“Never thought I’d die fighting side by side with an Elf.”
Celebrate 20 years of adventure and friendship as Warner Bros. releases the Middle-Earth Ultimate Collector’s Edition, timed to the 20th anniversary of The Lord of the Rings: The Fellowship of the Ring. The 31-disc Ultimate Collector’s Edition of Peter Jackson’s Middle-earth saga contains new special features along with the theatrical and extended versions of all six films in 4K Ultra HD and on Blu-ray discs remastered from the 4K master. The Ultimate Collector’s Edition will be released on October 26.
Celebrate 20 years of adventure and friendship as Warner Bros. releases the Middle-Earth Ultimate Collector’s Edition, timed to the 20th anniversary of The Lord of the Rings: The Fellowship of the Ring. The 31-disc Ultimate Collector’s Edition of Peter Jackson’s Middle-earth saga contains new special features along with the theatrical and extended versions of all sic films in 4K Ultra HD and on Blu-ray discs remastered from the 4K master. The Ultimate Collector’s Edition will be released on October 26.
The Ultimate Collector’s Edition includes the theatrical and extended versions of the six films from New Line Cinema and Metro-Goldwyn-Mayer Pictures in 4K UHD with HDR – The Hobbit: An Unexpected Journey, The Hobbit: The Desolation of Smaug, and The Hobbit: The Battle of the Five Armies, The Lord of the Rings: The Fellowship of the Ring, The Lord of the Rings: The Two Towers, and The Lord of the Rings: The Return of the King, which won Academy Awards for Best Picture, Best Director, and Best Adapted Screenplay.
The Ultimate Collector’s Edition comes in unique “Puzzle Box” collectible packaging and includes a 64-page booklet featuring costumes, photography and production notes from the film, and art cards featuring travel posters and images from iconic locations throughout Middle-earth including The Shire, Lake-Town, Erebor, Anduin, Rohan, Minas Trith, and Rivendell.
Also included are the original Cannes Film Festival presentation reel, and footage from the recent Alamo Drafthouse cast reunion featuring director Peter Jackson along with cast members Sean Astin, Cate Blanchett, Orlando Bloom, Billy Boyd, Ian McKellan, Dominic Monaghan, Viggo Mortenson, Andy Serkis, Liv Tyler, and Elijah Wood.
4K Ultra HD** showcases 4K resolution with High Dynamic Range (HDR) and a wider color spectrum, offering consumers brighter, deeper, and more lifelike colors for a home entertainment viewing experience like never before.
The 4K remastering process was overseen by Peter Jackson.
The 4K Ultra HD Blu-ray discs of The Hobbit: An Unexpected Journey, The Hobbit: The Desolation of Smaug, and The Hobbit: The Battle of the Five Armies, The Lord of the Rings: The Fellowship of the Ring, The Lord of the Rings: The Two Towers, and The Lord of the Rings: The Return of the King will feature Dolby VisionTM HDR that dramatically expands the color palette and contrast range and uses dynamic metadata to automatically optimize the picture for every screen, frame by frame. The 4K Ultra HD Blu-ray discs will also feature a Dolby Atmos® soundtrack remixed specifically for the home theater environment to place and move audio anywhere in the room, including overhead. To experience Dolby Atmos at home, a Dolby Atmos enabled AV receiver and additional speakers are required, or a Dolby Atmos enabled sound bar. Dolby Atmos soundtracks are also fully backward compatible with traditional audio configurations and legacy home entertainment equipment.
Middle-Earth Ultimate Collector’s Edition contains the following special features:
Cannes Film Festival Presentation Reel
Alamo Drafthouse Cast Reunion
“The Fellowship of the Ring” – RT: 39:38 (with Billy Boyd, Dominic Monaghan, Sean Astin and Elijah Wood)
“The Two Towers” – RT: 32:24 (with Cate Blanchett, Orlando Bloom, Liv Tyler and Viggo Mortenson)
“The Return of the King” – RT: 29:48 (with Ian McKellan, Andy Serkis, and Peter Jackson)
Sony Music is releasing the Original Motion Picture Soundtrack of X-Men: Days of Future Past, featuring music composed by BAFTA Award winner John Ottman. The soundtrack will be available digitally on May 19 and on CD June 3.
