User talk:Amroth/Screenplays/Fall of Gondolin

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Revision as of 14:11, 25 July 2007 by Narfil Palùrfalas (talk | contribs) (Gondolin leitmotif and code)

Greetings! This is the screenplay for Tolkien's epic story, The Fall of Gondolin. The title "Fall of Gondolin" may or may not be kept. We may start the script either with Tuor, or with Turgon's building of Gondolin, or with a certain "fictional" character who sees Turgon. Unlike the Lay of Leithian or the Narn i Chîn Húrin, it is possible to insert a "fictional" character, that is one the writers made up, to put the story into more "story-like" form. The other option would be to center on Tuor himself.

As far as my own ideas for the general style of the production go, I believe this production would do well with a sort of poetic style. That is, a heavy emphasis on music and landscape, for instance. Also, the world will be revealed through Tuor's eyes; we see Gondolin for the first time at the same time he does, for instance. Discuss this screenplay below, and feel free to challenge anything if you see fit. --Narfil Palùrfalas

General Discussion

General discussion below this line.

Title Ideas

  • The White Citadel
  • Gondolin

Questions/suggestions/comments

Scenes

Synopsises below. You may add on ideas as you wish, directly after the synopsises under their own heading.

One

The prologue scene; in this scene, Ulmo will do a voiceover as Turgon places the armor in Vinyamar. Ulmo should introduce Turgon's calling to Gondolin, and the promise of a messenger to herald the end. Turgon's face should be hidden during the entirety of this scene, either hooded or merely not shown directly.

Two

In this scene Tuor should escape from the Easterlings, introducing his lineage and the position of Men.

Three

Here Tuor heads west, coming to Belegaer. He will eventually be whispered-to by a gull, a sort of messenger from Ulmo, and head south to Vinyamar. There he enters and discovers the armor, putting it on.

Four

In this scene Tuor exits Vinyamar to stand on the sands in front. As he does so, he spies storm-clouds westward over the sea, and hears thunder. Ulmo appears in all his majesty, with his horns calling, and charges him with a mission.

Five

Conceptual Design

Below shall be discussion for Conceptual Design, and below the discussion conceptual drawings.

Leitmotif code: Each normal letter signifies a quarter note, with ","s to seperate them into beats. "+" or "-" are added to show whether the following note is the one above or below it; a double of either of these shows that it is that note plus and octave. If there is a "/" between two regular notes, that shows both notes to be eighth-notes; double "/" shows them to be sixteenth, and so on. Half-notes are denoted when italicized, and whole notes when boldened. A connecting slur is denoted by "_", while a dot is ".". See below the example:

"Mary had a little lamb": E, -D, -C, +D, +E, E, E, -D, D, D, +E, +G, G, -E, -D, -C, +D, +E, E, E, E, -D, D, +E, -D, -C.

Persons

Tuor

Tuor should be a rough-looking sort of man to begin with, but at the same time tall and lordly. Rather like the description of Aragorn, yet not quite so rugged and "in-tune" with the wild. He should always show a certain cleanliness, even when in the wilderness. After he enters Gondolin, he should be always dressed simply, generally in white and blue.

His leitmotif is somewhat wild and free, a little rustic, but tuneful. It also has a solid, low subtone that suggests nobility or royalty. Ideal instruments would be violin, harp, and/or whistle.

Idril

Idril generally wears, like her father, white and red, though occasionally blue and silver can be found in her outfits. Her hair is long and golden, reaching below her waist, often crowned with golden leaves or with a braid.

Idril's leitmotif is high but soft, probably in flutes, whistles, and/or a solo singer. It is probably the most romantic theme, yet not overly so. It remains soft and simple, without being rich and reinforced by a host of other instruments. Best compared to the theme to Mel Gibson's Braveheart (see samples for tracks 2-4).

Turgon

Turgon is very tall and proud, grave of face; reflective and wise. Like his people, his garments are simple, though fine. He is often found in silver-gray or white, and his silver crown contains large red garnets. In great ceremonies he wears red and white, embroidered with gold, carrying a staff carved of white wood, with a gull carved on the end.

His leitmotif is very sturdy and regal. It relies much upon brass, perhaps French Horns or trumpets, playing slowly and solemnly. It also has a distinct tinge of sadness or wistfulness.

Inhabitants of Gondolin

In Gondolin it is accepted that weapons are not generally openly displayed, except for guards on duty or during special ceremonies. Men wear Roman-like tunics, but often longer and more robe-like. Woman typically have long dresses similar to those in fashion in Medieval Europe in the 14th century, but looser and lighter of material. In ceremonies of importance both their robes are still simple (no elaborate layers decked with gems or anything like that), but embroidered with gold, silver, and other colors. Soldiers wear surcoats bearing the emblem of their house, beneath which is fish-scale mail.

Places

Dor-Lómin

Scandinavia.

Gondolin

Idea leitmotif: A, A, +E, E, -D, +E/-D, +F, -E, A, A, +E, E, -D, +E/+G, -F#, -D

Firth of Drengist

Ideal filming locations would be Cathedral Caves in New Zealand or Cape Cove in Oregon. Both are very different, so it's one or the other. The description in The Fall of Gondolin is of trees, white sands, and great cliffs beset with caverns and spoutholes.

Vinyamar

References