the realm of “The Lord of the Rings” unfolds, centering around a character previously unnamed by Tolkien – Helm Hammerhand’s daughter, now known as Héra. The film, which is also an anime, recently welcomed TopMob for an in-depth discussion with its screenwriters, Phoebe Gittins and Arty Papageorgiou, exploring the genesis and narrative of “The War of the Rohirrim.” Topics discussed included introducing Tolkien to anime enthusiasts, Easter egg references to “The Lord of the Rings” within the movie, minor deviations from Tolkien’s lore, and crafting a unique heroine in Héra.

You can read the full interview below.

In your notes, I noticed you mentioned enjoying exploring Tolkien’s work from a historian’s perspective. What was the most intriguing detail about Rohan that you uncovered during your extensive study of The Lord of the Rings: The War of the Rohirrim lore?

Phoebe Gittins mentioned that an essential aspect of the Rohirrim culture, which they incorporated into the narrative, was their oral tradition of telling stories and using songs. She often imagines them gathered around a fire, as they didn’t write anything down. Instead, their traditions were passed down orally. To reflect this, they chose Éowyn to be our storyteller in this tradition, opening and closing the film with her narration, symbolizing that she inherits the story and passes it on within this oral tradition.

Arty Papageorgiou: Essentially, it ties in with the concept of Helm Hammerhand as an epic figure, along with the legends surrounding him. By passing on this deep-rooted history, we can gain wisdom from our forebears.

Which version of Rohan’s world from “The Lord of the Rings: The War of the Rohirrim” did you enjoy most as your personal favorite?

As a devoted admirer, I can’t help but express my fondness for Old Pennicruik. Her charm lies in the intriguing fusion of anime and The Lord of the Rings elements, creating a distinct character that occupies an extraordinary niche. What makes her even more appealing is her role as an old gossip, and I must confess, she was an absolute joy to craft during the writing process.

As a Fan: More like a spoken, traditional tale, slightly lighter on the mythology and grandeur.

Gittins: And she brought some liberty in very dark, grim times was important.

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“I appreciated the rich and poetic style of the movie’s script, reminiscent of J.R.R. Tolkien’s works. Did you intentionally incorporate elements of his style into your writing, or did the setting simply inspire such eloquent prose for you?

It’s clear that our affection for the movies, combined with Tolkien’s vivid language and skillful storytelling, significantly shaped the tone of this film. Having been raised on these films and often quoting lines from them, it feels inevitable to have the movies playing in your mind as you write the script.

As a gamer: I found it quite captivating, to be honest. Since Philippa [Boyens] was always on alert, I didn’t have to worry about any oversights. So, we didn’t let that pressure get to us, but we did delve into the Appendices, eager to include as much of the sparse lines given there. Our aim was to bring as much of the written content onto the screen as possible.

Phoebe, when creating the character of Héra, written by a writer who embodies a young woman’s perspective, what were some key aspects that you felt it was crucial to emphasize in her character?

In our character development for Héra, we aimed to capture the essence of Éowyn by allowing her to express vulnerability, wear her fears openly, and show that she’s not always in control or ready for battle. It was crucial for us to portray her as authentic, human, with moments where she doubts herself, saying “I can’t do this.” This realness and processing was a significant aspect of her character development.

In The Lord of the Rings: The War of the Rohirrim, Héra occasionally expressed sentiments similar to “I am betrothed to no one,” which, while not identical, shares a sense of defiance and independence reminiscent of Éowyn’s “I am no man.” However, it is unclear if there was any direct discussion about this thematic parallel between the two characters. Was there ever any such conversation regarding Héra?

You’ve piqued my curiosity once again. Admittedly, it’s not something we were aware of before, but now it’s clear as day to me.

I really loved that Héra killed Wulf at the end. I feel that, often, women are expected to turn the other cheek or grant some clemency in the end and are not allowed to kill the way men are. Why was this conclusion important for those two characters?

Gittins: The decision was crucial and it deviated from the script, but intentionally so. We believed it was essential for Hera to fully explore this relationship until its end. Moreover, we found the concept appealing that it would eventually serve as a symbolic shield for several reasons. In a way, we aimed to introduce this idea through Olwyn, with her broken shield and jagged edge. It’s significant because Hera ultimately uses this very same shield to defeat Wulf. This was all planned meticulously.

I found the relationship between Hera and Olwyn particularly captivating; they seemed to embody both the history and the essence of Shieldmaidens, while Eowyn represented the future. Could you share some insights into how you developed these characters and the trio of Shieldmaidens?

In the tale of The War of the Rohirrim, we often drew inspiration from Éowyn and it was her spirit that sparked the creation of shieldmaidens. As we delved into the lives of women who laid the groundwork for Éowyn, the process of rebuilding became an enjoyable journey of discovery – a journey that ultimately shaped her into the character we know today.

When creating Olwyn’s character, we brainstormed about her traits early on. Philippa Boyens suggested, “If we manage to get her, Lorraine Ashbourne would be perfect.” As soon as she said that, ideas for the role started flooding in for everyone involved. So, while considering the purpose of the character in the film, we also thought about what unique qualities Lorraine could bring to the role.

Gittins: There’s an interesting tradition in certain parts of the narrative we aimed to include, which is passed down within the film itself from Héra to Lief. This tradition highlights that during the darkest moments and most desperate times, it was the women who stood strong. They were the ones who took up arms when all the men had fallen. Emphasizing this aspect was one of the primary reasons we were attracted to the project. The opportunity to bring this empowering narrative for women was what truly captivated me.