John Ottman graduated from the School of Cinematic Arts at the University of Southern California. One of his early assignments was to provide original music for the computer game I Have No Mouth, and I Must Scream. In 1996 he won a BAFTA award for editing THE USUAL SUSPECTS, and was later nominated for an Emmy Award for his score to the ABC series Fantasy Island.
Ottman’s range of composition takes in X-MEN 2, the dark comedy of THE CABLE GUY, the nightmares of GOTHIKA and ORPHAN, and the animated notes of ASTRO BOY.
With six films already released, X-Men is one of the most successful franchises in film history. It started in 2000 with the original X-Men movie, directed by Bryan Singer. X-MEN: DAYS OF FUTURE PAST is the seventh in the series and the third directed by Singer. The cast Hugh Jackman, James McAvoy, Michael Fassbender, Jennifer Lawrence, Halle Berry, Anna Paquin, Ellen Page, Peter Dinklage, and Patrick Stewart and Ian McKellen.
It is a dual sequel to X-MEN: THE LAST STAND and X-MEN: FIRST CLASS, and also follows up the story of THE WOLVERINE. The ultimate X-Men ensemble fights a war for the survival of the species across two time periods in X-MEN: DAYS OF FUTURE PAST. The beloved characters from the original X-Men film trilogy join forces with their younger selves from the past, X-MEN: FIRST CLASS, in order to change a major historical event and fight in an epic battle that could save our future. The film opens nationwide this Friday.
In Variety’s review of the upcoming film, writer Justin Chang said, “Like many of Singer’s prior pics, the production benefits from the dual contributions of versatile editor-composer John Ottman — particularly evident in the story’s clean pacing and construction.”
In my recent phone conversation with Mr. Ottman, we discussed his return to the world of the Mutants. He was very honest and forthcoming about the trials and tribulations that come from editing and composing for this type of motion picture.
What’s it like to be back with Professor Charles Xavier, Magneto, Wolverine, and Mystique after being away for so long? “It was great to be back in that world especially since X-MEN 2 was my first big film that I got to do. I have fond memories of it because, in retrospect, it was a film that seemed to go very smoothly and had very little interference from the studio. I tend to look back on it as an exciting time, so it was awesome to go back into it.”
“On this film, with the story being focused on a young and broken Charles Xavier, I was given a musical opportunity to underscore his journey of rekindling the hope he’d lost. Charles Xavier finally gets his own theme.”
Ottman was brought on board to X-MEN: DAYS OF FUTURE PAST, ”pretty much at the tail end of pre-production – we were putting together the pre-visualizations and I came in and worked on those, even before we began shooting.”
The composer is no stranger to this epic movie series and to the superhero genre. As both composer and editor, Ottman is the musical right-hand man of Bryan Singer, with whom he collaborated on THE USUAL SUSPECTS as well as X-MEN 2. How does that work, especially with this type of big film?
“Before shooting there are all these animated versions of the scenes that we have to put together – you’re pre-conceiving the scenes, (previs), and we have a tremendous amount of those to do and many of them we were doing as we were shooting because there are so many sequences. With previs, we were already planning the shoot on the next thing we had to design. It’s a tremendous amount of work to design shot-by-shot and figure out what the scenes are going to be and how they’re going to be laid out.”
Once into the thick of it, I asked Ottman if he was composing to the edit or editing to the score.
“I wish I was doing either one, but when I’m editing the movie it’s so completely overwhelming that there’s no way I could even have a hope of going to my keyboard to write anything while I’m dealing with the cut of the film. Cutting the movie also involves storyboarding the scenes and designing previs’, so what I do is cut the whole film together at length. I don’t even put music on my scenes while I’m cutting them. I want to sit back and watch a film work without music and then once I put my editor’s cut together, then I put contemporary music in there for weeks after – that way we can screen the film for people at the studio. The actual score I don’t start writing for months after that.”
In combining the two jobs, Ottman says, “As I’m cutting, and putting sequences together in my head, I’m subliminally hearing and thinking about the kind of music it’s going to be, but what it’s actually going to be, I’m not sure yet.”
“All I do is worry about it from the moment I go to wherever we’re shooting, I’m worried about the score and when I’m going to write it, and how I’m going to do it. The editorial process never ends – especially on a complicated film. Then when the studio comes in with notes and the film starts going around in circles, and I have to go write the score somehow, yet I’m still tending to the recutting, various special-effects problems, looping the actors and test screenings. It never ends. There’s never really I time where I can say, ‘okay everybody, I’m going to go write the score now.’ I can’t put the film on hold.”
