JA Andrews introduced the world to the magic-wielding, world-saving, story-telling Keepers in A Threat of Shadows. It’s too bad for the people of Marshwell that Tomkin is the only thing standing - or falling - in the dragon’s way. Not only does she refuse to be rescued, she refuses to even admit she’s in distress. The problem grows immeasurably worse when Tomkin himself falls off the ledge-also onto the dragon.Īnd his problem reaches its peak when Tomkin, after being captured, discovers a maiden locked in a tower. And instead of wielding his family’s great sword with valor and skill, he drops it-onto the dragon. Which becomes an obvious problem when he finds himself clinging to a ledge above a sleeping dragon. Regardless of his aspirations, the bookish, untrained young man is better suited to recording the deeds of heroes than being one himself. Tomkin Thornhewn, youngest son of the Duke of Marshwell, has a problem: he’s not heroic. And it is a truly global perspective of like-minded people who care about the planet, but also care specifically about rivers.Nominated for Best Self-Published Novel in Booknest's Fantasy Awards "I think it's partly why the film is the way that it is. "The happy discovery was also that a lot of them had seen and loved Mountain, so they were really keen to be involved," says Peedom, "And so there was this amazing array of these young drone cinematographers," says Peedom - name-checking Dutch drone pilot Ralph Hogenbirk (whose proximity shots of a Norwegian glacier come early in the film) and Australian filmmaker Rory McLeod (whose shots of the Murray-Darling basin were taken while shooting his own documentary). She and her co-director, Joseph Nizeti (who was tasked with developing and tapping into this network), were pleasantly surprised to discover that the technology and quality of drone cinematography had rocketed in the years between films. "We had to connect into all of those networks that we'd established with Mountain, but further extend them," says Peedom. “You never want the images to be wallpaper, but you never want the music to be underscore,” says Peedom. Some of the most incredible shots in the film were supplied by drone cinematographers from across the world. And so we were always going to be drawing on the cinematography of people, like we had on Mountain." " we never intended to shoot absolutely everything, because you just can't - this film was shot in 39 countries. "Needless to say, we had intended to travel and shoot more," says Peedom. "And then we're going to the film school, and all these young people, they said, 'No, you're not going nearly hard enough, you need to go harder.' And so the tone did shift in the editing process." Shooting globally during COVIDīy coincidence, the first day of pre-production on River was also the first day of lockdown in Australia - March 16, 2020.įor a film with a global scope, it was bad news.
And, you know, I think the first pass was a little too heavy - certainly one of our producers felt that," she recalls. "The first test that we did was with a bunch of the film students who were close to where we were editing, at film school.
Peedom thought carefully about the tone and narrative arc of the film - "the balance between hope and despair and urgency" - and went a step further: she tested it with audiences. "The grandest dams have impounded so much water that they've slowed the rotation of the Earth," Macfarlane writes in the narration. He enjoyed that project so much that when Peedom asked him to narrate River, it was a no-brainer - despite the fact that he was her 'back-up' choice this time. "I liked how she approached me, I liked the material, and I liked the idea that it would be touring with an orchestra that's kind of a nice change for a movie. And then I think she sent me a link to the film and the text," Dafoe says, on Zoom from Italy, where he lives in a place outside Rome. "I checked her out, I looked at her films that she'd made - particularly Solo, that she made with David Michôd, and also Sherpa. He signed on for Mountain after documentary-maker Jennifer Peedom approached him. (His narration for River is just under 1400 words). Dafoe says: "The music elements, the fantastic photography, the text - all of those are very high level people … I'm just adding a little spice." ( Supplied: Madman) Going with the flowįor Dafoe, narrating Mountain and River are relatively small jobs in a career that spans from Marvel movies to art-house films like The Lighthouse.
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