‘Lord of the Rings: The Rings of Power’: Morfydd Clark Followed in Cate Blanchett’s Footsteps to Make Galadriel Her Own

Clayton Davis “Tár” is a musical, but not in the way you might think. Set to a rhythmic beat of classical orchestration, writer and director Todd Field triumphantly returns to the director’s chair some 16 years after “Little Children” (2006) and 21 years after his debut “In the Bedroom” (2001). In the process, Field proves the third time is the charm and “Tár,” which screened at Venice and Telluride, has emerged as a major Oscar contender. At the forefront of this epic drama is another fiery and near perfect turn from Cate Blanchett, who is poised to earn her eighth acting Oscar nomination and could even nab a potential third statuette.

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Adam B. Vary Senior Entertainment Writer “The Lord of the Rings: The Rings of Power” is as big a TV show as TV shows have ever been, with a record-setting budget spent on recreating J.R.R. Tolkien’s Middle-earth during the Second Age, and a cast of nearly two dozen series regulars and dozens more featured players deployed to enact its sprawling tale of the rise of Sauron. And yet one character sits undeniably at the show’s center: Galadriel. The ancient elf, so old she was born before the moon and the sun first graced Middle-earth, was a crucial character in Tolkien’s “The Lord of the Rings” novels and Peter Jackson’s “Rings” trilogy, as played by Cate Blanchett.  In “The Rings of Power,” set thousands of years before the events of “The Lord of the Rings,” a younger Galadriel is not yet the serene and wise co-ruler of the Elven kingdom of Lothlórien. Instead, she’s consumed by her hunt for the Dark Lord Sauron, the mysteriously absent master of evil responsible for the death of Galadriel’s brother. In “Rings of Power,” Galadriel is at once hardened by the millennia she’s already been alive, but not yet the stately (and formidable) woman of stature she becomes in the Third Age.

Jazz Tangcay Artisans Editor Hot off of its Venice Film Festival premiere, a concept album for Cate Blanchett’s “Tár” is set to be released on Oct. 21. The film bowed to rave reviews and a six-minute standing ovation. The Focus Features film, releasing Oct. 7, stars Blanchett as the fictional Lydia Tár, a globally renowned, gay and sometimes tyrannical conductor of a German orchestra, who finds herself in the crosshairs of a perilous #MeToo scandal. The film is director Todd Field’s first movie in 16 years, following the critically acclaimed “Little Children” (2006) and his breakout “In the Bedroom” (2001).

SPOILER ALERT: This podcast contains details of the first two episodes of Prime Video’s The Lord of the Rings: The Rings of Power, which debuted Thursday night. For more on the epic series, watch Deadline’s Inside The Ring: The Lord of the Rings: The Rings of Power after-show that launches Saturday. 

By Morfydd Clark has an exciting role as the armor-wearing, ice wall-climbing protagonist of Rings of Power, Amazon's that's been lauded as the most expensive television series ever made. But off screen, the 33-year-old actor has a soothing voice and a calming demeanor—remarkable considering the making of the epic new series, out now, tested the Welsh actor in every sense of the word.

A new era of Middle-earth! The Rings of Power explores a totally different side of The Lord of the Rings — and fittingly, the cast is full of new faces.

Warning: Spoilers for the first two episodes of “The Rings of Power”.

has finally debuted on Prime Video with the first two episodes of season 1. The prequel series adapted from J.R.R.

Cate Blanchett steps out in two chic looks at the 2022 Venice Film Festival.

Venice Film Festival officially kicked off the fall Oscar race on Thursday afternoon with Todd Field’s “Tár,” a drama starring Cate Blanchett as a famous composer embroiled in a public scandal. The film was showered with an ecstatic six-minute standing ovation as the crowds at the Sala Grande Theatre kept chanting “Bravo!“ even surprising Blanchett at times.As Venice chief Alberto Barbera took her hand, Blanchett bowed — but the clapping went on. When the applause finally ended, a misty-eyed Blanchett turned to someone on her team and said: “Let’s get a drink.”Surely, Blanchett’s work in “Tár” will be one of the most toasted performances of Oscar season. The rave reviews for the film all but guarantee the actor, who has two Academy Awards acting wins, will land her eight Oscar acting nomination this winter.

The Rings Of Power stars Morfydd Clark and Charlie Vickers have discussed the most challenging aspect of filming the Amazon series.Set thousands of years before events in The Lord Of The Rings, The Rings Of Power covers Middle-earth’s Second Age, which spans the rise of Sauron, the forging of the rings and the last alliance between Elves and Men.Clark, who plays a younger version of Galadriel, originally depicted by Cate Blanchett in Peter Jackson’s trilogy, had to undergo extensive underwater training for numerous scenes as the character – which she described as the hardest thing to learn while filming.“We had to learn to hold our breath. I got up to three and a half minutes,” Clark told NME.“That was really challenging because unlike everything else where you get better at it, so it starts to feel better.

