[Editor’s note: The following contains spoilers for The Lord of the Rings: The Rings of Power, Season 1 Episode 2, “The Great Wave.”]
Due to the large quantities of secrecy surrounding The Lord of the Rings: The Rings of Energy all through its manufacturing, star Cynthia Addai-Robinson tells Consequence she didn’t know what function, particularly, she was auditioning for throughout a “very lengthy and up-and-down course of, to ultimately get to be part of this superb collection.”
However as soon as she knew somewhat extra about Queen Regent Míriel, and the character’s place within the lore of J.R.R. Tolkien’s epic fantasy universe, “I used to be very, very excited to get the chance to play a personality that has a very attention-grabbing backstory,” she says. “It was additionally an opportunity to do one thing I felt like I by no means actually executed earlier than in the rest that I’ve labored on, in order that’s all the time nice catnip for any actor.”
Addai-Robinson’s filmography is fairly stacked, with recurring roles on reveals together with Energy, Chicago Med, Spartacus, and Arrow. However that is the primary time she’s taking part in a Queen. Properly, a Queen Regent, to be precise. In Episode 4 of The Rings of Energy, “The Nice Wave,” Míriel is the appearing ruler of Númenor, and is aware of that the arrival of Galadriel the elf (Morfydd Clark) means a prophecy in regards to the tragic destiny of her kingdom is about to start out coming true — one thing she has to rally her personal individuals to simply accept, because the White Tree of Númenor’s petals start to fall.
The Rings of Energy isn’t the one challenge Addai-Robinson has labored on lately — popping out in November is The Folks We Hate on the Wedding ceremony, an Amazon Studios movie additionally starring Kristen Bell and Allison Janney.
“It’s the type of factor that I’ve been actually hungry to have the ability to get to do, as a result of I’ve, lately, performed very critical characters and this was simply one thing that felt totally different and new for me,” she says. “And, proper now, I’m simply excited to be a part of placing out tales that simply have somewhat little bit of levity and lightness — these are nonetheless darkish and heavy instances, and as a lot as you need to be a part of works that study these darkish and heavy instances, it’s additionally equally necessary to simply put out issues that make individuals smile and chortle, and even cry in a contented means.”
However within the meantime, The Rings of Energy nonetheless has its maintain on her — which works out as a result of, she says, “I positively subscribe to the ‘selection is the spice of life’ philosophy.” Within the interview beneath, transcribed and edited for readability, Addai-Robinson goes into element about among the sensible versus digital filmmaking on show, whether or not she sees any topical resonance within the present’s themes, and why she loves being part of sci-fi and fantasy tales.
So I need to ask a few sensible questions on Episode 4, principally as a result of I’m very intrigued by the manufacturing course of on this — it seems like a lot was actually there with you on set, however on the day you shot the opening sequence, the dream sequence with the massive flood, have been there precise reside infants you have been holding on set?
I used to be holding a reside child. Very, very delicately. And, yeah, it’s attention-grabbing, as a result of I do do not forget that day and clearly if you’re engaged on an enormous set, and you’ve got all these components round you, you need to use as a lot of the sensible issues which can be really there, the people who find themselves there, the setting that’s there. After which you might have what I like to think about film magic, the weather you can’t see on the day, that you simply simply should think about in your thoughts’s eye.
However for the viewer, they get that good marriage of these two issues. I believe essentially the most spectacular CGI is the type of CGI that if you see it within the sensible setting, it actually simply feels seamless. However my reminiscence of the filming of that sequence was simply being blown by an enormous fan and a mix of an actual, stunning child and some child dolls for security’s sake.
I’m attempting to even keep in mind what number of infants have been there, however you understand, once more, it’s film magic. So that you possibly have two or three infants, and, once more dolls or props, and also you’re doing it in such a means that the meant impact is that it feels actual and seamless, with the protection of the infants clearly crucial as properly.