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Issues with GMAIL - UPDATED

Warren Peace

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  1. Warren Peace
    I wonder if Shore would have approached The Forest River differently had it remained the climax of the first film, as originally intended. Does the same scene get the same score no matter what? If that scene is "the big finale" as opposed to "the halfway point", does that necessitate a larger sound? Would the Misty Mountains theme make an appearance there in a two film Hobbit series (I say yes)? It would be interesting to hear Shore's thoughts.
  2. Warren Peace
    You know, there's no reason why Shore's music has to necessarily begin and end with films. There are hours of independent Middle-Earth recordings out there existing perfectly well on their own. Nobody listens to them, but still, imagine a set of new Shore CDs that adapt The Silmarillion and other Tolkien odds and ends. No reason to wait for the film rights to be sorted out. He could even "score" Tom Bombadil and scouring of the Shire for the hell of it. Unless Christopher is going to be that way and refuse any Jackson collaborator out of spite. Come on man, be cool!
  3. Warren Peace
    It's a controversial position, I know.
  4.    Glóin the Dark reacted to a post in a topic: Howard Shore's The Desolation Of Smaug (Hobbit Part 2)
  5. Warren Peace
    The lack of a nomination makes sense, really. The competition's A-phrases just outshine Shore's in every conceivable way. You might say Shore brought his A-game to his B-phrases, but is sadly lacking in the matter of choral clusters. And the melodic lines, oh my god, don't even get me started. "Her" is just the best when it comes to the... the timestamps and such. Yeah.
  6. Warren Peace
    Honestly, I'm kinda hoping PJ tracks the Misty Mountains theme into the EE. Not using it at all is madness. Madness!
  7. Warren Peace
    I know, right? The guy should grow a few more chest hairs if he expects to sing the end titles of a children's story.
  8. Warren Peace
    One can rationalise everything. In my book, it's just an awful dramatic choice. One can separate one's distaste for the song without deeming it inappropriate. Besides, the song's not such a wild left turn in the cycle of these themes. If it's an awful dramatic choice, so is "Into The West". It's the exact same type of thing. No, it's not. Into The West worked because it's supposed to represent the Fourth Age of Middle-Earth, so it being slightly different from the rest of the score made sense and worked because of that. And the melody used in that song was a theme from the score. I See Fire is just some random guy who came to New-Zealand, watched the film once, then wrote the song a few hours after that. There were no thoughts put into it, trying to make it fit with the rest of the score or at the very least make it fit with the Middle-Earth universe. Sheeran is just some random performer, but Enya/Lennox/Finn/Faux-Bjork weren't, I guess. Lyrically, "I See Fire" is more explicitly connected to its film than "Into The West". Lennox's track only obliquely references ROTK (which is fine). Sheeran name checks characters, dialogue, locations, history, and motivations, among other things. So some thought was put into the Middle-Earth connection.
  9. Warren Peace
    I'm not sure why that matters. It's still the exact same kind of song. I'm not saying anyone has to like it, but the track is far from unprecedented. It's not Heavy Metal or anything. We've got Christopher Lee for that next time!
  10. Warren Peace
    One can rationalise everything. In my book, it's just an awful dramatic choice. One can separate one's distaste for the song without deeming it inappropriate. Besides, the song's not such a wild left turn in the cycle of these themes. If it's an awful dramatic choice, so is "Into The West". It's the exact same type of thing.
  11. Warren Peace
    People say Sheeran's song clashes with Shore's score, which is true. But in the film's context, I think that digression is justifiable. The song underscores a moment of great change in the narrative ("what have we done?"). SOTLM cheers the company on when they consider themselves righteous. "I See Fire" sees that righteousness tattered . It's a musical left turn representing a dramatic one.
  12. Warren Peace
    The film version of "Song Of The Lonely Mountain" gelled with Shore's work a whole lot better than the CD version. The same thing could happen here. SOTLM isn't complete without that wonderful instrumental introduction, IMO.
  13.    Bilbo reacted to a post in a topic: Howard Shore's The Desolation Of Smaug (Hobbit Part 2)
  14.    Bilbo reacted to a post in a topic: Howard Shore's The Desolation Of Smaug (Hobbit Part 2)
  15. Warren Peace
    Well, split that hair if you like. He calls her most beautiful, then blushes in embarassment. He considers the hairs on her head to be a supreme gift. You could do a lot worse for romance. Actually, that's the exact problem I have with this: it makes the moment between Gimli and Galadriel less special. Can't agree with you there, it's one of my favorite Gimli moments, and rounds out his little mini story with Galadriel perfectly. But the point is, people are slamming this aspect of DoS sight unseen. There are lots of ways it could go wrong, but plenty it could go right, too.
  16. Warren Peace
    You, hello! Long time lurker, yadda yadda. But seriously, isn't ripping on the whole thing a tad premature? For instance, imagine a romantic moment between Galadriel and, of all characters, GIMLI. I mean, like... ewwwww, right? That could never work.
  17. Warren Peace
    Nobody's trashing the score because of fantasies in their head based on absolutely nothing. They're trashing the film because of fantasies in their head based on absolutely nothing.
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