Clayton Davis Telluride Film Festival’s official 2022 lineup has been announced, revealing world premieres of Sam Mendes’ “Empire of Light,” Sarah Polley’s “Women Talking,” Laure de Clermont-Tonnerre’s “Lady Chatterley’s Lover” and Sebastián Lelio’s “The Wonder.” In its 49th year, the festival will pay tribute to two-time Oscar-winner Cate Blanchett, whose new film “TÁR,” from director Todd Field, will debut stateside after premiering at the Venice Film Festival. In addition, the festival will also tribute Academy Award nominee Polley (adapted screenplay for 2006’s “Away from Her”) and acclaimed documentarian Marc Cousins, who has two films dropping at the fest. One is “My Name Is Alfred Hitchcock,” which is based on a fictional monologue between Cousins and the master of suspense. The other is “The March on Rome,” depicting the ascent of fascism in Europe during the 1930s.

Owen Gleiberman Chief Film Critic “Tár,” written and directed by Todd Field, tells the story of a world-famous symphony orchestra conductor played by Cate Blanchett, and let me say right up front: It’s the work of a master filmmaker. That’s not a total surprise. Field has made only two previous films, and the first of them, the domestic revenge drama “In the Bedroom” (2001), was languorous and lacerating — a small, compact indie-world explosion. His second feature, “Little Children” (2006), was, in my opinion, a misfire, though his talent was all over it. But “Tár,” the first film he has made in 16 years, takes Todd Field to a new level. The movie is breathtaking — in its drama, its high-crafted innovation, its vision. It’s a ruthless but intimate tale of art, lust, obsession, and power. It’s set in the contemporary classical-music world, and if that sounds a bit high-toned (it is, in a good way), the movie leads us through that world in a manner that’s so rigorously precise and authentic and detailed that it generates the immersion of a thriller. The characters in “Tár” feel as real as life. (They’re acted to richly drawn perfection down to the smallest role.) You believe, at every moment, in the reality you’re seeing, and it’s extraordinary how that raises the stakes.

post-post-MeToo character study that premiered on Thursday at the Venice Film Festival – should be heralded for offering a neat corollary to Chekhov’s Gun, a theatrical theory that states that if you introduce a gun in Act 1, you’d better fire it by Act 3. Call this version Gopnik’s Speech.

It’s hard to say that something has been worth the wait when that wait has been 16 years, which is how long it’s been since Todd Field’s previous feature, Little Children. All the same, it’s very good to have this fine filmmaker back on the scene with Venice Film Festival competition entry Tár, a weighty new drama that creates an exceptionally detailed portrait of a promethean artist eventually hoisted on her own petard.

Who is Lydia Tár? Is she the acclaimed composer-conductor celebrated by The New Yorker in the opening of the movie that shares her fictional namesake as generational? Is she the heavily pruned and curated brand that she herself cultivates, her swishy suit pants as well-measured as her staccato? Or, indeed, is there an all-the-more sinister side: a narcissistic megalomaniac as beholden to her plaudits as she is driven by them?  READ MORE: Venice Film Festival Preview: 16 Must-See Films To Watch The truth, as is so often the case, is nestled in the center of the Venn Diagram, astutely observes director Todd Field in his first film for sixteen years, “Tár.” Though not without its blemishes, here’s a timely — and, indeed, timeless — a piece about the corrupting essence of power, exploitation, and the burdensome nature of the crown, elevated by a hydrogen bomb of a performance from Cate Blanchett, inarguably at her best since 2015’s “Carol.” The aforementioned questions emerge, of course, across the two hours and change of runtime; as far as we’re concerned, the Lydia Tár we’re initially introduced to is a flawless demigod.

The 49th Telluride Film Festival opens Friday in a much-awaited edition that is set to feature world premieres of Searchlight’s Oscar hopeful Empire of Light from director Sam Mendes, starring Olivia Coleman and Colin Firth; Women Talking from director Sarah Polley, starring Rooney Mara and Frances McDormand in the ensemble; Sebastian Lelio’s The Wonder, starring Florence Pugh; and Sony/Netflix’s sizzling new version of D.H. Lawrence’s Lady Chatterley’s Lover with Emma Corrin and Jack O’Connell; among other films.

Morfydd Clark is opening up about how her Galadriel will be different from Cate Blanchett‘s take for The Lord of the Rings: The Rings of Power.