Ja kylmiä väreitä ei voinut estää. Trailerin perusteella Jackson hoitaa homman jälleen kotiin, ainakin visuaalisesti. Myös tutut sävelet siellä täällä ihastuttivat. Hyvä ja nälkää nostava traileri.

Newly expanded and completely redesigned, Douglas A. Anderson's The Annotated Hobbit is the definitive explication of the sources, characters, places, and things of J.R.R. Tolkien's timeless classic. Integrated with Anderson's notes and placed alongside the fully restored and corrected text of the original story are more than 150 illustrations showing visual interpretations of The Hobbit specific to many of the cultures that have come to know and love Tolkien's Middle-earth. Tolkien's original line drawings, maps and color paintings are also included, making this the most lavishly informative edition of The Hobbit available.

The Annotated Hobbit shows how Tolkien worked as a writer, what his influences and interests were, and how these relate to the invented world of Middle-earth. It gives a valuable overview of Tolkien's life and the publishing history of The Hobbit, and explains how every feature of The Hobbit fits within the rest of Tolkien's invented world. Here we learn how Gollum's character was revised to accommodate the true nature of the One Ring, and we can read the full text of The Quest of Erebor, Gandalf's explanation of how he came to send Bilbo Baggins on his journey with the dwarves. Anderson also makes meaningful and often surprising connections to our own world and literary history -- from Beowulf to The Marvellous Land of Snergs, from the Brothers Grimm to C. S. Lewis.

We know how much of the story of Bilbo Baggins, the Wizard Gandalf, the Dwarves of Erebor, the rise of the Necromancer, and the Battle of Dol Guldur will remain untold if we do not take this chance.  The richness of the story of The Hobbit, as well as some of the related material in the appendices of The Lord of the Rings, allows us to tell the full story of the adventures of Bilbo Baggins and the part he played in the sometimes dangerous, but at all times exciting, history of Middle-earth.

Varsinkin Smaugin autoittama maa on aika raskas nimi elokuvalle ja ilmeisen suora käännös. Eipä tuo itteä haittaa.
Viimeisessäkö elokuvassa kerrotaan Sauronin tarinaa vai onkohan se jaettu useempaan elokuvaan ikäänkuin sivujuonena?

Odotan kovasti Hobitti-leffatrilogialta ja olenkin yrittänyt olla spoilaantumatta kaikista trailereista sun muista jutuista. Toivottavasti ainakin ekassa osassa on samaa tuntua kuin Sormusten Ritareissa eli rentoa että vauhdikasta meininkiä.

Hobitti on muutenkin suosikkini fantasiakirjoista. LotR:it on vähän liian raskaita, tai ainakin Kaksi Tornia ja Kuninkaan Paluu.

Miten voit spoilaantua, jos ole lukenut jo kirjan?

Mulla on aika täysi luotto Jacksoniin ja tiimiin. Ainoa mikä oikeastaan huolestuttaa on se, että onko CGI:tä käytetty liikaa suhteessa miniatyyreihin ym.

Käy molemmat. Perinteinen ensiksi tarinan kannalta ja toinen sitten hifistely/nörtteilymielessä. Pääset vertailemaankin.

Hobitti on todennäköisesti ainoa elokuva jonka voin mennä katsomaan tänä syksynä, niin taistelu on kyllä kova että minkä version katson.

Those spoken to after the screening praised the beautiful New Zealand sceneries, the captivating story and were dazzled by the special effects featured in the first movie to be shot in 3D at 48 frames per second (fps).

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"It was fantastic, it was very realistic. And compared to the Lord of the Rings movies it was great to see, that special effects have come a long way," Stephanie Cook said.

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"The 48 fps is totally the future of movies. It takes you a couple of minutes to get used to it, but the clarity is amazing. I read the initial media criticism but I have to say: It's just fantastic."

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The new 3D format "did feel a bit voyeuristic at first but once you get used to how crystal clear it is, I think it is quite amazing. It is arresting when you first see it. It is almost like something you shouldn't really be seeing it. It's cool," he said.

Rolling Stone: The Hobbit is a very thin book. Why did you decide to make it into three films?

Peter Jackson: The Hobbit is almost like an optical illusion. You look at the book, and it is a really thin book, and you could make a relatively thin film as well. What I mean by that is you could race through the story at the speed that Tolkien does-if you really study the Hobbit, you'll be surprised at some of the memorable scenes, they're so short. They're written in such a brisk pace, breathless style, with not a pause for dialogue and character, that they're very quick. That's not the type of film we'd ever want to make. We wouldn't want to make a film where we rush from action with some comedy along the way.

RS: So are you changing the story?

PJ: We want to make a film that tells a story and has a little bit more depth to it than what Tolkien was after when he wrote the book. I was surprised when I reread the book because I remembered this huge sequence in lake-town but in the book it's only two pages. In a movie, if you're literally shooting the script at that pace, you've got no room for character development. So it's a deceptive book is what I'm saying. We haven't been indulgent in the way that we've made these movies. We've simply used the narrative that Tolkien laid out. We've written it at a very brisk pace, but once we really develop these scenes from the novel as movie scenes, they tend to take up some time.

RT: But there's also a lot of stuff from outside the book, too, right?

PJ: Yes, the other thing we've done is we haven't just stuck to the pages of the Hobbit, either. We've got the rights to adapt what would be the appendices from Return of the King, about 125 pages of material. In them, Tolkien was writing about what was happening outside the pages of the Hobbit, in Middle Earth, at the exact same time. So we're doing sort of the Hobbit super-sized, with all the extra material.

RS: There's been criticism that making this children story into a three movie epic is naked commercialism. How do you respond?

PJ: No. Look, it would be nakedly commercial if the studio had come to us-the filmmakers-and said, "Why don't you turn this into three films because we can. And we can market and sell three films, blah, blah, blah." But they didn't. We approached them. We felt that we had the story we wanted to tell. We had the characters we wanted to develop. We wanted to use all this fantastic material from the appendices that we otherwise couldn't have used because of the structure of two movies and the running time. So we approached the studio and pitched the idea of why it would make sense to do it as three films. It certainly wasn't commercially driven-it was a creative choice from us.