In Ottman’s ongoing, incredibly productive collaborative relationship with Singer, the two have developed a shorthand communication that allows their creative process to thrive. How did Ottman go from scoring films to “I think I’ll edit.”?
“It’s not a choice. It’s by gunpoint. The director (Bryan Singer) refuses to let me score the film unless I’m the editor, because we go way back to USC Film School and he depends on me to be his working partner.”
“After our first feature – PUBLIC ACCESS – won the Grand Jury Prize at the 1993 Sundance Film Festival, I was like, ‘well hell, I like scoring films.’ When we did SUSPECTS, I said, “Can I just score the film?” and he said, “Hell no,” and that blackmail basically continues to this day.”
“But it’s occurred to me, why in my right mind would I do such a thing and then leave my scoring career – it’s not financially a wise thing to do because I lose a lot of work during the time I’m in editing ‘jail.’ ”
“On the other side of it, I have a hand in creating the film I’m going to score. Sometimes after I’ve been scoring films for a while, I feel like a film score grunt. Being the editor on a film puts me in charge of something.”
Is any editor totally happy with the finished product? Ottman says, “Depends on the movie. Some movies yes, some movies no. This was a very complicated film. I likened this one to ‘Whack-the-mole’ game more than any other movie we’ve done because of the time travel element. With time travel, you solve one problem, you create a different one. You just have to keep whacking the mole until the smallest mole that pops up is the one you can live with. This is the logic we’re going with.”
“I look at the film… there’s some things I wish in retrospect we had had the time to do and so forth, but I’m generally very happy with it.”
Ottman’s involvement with X-MEN: DAYS OF FUTURE PAST began on set, where he would meet with Singer before filming began, and continued through the recording of the orchestra and choir on the Fox scoring stage. Even with a big film like this, was a musically quiet score ever considered?
“I would love to write a little, quiet score. I have no intentions to fill a film with music, but you know it’s the nature of the beast with this type of movie. Once you light the fuse with the music, it’s hard to stop it. With this one we went in knowing this is going to be a big score, however having said, it’s not really that traditional of a score as I’ve done before. It’s more modern. There’s a lot more synthesizer elements in the score and many times the orchestra is simply sweeping something I’ve designed with synthesizer.”
Ottman wrote the soundtrack for X-MEN 2, the second in the X-Men series. Fans can expect to hear parts from the 2003 film.
“The future is very dark, and so by default the score is very dark. I did use elements from X-MEN 2 since that’s the one I scored. I resurrected that theme too, so that is the theme of X-MEN: DAYS OF FUTURE PAST.”
“I see X-MEN 2 as the most embraced X-MEN film. I’m a little biased, but I always felt that theme should have been a common thread throughout this film. I know the studio felt that way so I really didn’t have a hard time convincing them.”
Being a fan myself of his scores for SUPERMAN RETURNS, JACK THE GIANT SLAYER, the recent, NON-STOP, and especially VALKYRIE, the composer said he tries to keep the music to these action films in the background.
“With VALKYRIE, I set out to do a score that was very scant and sparse. Because I’m very involved in the sound design of the movie, I was very proud of all the typewriter and teletype machines sounds in VALKYRIE. I wanted it to sound raw and realistic and not film glossy. That movie is a caper. VALKYRIE was a trick of keeping the excitement going, editorially and musically, because there are a lot of old men talking in a room.”
“I did a very pulsating score and then I actually buried the score intentionally with sound effects. When people watch the movie, they’ll find there’s a lot of score there, but I want them to just feel it – not really hear it. The story is so good. I felt from day one very confident about that movie. At the end of the day it’s a great story.”
Ottman’s film scores have earned him a Saturn Award and several BMI Film Music Awards. As Hollywood’s only editor/composer of blockbusters, John Ottman also added director to his title with his directorial debut on the film URBAN LEGENDS: FINAL CUT. Does he want to direct again? ”You know, I really do! If I could split myself into clones – one would be developing a film and getting ready to direct and the other one would be going for that dangling carrot that Bryan (Singer) always puts in front of my face with the X-MEN movies.”
“It’s hard because if I decide to go direct something, that’s going to take a long time to develop, I’m going to inevitably run into an X-MEN movie that I can’t say no to. At some point, I’m going to need to get the guts to say no and go and do something on my own for fun. At this point in my career, knock on wood, I can afford to just go off and do a little movie and not worry about it. I would love to do a little film.”
