And then He spoke with a thunderous voice, “YOU SHALL NOT PASS” and banished the homophobic balrog. Our savior had died, but He rose from the dead for love triumphs all. And yea, now even to this day, Gandalf the Gay watches over all of his LGBT+ children and protects them from harm ・゚✧ *:・゚✧ *:・゚✧ *:・゚✧ *:・゚:・゚✧ *:・゚Gandalf loves ALL of His children. This blog is accepting of all identities. Aphobes, homophobes, transphobes, TERFs, & other intolerant people may not pass. (Follows back from @abearysoftace)
the lotr films love to present gimli as the ugly, dirty, ignorantly rude comic relief when the reality is that aragorn is a sweaty, grimy, greasy-haired ranger who sleeps rough on the road and maybe bathes once a month, and legolas is a feral cat who eats dirt and sleeps in trees and threatens anyone who tries to start shit with his friends with a notched arrow to the skull regardless of the potential consequences, while gimli is a dwarf prince who actually acts the part, is well-educated and mannered, has a strong sense of honor and duty, appreciates song, poetry and other fine arts and crafts as well as food and drink, and is actually probably the cleanest member of the three hunters. anti-dwarf propaganda never sleeps.
I never used to believe that the internet had destroyed my humor but Neil Cicierega’s garbled Lord of the Rings names proved that I really will laugh at anything
The reason Lord of the Rings’ special effects have held up so well and still look so gorgeous- especially in the backgrounds and environments– is because they weren’t **trying** to be realistic.
LOTR’s special effects are stylized in a very careful, deliberate, and beautiful way.
In a behind-the-scenes video, the films’ visual effects supervisor explained:
We wanted the look of the film to have this storybook look to it. This is one of the things that Peter Jackson would impress upon the post-grader. He would literally sit there with watercolor (paintings) and say: THIS is what I want it to look like.”
Compare Alan Lee’s watercolor painting (its texture, its limited and unreal color palette, and the careful use of bright highlights in specific places that “frame” the characters/create an interesting composition)–
To the very similar look of the final film:
Because the goal wasn’t to create a perfectly realistic version of Moria. It was to create a version of Moria that looked like a watercolor painting.
And this “watercolor painting” effect isn’t just epic fantasy moments either. Even many of the non-fantastical backgrounds in Lord of the Rings don’t look “fully realistic.” They look very high-contrast and painterly, with dramatic unreal shafts of light bursting through the clouds:
And again, this is by design:
“We wanted to nudge it sideways from reality. New Zealand is a lovely country but it’s still New Zealand, still a real country….and I wanted to nudge it slightly to Middle Earth, which is an ancient world….a world of myth, and legend.”
And the watercolor storybook-inspired colors and lighting isn’t just in the environments either. It was also used in very basic dialogue scenes, to make you really feel like the entire movie was taking place in a fantasy world:
Because the stylization in Lord of the Rings is so consistent– but not to so exaggerated that it gets distracting— it creates this beautifully unreal and dreamlike tone that is completely unlike any other movies I’ve ever seen.They really do end up feeling like “watercolor fairy tales” come to life.
that scene in the fellowship of the ring where gandalf, at like the worst possible moment ever, is like “lmao thorin gave bilbo that wicked armor u have and it’s worth pretty much all of middle earth, but they were totes hetero™” as he like lenny faces everyone makes me wanna jump out my window and never return