The Daily Trolloc (77)

Weekly Issue 77. (Art by Peter Tikos)
Wheel of Time TV News
The big news week was the announcement that Uta Briesewitz would be directing the first two episodes of the show. This is big news as Uta is a highly experienced and sought after Director, and the direction of the first two episodes will shape a lot of how we see certain things in the show. Narg will expand on that later but to start lets take a look at the difference between a TV Director and a Film Director as the two roles have different amounts of influence on what we see on screen.

Narg is no expert, so after googling a bit, the following is the best explanation Narg read: From Spencer Louttit,  a Film industry technician for 20 years
Perhaps the best way to understand the difference is to take a look at the maxim that “Film is a director’s medium, while television is a writer’s medium.”
Film and television are both about telling stories to the audience. But, because of the differing production processes, it has evolved to the point (in North America, anyway) that the story which gets told in a feature film is the ‘director’s story’ while that which gets told in television is the ‘writer’s story’.
A Television director is usually hired to direct one or a few episodes of a series. S/he will be working with actors, crew, sets, and a schedule that is for the most part determined beforehand. All the major decisions on those elements will have been made by the producers (usually the show’s head writers) with a view to the story to be told of the series as a whole. The job of the TV Director is to use their skills to help tell the story of their particular episode as it has been envisioned by the TV show creators.
A film director, on the other hand, is usually hired to bring their own voice and vision to a project, telling the story as they see it. This will frequently include instigating re-writes of the script, along with suggestions on casting. The film director will also, usually, have great input into the design of a production, including elements such as costumes, and hair and makeup. (Again, in a TV scenario, these elements are usually predetermined by the time the Director arrives to shoot an episode.) The film director is also typically much more involved in editing and post production than a TV director is.
Perhaps most importantly, a film director can work with the cast to help develop the characters and steer the actors performance. In television, the actors have usually developed their character ahead of time, and are often leery of receiving input from a director who is only around for a short time and may not know all the different facets of a particular character.
The take away from that, is that Uta will be helping Rafe make his vision reality. She will shape how we see something, not what we see.

So what are some of the things that Uta may help shape? From Rafe's Q&A we have some of those answers:
Rafe: We're still a ways from music decisions!  A lot of that will be director/composer/music supervisor dependent.  I like to hire people who are really good at their jobs and take their advice, so it may end up being different than what I think right now :)
Question: Have you written any Wolf Brother/Wolf Communication yet & how will it be represented (words whispered, images, etc.)? 
Rafe: This'll be decided with the consultation of a director.  But I think that using images to convey meaning might be very suited to TV :) 
Question: How do you visualize the threads and weaving of the One Power on screen? 
Rafe: This, as with most things, I want to stay true to the books.  I think this can be done in a really cool way, but will hold on a firm answer until I've discussed more fully with a director
If the show stay's relatively true to the books, and the first two episodes roughly correspond with the book chapters their named for, then we may not see any visual "Threads" of the power, as in the books, we only see from a non Channeler perspective in those chapters, and the wolf communication won't happen until episode three or four, but no doubt Rafe will have already or will discuss those things with Uta and get her advice on them.

What we will see for sure though is the "practical" result of Channelling, and that will be influenced by Uta INO, and be carried forward into future episodes. Other scenes where she will have the greatest influence on how we see them, are INO, The story of Manetheren, Tam's fever dreams, The dream sequences with Ba'alzamon(which may shape how we see Tel'aran'rhiod in future episodes), Shadar Logoth and of course Narg v Rand(assuming Rafe doesn't cut Narg). All very important scenes/effects, that INO will be large factors in keeping "new" viewers watching.

That's how Narg see's it any way. His entirely non expert opinion could be way off, so don't put much stock in it๐Ÿ˜.

In related news

If you have trouble visualising the Sword Forms in WoT, the boys at the Way of the Heron are putting together videos, based on their interpretation of them:
In these videos we will explore the sword forms found in Robert Jordan's fantasy epic "The wheel of Time". 
Taking techniques and stances from the differing martial arts of real world cultures we have developed a style of fighting based upon the named forms found in the books. This style is fully codified and can even be scored and judged in a competitive format. 
Between us we have over thirty years of martial arts experience and multiple international titles, as well as experience working in Television and Live stunt performances.
These forms are simply our interpretation of those found in the books, and our way of honoring the late Robert Jordan. They are by no means official.
(Loud Bagpipes warning...you may want to turn the sound down a tad before playing)

In General Wheel of Time news



CivilizationEx posted Part two of the History of the Aiel(Spoilers Obviously)



Darcy is a lucky bugger, with a talented daughter who made this for her:


The Tor read along of The Great Hunt has finished but that hasn't stopped Sylas from talking about it: Building Rand’s Identity through the Heron-Marked Blade
As Rand travels further and further away from the Two Rivers, he holds onto his determination that Tam will turn out to be his real father through the symbol of the sword. This first comes up in such direct words when Bayle Domon offers to take it in exchange for taking Rand, Mat, and Thom to Whitesbridge. It comes up again shortly later, when Rand and Mat argue on their journey to Caemlyn; Rand suggests selling the dagger so that they might have money for food and transportation, and Mat, already caught up in the infection of Mordeth’s power, responds defensively, suggesting Rand sell his sword instead, prompting Rand to answer that the sword was a gift from his father, and that he would never ask Mat to sells something his father gave him.
Featured Art


Selvestris


Narg out!

What we know(officially): 

Status: Greenlit "Pre-production"
Network - Amazon Prime Video
Production Studio - Sony Pictures Television
Production Company - Radar Pictures
Show Runner - Rafe Judkins
Assistant to Rafe: Patrick Strapazon
Executive Producers - Ted FieldMike WeberDarren LemkeRed Eagle
Consulting Producer - Harriet McDougal
Book Consultant - Sarah Nakamura
Episode Length - 1 hour ~
Episode Titles - 101: Leavetaking, 102: Shadow's Waiting

Not officially confirmed:
Filming Location: Prague(Czech Republic)
Filming start date: September 2019
Writers: Justine GillmerDave Hill

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