So just how keen is Ottman to the notion of another composer writing the score for one of his movies in the future? With a laugh, his reply was, “No. When I started in the early days of my career, my intention was, ‘well, I’ll direct and score movies’ so I can choose the ones I want to direct and score for. That was a crossroads for me – after URBAN LEGENDS. In retrospect, who knows if I made the right decision? I was offered countless Teen movies and I just said, ‘I don’t want to do Teen movies,’ and I said no. I felt like the Film Scoring community had written me off. So I went back to film scoring. Either I would have directed a bunch of teen movies, and by this time directing everything I wanted to, or my next film could’ve been a complete failure. Who knows? Believe it or not, URBAN LEGENDS was number one at the Box Office, so it was a success.”
As for his next project, Ottman has nothing intentionally planned. “After having double duty, it’s more than I would wish on my worst enemy. I think I’ll take some time and smell the roses and do some thinking about when I want to jump back into something.”
Aside from jokingly advising against it, Ottman’s advice to budding film composers is, “Do. Do. Do. Do everything that comes to you or that you may see or seek out – no matter how dumb or ridiculous the project seems. Take on that stupid little movie. It will train you to have a good attitude about things, creatively. You put yourself in the position of making something better and making yourself believe in something that may have initially started out as a stupid movie, but making yourself believe it’s going to be good because of your work on it. That really never changes.”
“Even to this day, I get on some terrible film, but by the end of it I’ve convinced myself that it’s a really good movie and I’ve helped make it better. The other advantage to have that mindset is the project you least expect is always the one that leads you somewhere. Some dumb little thing you do, someone’s brother’s uncle’s sister may have seen that little movie and it leads you to a place that you least expect. Basically, the more you do, the more you’re going to have an opportunity somewhere.”
X-MEN: DAYS OF FUTURE PAST hits theaters on May 23.
The ultimate X-Men ensemble fights a war for the survival of the species across two time periods in X-MEN: DAYS OF FUTURE PAST.
The beloved characters from the original “X-Men” film trilogy join forces with their younger selves from “X-Men: First Class,” in an epic battle that must change the past – to save our future.
The film stars Ian McKellan, Patrick Stewart, Hugh Jackman, Michael Fassbender, James McAvoy, Jennifer Lawrence, Nicholas Hoult, Omar Sy, Peter Dinklage and Halle Berry.
X-MEN: DAYS OF FUTURE PAST opens in theaters on May 23.
They say you can’t go home again. But what if the home in question is that fabled land called Middle Earth. That’s the speculation surrounding celebrated film maker Peter Jackson. His LORD OF THE RINGS trilogy broke box offices records around the globe while collecting a chest full of awards (including the Best Picture Oscar for the final entry RETURN OF THE KING). Much like Bond fans, Rings devotees have had to wait several years for all the legal and financial battles to be settled. For a time it looked like Guillermo del Toro (PAN’S LABYRINTH) would be directing this Rings prequel, but as the negotiations dragged, del Toro had to move on. When the dust cleared, Jackson decided that he would not only produce but also direct this new Tolkein screen adaptation. Is the magic back? Film goers will finally find out with the release of THE HOBBIT: AN UNEXPECTED JOURNEY.
This tale beings with a history of Lonely Mountain, the realm of the dwarves. After surviving a brutal attack from the gruesome orcs, their treasure is seized by the dragon Smaug. The kingdom is in ruin and the dwarves are scattered through the lands. But all is peaceful in the Shire, especially at the home of a hobbit named Bilbo Baggins (played by Ian Holm in the Rings trilogy here his sixty years younger version is Martin Freeman). That tranquility is shattered with the arrival of Gandalf the Gray (Ian McKellen). The wizard wants Bilbo to join him and thirteen dwarves on a journey back to reclaim their home and treasure. Bilbo will have none of this adventure nonsense. That night his quiet home is invaded by those warrior dwarves led by the fearless Thorin (Richard Armitage). When Bilbo awakes the next morning, the rowdy dwarves and the wizard are gone. But the hobbit has a change of heart and catches up with them. On the long journey they encounter elves, orcs, trolls, rock giants, and a cave-dwelling, ring-loving, raspy voiced creature as they near closer to the land ruled by a brutal fire-breather.
