Exclusive | Director Charlotte Brändström on what makes The Rings of Power unique: ‘In shows, you often have only one world; but here…’

The Rings of Power director Charlotte Brändström recently discussed what she found most fascinating about the world JD Payne and Patrick McKay brought to life from JRR Tolkien's literature.

The Lord of the Rings: The Rings of Power director Charlotte Brändström recently discussed what she found most fascinating about the world JD Payne and Patrick McKay brought to life from JRR Tolkien's literature.

Charlotte Brändström directed many key episodes in the show The Lord of the Rings: The Rings of Power. (Images: Charlotte/X, LOTR on Prime/Facebook)

Although the first season of The Lord of the Rings: The Rings of Power featured eight episodes, it was the sixth and seventh — titled Udûn and The Eye — that left audiences stunned due to their technical brilliance and the two stood out as the most visually impressive of the season. Interestingly, they were the only two episodes helmed by the same director that season, but they were enough to demonstrate her exceptional talent. Hence, fans were thrilled to learn that the first episode of season two would again be directed by the same person, Swedish-French director Charlotte Brändström. Besides directing the first, seventh and final episodes solo, Charlotte also co-directed the second and third episodes alongside Louise Hooper, showing that the makers were committed to delivering a visual spectacle for viewers this time.

Developed by JD Payne and Patrick McKay based on JRR Tolkien’s history of Middle-earth — primarily drawn from the appendices of The Lord of the Rings — the Amazon Prime Video fantasy series is set thousands of years before the novel, during the Second Age. In an exclusive interview with The Indian Express in Singapore, Charlotte discussed what she found most fascinating about the world JD and Patrick brought to life from Tolkien’s literature.

Watch The Indian Express’ interview with The Rings of Power’s Charlotte Brändström, Cynthia Addai-Robinson and Trystan Gravelle here:

“It is incredible to be able to portray so many different looks and so many different worlds. Very often, in shows, you have only one world and have to navigate within that world. But here, you are going from one world to the other frequently. From Númenor to Middle-earth; then we go to the dwarfs and then we’re back in Rhûn with the Harfoots. So it’s really incredible to have all these different looks. It gives you the chance to be very creative and to give a different lighting and colour to everything,” she said.

In a previous conversation with us, JD Payne had explained the reason for TROP’s darker tone. He noted that the second age was a much grimmer time compared to the third age, in which LOTR is set. “In the third age, you have darkness rising in Sauron, but in the second age, you have an embodied Sauron. In the third age, they were worried Sauron was going to do what he did in the second age. They say he could cover the world in a second darkness, and in the second age, you watch him cover the world in darkness. In TROP, we are witnessing that happen and it’s difficult and hard,” he noted.

Anandu Suresh

Anandu Suresh is a distinguished Deputy Copy Editor at The Indian Express Online, where he serves as a leading voice in cinematic critique and industry analysis. With over six years of rigorous experience in the media landscape, he has established a reputation for incisive, long-form commentary that bridges the gap between commercial cinema and art-house narratives. Experience & Career Anandu’s professional journey is rooted in a deep academic and practical foundation in the humanities and communication. He holds a Bachelor's degree in English Language and Literature and a PG Diploma in Journalism and Communication. Before ascending to his current editorial leadership role at The Indian Express, he honed his skills on the news desk of The New Indian Express in Hyderabad. His career is marked by a transition from core news operations to specialized cultural journalism, allowing him to bring a structured, news-oriented rigor to the entertainment beat. Expertise & Focus Areas While Anandu’s portfolio spans the global cinematic landscape, he is widely regarded as an expert in Malayalam Cinema. His unique approach to film criticism is defined by: Cinema Anatomy: A dedicated column where he deconstructs the structural layers of films to uncover deeper sociopolitical meanings. Marginalized Narratives: A commitment on-ground and analytical reporting on how cinema represents or fails marginalized communities. Critiquing "Performative Wokeness": Rigorous analysis of modern filmmaking trends, identifying the difference between authentic representation and superficial social commentary. Multimedia Discourse: Actively fostering continuous public dialogue on cinema through digital platforms and archival research. Authoritativeness & Trust Anandu Suresh is a trusted authority in the film journalism circuit, frequently providing exclusive coverage from major international festivals like the International Film Festival of Kerala (IFFK). His work goes beyond standard reviews; he is known for holding the industry accountable, as seen in his extensive reporting on sensitive issues like the 2017 Kerala actress assault case and the legal complexities surrounding film credits. By prioritizing "Journalism of Courage," Anandu ensures his readers receive commentary that is not only intellectually stimulating but also ethically grounded and factually robust. ... Read More

Click here to follow Screen Digital on YouTube and stay updated with the latest from the world of cinema.