As a die-hard fan of all things Middle-earth, I must confess that watching Morfydd Clark and Charlie Vickers bring Beren and Luthien’s story to life was nothing short of enchanting. Their performances were captivating, and I found myself completely engrossed in the tale, much like a hobbit lost in the Shire forests.
Spoilers for The Lord of the Rings: The Rings of Power season-two finale, “Shadow and Flame,” below.
Charlie Vickers takes great pleasure in crafting and depicting the torment and demise of Elf-Lords, from an artistic standpoint.
In a jovial tone, Vickers comments on the season-two finale of “The Rings of Power,” where his character, Sauron, betrays Celebrimbor, played by Charles Edwards. Throughout the series, Sauron has been posing as Annatar, an angelic visitor, working with Celebrimbor to craft the Seven and Nine Rings of Power for Dwarves and Men respectively. In the finale, Sauron, in a move to obtain the rings and dominate Middle-earth, slays his collaborator and narrowly misses Galadriel (Morfydd Clark), one of the few who could match him in strength, thus ending their partnership.
One of the most memorable scenes from the books for me is when Celebrimbor’s body is shown riddled with arrows. The scene is packed with intensity and complexity, as Charlie delivers a poignant final speech, and there’s a lot of emotional and physical interaction among the characters. However, managing to recreate that image for the show was my most exciting moment thus far.
This isn’t just sadism on the Australian actor’s part: If you want to do a good job playing author J.R.R. Tolkien’s “representation of evil,” as Vickers calls his character, you need to take this kind of evildoing seriously. The killing of Celebrimbor in the finale was important to him not just as an actor but a reader: “Now that I’m a big Tolkien fan after doing this show, I have my own imagination of what these events would’ve been like. We’ve just tried to bring that to life.”
During the entire season, Annatar’s ruthless control over Celebrimbor transformed him into an exceptionally malevolent TV villain who wears no mask, merely a black hat with no hints of gray. However, Vickers contends that true evil is intricately complex, driving one further and further away from humanity while still retaining its depth.
The intriguing interactions between your character and Charles Edwards in season two seemed almost like a suspenseful subplot within the show, building an intense atmosphere as Sauron gradually corrupts innocent Celebrimbor. What sparked the development of this ominous tension on set?
In the last moments of his life, Celebrimbor manages to shift the power dynamic with Sauron by revealing that the creation of the rings actually bound him rather than the elves. It’s an odd concept to ponder, considering we’re discussing a Dark Lord, but it seems as though Sauron was driven by an unyielding desire to demonstrate his intelligence and power, even to someone he was mentally tormenting. The rings were essentially his downfall.
I’m hesitant about adding a more human perspective to this villain, as contemporary media often portrays villains as complex characters. While the character certainly exhibits great depth as written by Tolkien, it becomes challenging to convey that complexity in terms of human emotions, especially when his hubris and ambition are tied to the belief that he alone can restore and save Middle-earth.
It’s telling that when Sauron considers what’s best for Middle-earth, his response is essentially, “I, undoubtedly.” Prior to becoming known as Sauron, he was Mairon. He cherishes fairness and artistry. He feels uniquely qualified to transform Middle-earth into a stunning land, one that mirrors Valinor. Even the mighty Morgoth could not achieve this feat. Sauron believes he can surpass Morgoth’s efforts.
In my youth as a Tolkien enthusiast, I often pondered over Sauron’s decision to invest so much of himself into the One Ring, despite the potential increase in power coming at such a significant vulnerability. However, understanding him as a character driven by an obsessive need to prove his supremacy, that compulsion now seems clearer to me.
It’s intriguing when Sauron momentarily loses self-control, and scenes like these highlight this aspect of his character. The statement “The rings are controlling you” from Celebrimbor infuriates Sauron greatly, as he requires Celebrimbor to locate the Nine Rings for Men. However, in his fury, Sauron’s usually composed demeanor dissolves, leading him to act impulsively and ultimately take the life of Celebrimbor – an unexpected display of emotion that is unusual for Sauron.
In the struggle against Galadriel, he expresses a wish to make her Queen of Middle-earth. However, considering their relationship and the nature of power, it seems unlikely that he intended this literally. Given his status and the magnitude of his authority, it’s more plausible that she would have served as a symbolic figurehead or assistant to him, rather than a co-ruler. So, while he may hold her in high esteem, I doubt they would have ruled Middle-earth together as king and queen.