Although this is set sixty years prior to the Rings trilogy, many familiar faces do pop up (including one very welcome surprise). But it’s McKellen as Gandalf that’s the most dominant. He’s slips into this character like he’s easing into a pair of comfy old slippers. He’s funny, wise, and a forbidding conjurer. And Sir Ian plays very well against this film’s most inspired addition of TV star Freeman (“The Office” “Sherlock”) as the timid title character. Their initial meeting is a delightful bit of whimsical wordplay and banter. For most of the initial scenes Bilbo goes from exasperated to worried panic. Once he commits to the quest he truly comes alive even as he flails about with his new sword, Stinger. There’s not enough time for each of the dwarves to stake out much in the way of personality, but Armitage makes a quite impressive small-sized swashbuckler.
But what really impresses here are the breathtaking visuals. As in the previous trilogy, the main characters trudge through all manner of majestic scenery. I’m sure this film will give New Zealand another nice tourism bump. The sets are epic and grand particularly a visit to the Elf kingdom. And the special effects are state of the art, especially in an encounter with three ravenous trolls (frightening and funny). But the most spectacular sequence doesn’t involve multiple beasties and battles, but a quiet quiz between Bilbo and the glorious Gollum, who continues to be one of filmdom’s most amazing creations. He’s more expressive than ever thanks to advanced CGI technology and the wonderful acting of Andy Serkis, the maestro of motion-capture. Speaking of tech, a lot has been written about the use of HFR (High Frame Rate in select theatres). Supposedly the projection of 48 frames per second instead of the standard 24 has caused some queasiness in audiences. My eyes adjusted fairly quickly, but I noticed that any movement (by the camera or actors) zipped by very fast. As a friend pointed out, you get no blurs at 48 so your brain has less to fill in (all the details are there). It is a sharper image, but nothing like live TV as was earlier reported (oh, and the 3D’s nice, but not essential as with LIFE OF PI). Much has also been made about the decision to make three films out of this single Tolkein story. Nothing seems padded here to warrant those accusing the producers of a “money grab”. After the frenetic slapstick of the dwarves trashing Bilbo’s home, the film almost resembles an old Saturday morning serial with one unsurvivable cliff-hanger after another. Sometimes the spectacle is overwhelming with endless nasties popping up to be sliced and speared, but Jackson really makes everything work. It’ll be fun to have that holiday tradition from nearly ten years ago once again. If you enjoyed the Rings then you’ll look forward to spending the next couple of Christmases with this unlikely furry-footed hero.
It was reported back in November that production on the two-part prequel to LORD OF THE RINGS, THE HOBBIT, had been pushed back to mid-2010, possibly July. Well, according to Ian McKellan’s official site, those reports are 100% accurate.
THE HOBBIT’s, two films, start shooting in New Zealand in July. Filming will take over a year. Casting in Los Angeles, New York City and London has started. The script too proceeds. The first draft is crammed with old and new friends, again on a quest in Middle Earth.
The director Guillermo del Toro is now living in Wellington, close to the Jacksons’ and the studio in Miramar.
Nothing official has come from New Line, yet, as reported by Variety. A spokesperson even went so far as to outright say they had not set a start date on production. The biggest elephant in the room here is what is going on with MGM. Their restructuring is moving slowly, and no one seems to know what will happen to their side of the financing once all the movement dust settles.
It is looking more and more likely that we won’t be going back to the shire until, at least, December 2012.
The chaps over at Sci-Fi Wire have gotten their hands on a recent statement from actor Ian McKellen regarding the much anticipated THE HOBBIT, directed by the wonderful Guillermo Del Toro. McKellen has read the screenplay to THE HOBBIT and he had very little to say in terms of spoilers, other than that the script was penned just for him (as it should be) by producers (and LOTR aficionados) Peter Jackson, Fran Walsh, Philippa Boyens and of course Del Toro himself. Here is the rest of his report as told by Sci-Fi Wire:
“As Peter has said, they loved writing Gandalf [for THE HOBBIT] because they knew who they were writing him for,” McKellen told us exclusively in an interview last week while promoting AMC’s THE PRISONER. “There are a lot of characters in THE HOBBIT, including, crucially, Bilbo, and they don’t know who’s going to play Bilbo. So it’s extremely attractive that this part has been written for me. The other Gandalf was written for, well, just as Gandalf. There’s lots for me to enjoy, in all sorts of ways. And I couldn’t be happier. But I’m sworn to secrecy. I’m not to say anything at all about the script.”
