interlace

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2) in Rivendell is an opportunity for interlace taken up in both text and film, but it is handled differently in each.
In the film, the Sword, initially the means of Isildur's defeat of Sauron, and Arwen's jewel both become props marking the later interlace of an expanded treatment of Elrond's "council.
More noteworthy in the film, however, is the manner in which the interlace develops in the expanded treatment of Elrond's "council" such that it includes Elrond's meetings with Gandalf before it and Aragorn after it, and, as we shall see, with Galadriel and Arwen.
This, like the repetitions and expansions of the account of Isildur and of Gollum's torture, is an instance of interlace that serves to enlarge the "matter"; in this case by enhancing the role of Gandalf's advice and adding depth and sense to Frodo's choice as well as, by association, the audience's feeling of pity, perhaps for Gollum, and certainly for Frodo.
In addition, and essential to the expansion of Elrond's council in the film, it is when Galadriel learns much that later causes her, in the film's most effective and crucial moment of interlace, to counsel Elrond in his final decision about the involvement of the Elves in the coming battle (TT scene 38).
This passing of information also becomes part of an interlace about the attack on Theoden's people and on the sanctuary itself (TT scenes 27, 34, 36, 51).