EDITING “This show was a massive undertaking on a very tight schedule. On any given day, we could get footage that spread across four episodes. It was a lot to stay on top of,” reflected editors Stefan Grube and Cheryl Potter. “Thankfully, we had the best post team ever assembled to support us as the show came together.” STORY Showrunners J.D. Payne and Patrick McKay envisioned the early episodes of the series to be based on the tensions and maneuvers— psychological and physical—that come before swordplay. “We talked about wanting to set up a situation where it’s not about action,” says McKay. “It’s about tactics. It’s a chess game.” CHOREOGRAPHY For the ethereal, immortal Elves, the style of movement was inspired by their relationship with nature and time. Supervising Movement Coach Lara Fischel-Chisholm observes: “In some ways, they transcend [time]…They move beautifully because beauty itself is of great importance to their culture.”
SOUND On creating a “death song” for Galadriel’s dagger, Co-Supervising Sound Editor Damian Del Borrello said: “There’s a very simple sound, and it’s a shimmery metallic sound that we created using metal shims and hits, with a bit of processing to elongate it, so then we could pitch it and almost use it like music. We recognized that was an important element to emphasize…to have a sound that we could use throughout the whole series and be able to manipulate and change depending on the emotional context of how it’s used. That sequence with the dagger at the end with the creation of the rings was its death song. There are all of those metallic-y elements that are almost slightly wailing, slightly crying. There are all these almost pained, metallic sounds, especially through that melting phase.”
STUNTS Supervising Stunt Coordinator Glenn Suter was astonished by Morfydd Clark’s dexterity as a swordsperson. “We talk about fight beats, in which a single physical move is a beat. I think there’s over 60 beats for her. She’s very hard on herself. She’s tough. She’s a perfectionist.”
Galadriel (Morfydd Clark) instructs the Númenórean recruits in sword training through a choreographed sequence comprised of more than 60 beats.
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