He goes on to talk about the involvement of director Guillermo Del Toro, the newcomer to the LOTR crowd, and his communication with Jackson:
“They are the same person,” he said. “They were separated at birth. They’re twins. They have the same attitude. Neither likes working in Hollywood. They’re both fascinated by fantasy and violence on the screen, and gore, and things that frighten you. They like going into the psyche. They’re both brilliant storytellers in very much the same way. And I think the script, because I have read it, plays very much to Guillermo’s strengths, as I’ve seen them. I have seen his other movies, and people act very well in them. So I think it’s all fine. And Peter will always be there.”
It sounds to me that things are moving very well in the right direction. If Gandalf is on board with the script, I don’t see how anyone can be against this project!
THE HOBBIT is set to hit theaters December of 2011.
Welcome, fans, to this special edition of WAMG’s Character Cage Match. With the release of ‘Harry Potter and the Half-Blood Prince’ we decided to pit the two Best Movie Wizards against each other in a magical duel of wits, wisdom and wizardry in an attempt to determine, once and for all, who is the most formidable of them all. To make things even more interesting, let’s pit the fans against each other as well. Those of you who consider yourselves Ringers, devout followers of Lord of the Rings, support your wizard! Those of you who fanatically know every fact and detail in the Harry Potter Universe, support your wizard! Let it be known, here and now, who is the greatest wizard of all!
Dumbledore
Full Name: Professor Albus Percival Wulfric Brian Dumbledore (currently portrayed by Michael Gambon, originally Richard Harris)
Height: Six Foot Tall
Residence: Earth
Age: Over 100 Years Old
Weapon of Choice: Magic Wand, but his keen intellect and charm go a long way.
Minions: Professional Wizard Colleagues, a School full of Students of Magic, Rubeus Hagrid
Arch Nemesis: Lord Voldemort
Fan Support: Potter-ites (?), Scores of Adolescent and Pre-Teen Readers, Some Fantasy Buffs, Some Adult Fans
Gandalf
Full Name: Gandalf the Grey, resurrected as Gandalf the White, also known as Mithrandir and Olórin (portrayed by Ian McKellan)
Height: 5 Foot, 11 Inches Tall
Residence: Middle Earth
Age: Over 2,000 Years Old
Weapon of Choice: Magical Staff, but can wield a sword if necessary.
Minions: Elves, Hobbits, Dwarves, Magical Talking and Walking Trees
Arch Nemesis: Sauron
Fan Support: Ringers, Fantasy Buffs, Dungeons & Dragons Geeks, Literary Scholars, Mostly Adult Fans
So, we have the basic break-down of these two contestants. Consider it, ponder it and then conjure up your decision and post comments below letting everyone know where you stand on who will prevail in this magical duel to the death. Remember, every vote counts and their fates are in your hands! Also, if you have any ideas for future editions of the Character Cage Match, shoot us an email at here and let us know.
It is being reported that Guillermo Del Toro wants to have the original Lord of the Rings cast for The Hobbit.
Cinematical reports that Ian Mckellen (Gandalf) and Andy Serkis (Gollum) are on board to reprise their roles.
“Further confirmation of McKellen’s intention to return comes from McKellen’s official website (which he maintains himself), where he includes The Hobbit in his filmography. And Serkis seems to have done the same.”
I wasn’t really stoked on this movie before, but hearing that some of the original guys are on board to complete the blending of this with the trilogy really excites me.
Anytime I hear anything about Lord of the Rings, it brings me back to that faithful scene in Clerks 2 …
Randal Graves: All right, look, there’s only one “Return,” okay, and it ain’t “of the King,” it’s “of the Jedi.”
Hobbit Lover: Oh, Star Wars geek.
Randal Graves: Oh, I’m the geek? Look at you two whipping out your preciouses.
Elias: You’ll have to excuse him, he’s not “down” with the trilogy.
Randal Graves: Oh, what the fuck happened to this world? There’s only one trilogy, you fucking morons.
Hobbit Lover: You know what, maybe we should start calling your friend Padme, ’cause he loves Manakin Skywalker so much, right?
[in robot voice]
Hobbit Lover: Danger danger, my name is Anakin. My shitty acting is ruining saga.
Elias: [chucking] Yeah, you’re crazy Jar-Jar.
Randal Graves: Oh, I’m crazy? Those fuckin’ hobbit movies were boring as hell. All it was, was a bunch of people walking, three movies of people walking to a fucking volcano.
