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User talk:Amroth/Screenplays/Narn i Chîn Húrin

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On a minor note, is it entirely important to make Gurthang speak in the end where Turin dies? I think that could be construed as a little.... silly? I'm not quite sure, but it seems it would be better without. I certainly don't want to change the story, but it doesn't seem to insignificant to cut.--[[User:Maeglin|Maeglin]] 19:35, 6 June 2008 (EDT)
 
On a minor note, is it entirely important to make Gurthang speak in the end where Turin dies? I think that could be construed as a little.... silly? I'm not quite sure, but it seems it would be better without. I certainly don't want to change the story, but it doesn't seem to insignificant to cut.--[[User:Maeglin|Maeglin]] 19:35, 6 June 2008 (EDT)
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:We could adjust the form of Gurthang's "speaking" to mental messages when his eye meets someone.  I'm sure a good director could make something good out of it, but it does seem odd to have a great dragon talking like a man. --[[User:Narfil Palùrfalas|Narfil]] 00:11, 30 September 2008 (UTC)
  
 
== Hurin in the Story ==
 
== Hurin in the Story ==
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Since this is a complex tale, especially because it is about Hurin, but focuses on the deeds of Turin. This presents opportuninty to make a more complex style of movie. Maybe this is Hurin watching it all, or perhaps it begins with Hurin wandering after he is released and is a series of flashbacks until he finds Morwen. Maybe Hurin is relating the story of what happened to their children to Morwen, who remembers who she is after wandering for all these years(Is that too much like 'The Notebook'? I haven't seen it but I heard something similar happens.). At any rate, does anyone have ideas? I think it is the perfect tale to do something a little 'different' with rather than just showing the story unfold.--[[User:Maeglin|Maeglin]] 12:05, 3 June 2008 (EDT)
 
Since this is a complex tale, especially because it is about Hurin, but focuses on the deeds of Turin. This presents opportuninty to make a more complex style of movie. Maybe this is Hurin watching it all, or perhaps it begins with Hurin wandering after he is released and is a series of flashbacks until he finds Morwen. Maybe Hurin is relating the story of what happened to their children to Morwen, who remembers who she is after wandering for all these years(Is that too much like 'The Notebook'? I haven't seen it but I heard something similar happens.). At any rate, does anyone have ideas? I think it is the perfect tale to do something a little 'different' with rather than just showing the story unfold.--[[User:Maeglin|Maeglin]] 12:05, 3 June 2008 (EDT)
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:I would rather prefer that the encounter of Húrin and Morwen be the climax or nearly so.  Instead perhaps we could switch events around so that Húrin is telling his tale to, say, [[Thingol]].  He tells of his escape and how Morgoth placed him high and set him to watch the doom of his children.  He wraps up the movie by his release and the death of Mîm.  Then we return to where Húrin stands before Thingol and departs in anguish.  At the very end of the film, Húrin finds Morwen.  If the story of the Fall of Gondolin was made as a sort of sequel, we could also include Húrin's shouting at the mountains (otherwise it holds no meaning with the audience). --[[User:Narfil Palùrfalas|Narfil]] 00:11, 30 September 2008 (UTC)
  
  

Revision as of 00:11, 30 September 2008

Well, this seems to be fairly unused, but I'd like to start working on this if anyone else would. --Maeglin 12:05, 3 June 2008 (EDT)


Contents

Gurthang speaking

On a minor note, is it entirely important to make Gurthang speak in the end where Turin dies? I think that could be construed as a little.... silly? I'm not quite sure, but it seems it would be better without. I certainly don't want to change the story, but it doesn't seem to insignificant to cut.--Maeglin 19:35, 6 June 2008 (EDT)

We could adjust the form of Gurthang's "speaking" to mental messages when his eye meets someone. I'm sure a good director could make something good out of it, but it does seem odd to have a great dragon talking like a man. --Narfil 00:11, 30 September 2008 (UTC)

Hurin in the Story

This for me is a rather confusing part of the story to deal with, as Hurin is a focal point but not in the tale very much. Generally I have a few ideas as well as a few things to think about:

I think Hurin should obviously be intertwined with the story. How? I have a few ideas but perhaps not clear enough.