Indeed, The Lord of the Rings: The War of the Rohirrim presented an intriguing portrayal of various types of masculinity. However, many of these characters, even the honorable ones, were undone by a form of arrogance or overconfidence, which added an unexpected depth to the storyline. I found it particularly engaging when Héra stepped up, creating a heartwarming conclusion to the tale. Overall, I thought it was quite delightful.

Our focus was on a distinct form of leadership. We envisioned Héra as an unusual protagonist, and we aimed to depict her leadership not as a power grab but as a means to secure their survival. The kind of leader she is, therefore, is unique in comparison to the hot-headed characters surrounding her. What type of leadership journey does this require?

Surely, she’s stepping up to the task, yet she’s choosing an unconventional path – a crucial aspect of Helm Hammerhands’s adventure, as he discovers the importance of giving others the freedom to decide for themselves.

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In addition to the quick appearances of orcs and Saruman, only humans were featured in The Lord of the Rings: The War of the Rohirrim. Have you ever pondered whether other races like elves, dwarves, or other beings of Middle-earth should have been included, or was it deliberately chosen to focus solely on human stories?

In simpler terms, Papageorgiou suggests that the story doesn’t necessarily need to focus solely on humans, but it seems appropriate as it stands. The narrative could work well on its own without introducing other types of characters or creatures. This story appears to be an extended family drama set within the Rohan community, with themes revolving around people tearing themselves apart. Although there are brief appearances by beloved creatures such as orcs and others, it doesn’t seem like additional elements are needed to enhance the existing tension, drama, spectacle, and awe already present within the given context.

Concerning Saruman, was it decided from the start that he would be part of the scene depicting Fréaláf’s coronation at the end of The War of the Rohirrim in The Lord of the Rings? Also, when did the decision come about to incorporate Christopher Lee’s voice in this scene?

It seems that decision was made by Philippa Boyens. As viewers, we thought it was a well-made choice because it fit perfectly into the narrative, the background stories, and at that specific point in time.

It was truly amazing, and something special for us, especially with the support of his family, was discovering a suitable line. Philippa Boyens, in essence, wasn’t us but rather served as a connection hub. We couldn’t have done that on our own. However, she essentially created a foundation for what it could become. Then, an array of talented individuals delved into the intricate behind-the-scenes work. They meticulously gathered and assembled this project.

Papageorgiou: It’s a special moment.

Gittins: It’s his voice. And that was really special. Amazing.

In the epic movie “The War of the Rohirrim,” there are two particularly memorable scenes that stand out. One is followed by another heartfelt dedication to Bernard Hill in the film’s conclusion.

Of course, there will be no small excitement to hear the name of Gandalf spoken in The War of the Rohirrim. How did you decide on that reference, and do you think Héra actually gets to go meet him after she rides off?

It’s amusing – we seem to keep pointing out it was Philippa, yet there’s a lot we inherited from her. Another instance where our reasoning aligns perfectly. She has an exceptional knack for Easter eggs and always knows the right gifts to bring in.

Papageorgiou: The lore master.

Gittins: She was our go-to person for all sorts of matters. However, with the newfound liberty, this character is now embarking on exciting journeys and questioning where she’ll travel and who she’ll meet along the way.

Did you imagine any story in Tolkien’s world where maybe there’s a secret Héra running around?

Gittins: I would love to see it.

Here’s one way I might rephrase your sentence: “I absolutely adored the incredible battle between the Mumakil and the Water Watcher during The War of the Rohirrim. Was this fight always part of your plan, and how did you decide on such a unique matchup?

Kamiyama was the one behind it, which added a lot to the anime’s feel for us. It was great to rely on him and truly understand his perspective about everything. Essentially, we were considering how to make this appealing to both anime enthusiasts and Tolkien fans alike. We also primarily concentrated on Héra, as we felt she could contribute significantly to the plot. The question then became, “How would Héra manage this situation?” and “What smart strategies could Héra employ?

Papageorgiou: But also her love of nature.

Indeed, our aim was for her to contribute and capitalize on her unique traits. We aimed to instill in her a passion for nature, so what could she offer? What are her abilities? How might she respond to situations?

Papageorgiou: She also loved storytelling and had knowledge about a creature called Watcher in the Water nearby, which she passed on through her research. Therefore, we aimed to incorporate the fight scene into the narrative itself, not only for being an exciting moment but also as part of the storytelling.

After delving deeply into the world of Tolkien, is there perhaps a specific tale within The Lord of the Rings that captivates you the most? If given the opportunity, would you like to explore any story from the lore that intrigues you the most?

Gittins: Many. So many, but I don’t think we should give any of them away.

Papageorgiou: We’ll see what’s bubbling.

Gittins: But there really are, there are so many. It’s endless. The world-building, the mythology that comes with this is never-ending, honestly.

Ultimately, what do you hope viewers take away from The War of the Rohirrim?

For myself, it’s simply the thrill I experienced when I initially watched these movies at the theater. If somehow we can convey that feeling of delight and amazement to those watching the film, then we’ve truly succeeded in our task.

As an enthusiast, I find the notion intriguing, particularly since it could pique the interest of anime lovers in J.R.R. Tolkien’s “The Lord of the Rings”. Being a big sibling to a 15-year-old who’s deeply engrossed in anime, like most of his peers, I fervently hope that this project will resonate with these younger generations and serve as a gateway for them to explore Tolkien’s epic world.

The Lord of the Rings: The War of the Rohirrim is now playing in theaters.

2024-12-18 20:33

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