In the previous season, Sauron disguised himself as Halbrand, a human character. Now, he’s portraying Annatar, a divine visitor, and the costume reflects his role accurately. When I stepped onto set dressed in that attire – the pointed ears, the wig, the gown – did it make a difference? Absolutely. Costumes influence your actions. Halbrand’s outfit was quite rustic and earthy, making it challenging to move gracefully without tripping. Even something as minor as these green and orange contact lenses I use, they alter my vision and give an ethereal feel. Wearing them on set had a peculiar effect, making me feel like I was from another realm. Everything appeared blurry, which turned out to be a helpful prop: “Perhaps this is how a divine being sees things.
I collaborated with a movement mentor to refine Sauron’s movements. My goal was to ensure they were efficient. Our approach was that as an angelic being, human gestures seemed too mundane, too ordinary for his existence. If he communicated like this [mimics hand gestures while speaking]], objects would be whirling about the room. He harbors immense power within him, and each movement is carefully considered. He performs only what is essential.
In the movie “The Silence of the Lambs,” recall the moment when the camera slowly moves down a corridor, and Anthony Hopkins makes his first appearance? He stands stiffly, with his legs close together, hands at his sides – it’s chilling. Watching that scene, I thought to myself, “That’s impressive! I can incorporate something like that.” Interestingly, Hopkins didn’t blink during the entire performance. In contrast, I sometimes blink intentionally to express vulnerability and make people feel more comfortable. However, there are instances where I choose not to blink because it adds intensity or helps convey a message more effectively. This method creates an eerie effect when captured by a camera.
In terms of terror, the series delves deeper into Sauron’s sinister origins, drawing parallels with his connections to creatures of the night such as vampires and werewolves. We find him reemerging as a pool of malevolent, vampiric ooze that feeds on life and controls colossal wolves. In the original stories, I find it fascinating how Sauron transforms into various shapes, one being a vampire, adding depth to his character as an embodiment of ancient hatred and evil born in the First Age. The prospect of portraying Sauron is thrilling due to the wealth of lore available, offering endless possibilities.
Earlier, you discussed how dramas often feature morally ambiguous villains or anti-heroes. However, it’s hard for me to envision Sauron seeking counseling after committing a crime, as Tony Soprano might. Instead, your portrayal of Sauron consistently exhibits deceitfulness and malicious intent, which I, as a literature enthusiast, find true to the character.
The one major prestige TV character he does remind me of is late-season Walter White from Breaking Bad, in full “Nobody stops this train” mode.
That character’s arc was an inspiration for J.D. Payne and Patrick McKay, the showrunners. Something else I always try and remember is the Child Catcher in Chitty Chitty Bang Bang. There are parts of that performance where I was just like, Yeah, that’s the vibe I’m going for at some points. [Laughs.]
As a humble movie critic, I must say that Rings presents an epic spectacle, placing my character smack dab in the heart of the most colossal battle ever displayed. Yet, for the majority of this grand conflict, I found myself in a serene microcosm with Celebrimbor, which surprisingly enough, greatly benefited my performance. Stepping from that tranquil sanctuary into the midst of chaos was an exhilarating transition. The set, though seemingly small and intimate, pulsed with the energy of the colossal production due to the immersive nature of our forge environment. Despite being a two-person scene, you could sense the immense resources poured into the show, simply by standing there amidst the meticulously crafted forge.
However, stepping outside makes it feel incredibly real, as things are actually detonating. While walking on the edge, I strive to remain composed since blasts are happening all around me, something Sauron wouldn’t react to. These explosions are genuine. The city courtyard – everything is tangible. Only the horizon is computer-generated. Playing in a world like this has always been every actor’s dream. It’s simple to get overwhelmed by the budget, the anticipation, or the unique nature of being involved in such a project. But especially with a project like this, you can’t help but feel like excited kids playing on this vast set every day. Whenever things become too heavy, be it pressure or expectations, all it takes is for Charlie and I to glance at each other and exclaim, “Check out your ears! That’s incredible!
Sauron’s overlord, defeated at the end of the First Age.
A heroic couple who battled Sauron during the First Age.
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2024-10-03 22:54