I would like to see the 'movie' end as the book does, with Morwen dying at Turin's monument. It is an emotional part of the story and completes the tragedy for Hurin (ie; he has failed in life, been tortured, watched his children die in tragedy and now at the culmination of it all he has lost his wife.)

It would also be interesting to intertwine Hurin with visits to Thangorodrim showing how Hurin is taking this all, but I'm not sure how it would work. Is this a good idea?

Finally concerning Hurin, could he narrate the tale?

--Maeglin 12:05, 3 June 2008 (EDT)

This is a tricky spot indeed. Hurin narrating might work, what about instead of ending with Morwen's death, throughout the story the narrator's voice goes from powerful and strong and slowly diminishes until the last scene in which he throws himself into the Great Sea in despair. I suppose it may weaken the impact if we have too many tragic deaths near the end of the film but not telling the end of Hurin and the end of the curse seems to do injustice. Intertwining Hurin into the middle of the story is a must as we can't just show him at the beginning and at the end, even if we only cut to him a few short times it'll improve the audience's connection with him. --Hyarion 13:53, 3 June 2008 (EDT)
I like that idea. Hurin's weakening voice would be great. I still think Hurin's finding Morwen bears great sentimental value to the story, so perhaps the 'narration' finishes after we see the final scene in the actual Narn where Turin commits sucicide. When that scene ends the narration is done and it blends to the same spot, but years later. The reuniting of Hurin and Morwen ensues and after her death we show Hurin's end. All his family is dead and the curse is complete. I agree the curse needs to be emphasized, but at the same time it can't be too mystical, so it can be agreeable to 'tolkien scholars' and regular people. Does that work?

I think the tragic deaths can be spaced out andstill have impact. I think Turin and Nienor flow fine without losing impact, and Morwen is portrayed as the last thing Hurin has, this culminates to his death. If shown right it should work. --Maeglin 19:32, 6 June 2008 (EDT)

Structure

Since this is a complex tale, especially because it is about Hurin, but focuses on the deeds of Turin. This presents opportuninty to make a more complex style of movie. Maybe this is Hurin watching it all, or perhaps it begins with Hurin wandering after he is released and is a series of flashbacks until he finds Morwen. Maybe Hurin is relating the story of what happened to their children to Morwen, who remembers who she is after wandering for all these years(Is that too much like 'The Notebook'? I haven't seen it but I heard something similar happens.). At any rate, does anyone have ideas? I think it is the perfect tale to do something a little 'different' with rather than just showing the story unfold.--Maeglin 12:05, 3 June 2008 (EDT)

I would rather prefer that the encounter of Húrin and Morwen be the climax or nearly so. Instead perhaps we could switch events around so that Húrin is telling his tale to, say, Thingol. He tells of his escape and how Morgoth placed him high and set him to watch the doom of his children. He wraps up the movie by his release and the death of Mîm. Then we return to where Húrin stands before Thingol and departs in anguish. At the very end of the film, Húrin finds Morwen. If the story of the Fall of Gondolin was made as a sort of sequel, we could also include Húrin's shouting at the mountains (otherwise it holds no meaning with the audience). --Narfil 00:11, 30 September 2008 (UTC)


The Early Chapters

When thinking about the Narn as a screenplay or even a movie, I was considering if it would be important to show some of the earlier parts and how this would occur (considering what structure the screenplay takes, as noted above). Is it too much to include things such as the subplot concerning Gondolin? or would it be wrong to cut things like that out? Or, rather, should that plot go to The Fall of Gondolin Screenplay? --Maeglin 12:05, 3 June 2008 (EDT)