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Everybody remember this? Well Giacchino contacted the user, and now there's an official EP on iTunes of this guy's arrangements! http://itunes.apple.com/us/album/lost-music-from-island-for/id551960444 Giacchino even tweeted about it Super cool

Fifty quid on booze is guaranteed to be a far better night out than Batman, I assure you of that!

17. Edoras A piece with very different tones and shades and themes flowing into each other. I prefer the solo hardanger opening actually. The encounter of Eowyn and Grima is one of the most enticing moments in the film for me. The juxtaposition again of beautiful tones over rumbling low voices is very touching. The forlorn statement of the Rohan theme was a classic movie magic moment while watching it for the first time, again with the bassoons. Eowyn's theme is one of the most flexible of the whole palette of themes in LOTR IMO. 18. The Court Of Meduseld I never identified this as Grima's theme until Doug told me so, actually. I never caught that the action motif in the middle is in 5/4 as well. I love the combination of 5/4 Isengard, Gandalf the White theme and powerful chorus. That was one of those unexpected moments in the theatre. 19. Theoden King This is like a highlight piece from beginning to end, like a concert suite of Rohan themes. I dare anyone to name more than a handful of themes that are similarily intense and awesoome like the Rohan theme. When the trumpets hit the highest note, it's absolutely exhilarating. Once again, those pure brass tones for Theodred's funeral. The choir is reminiscent of the piece for the burning Westfold, maybe intentionally so? Eowyn's singing is beautiful, much more welcome than some of the inclusions in the FOTR CR. Theoden standing in front of Theodred's tomb with this music must have been one of the most chilling experiences I ever had on any film. The pairing of the acting and the cinematography and the music is superb. Too much vertical writing my ass. 20. The King's Decision Some music to drive the story along. Not much to say, really. 21. Exodus From Edoras Another one of those gorgeous one time melodies that are never explored any further. TTT really does feature great explorations of the Isengard music, naturally, given the content of the film. Grima's theme again. Howard Shore has, IMO, a quite unique sense for combining rhythm with harmony. Eowyn's theme really adds depth to her scenes, and while others may find it simplistic, I love the pure sound of the lower string octaves. It's beautiful how the hardanger has the chance to shine on its own here. And some more chilling writing for an instrument starting with "b". 22. The Forests Of Ithilien Starting with one of my favourite little mood pieces from TTT. It resembles the music for the later discussion between Smeagol and Gollum. Fantastic play on Smeagol's theme, and some subtle use of the dulcimer. The way Howard Shore uses the lower woodwinds is really one of the reasons why his sound is so unique. I think. Gollum's comedy piece is fun, but probably good that it wasn't in the film I don't know, somehow the score manages to give each sequence a particular sound that you can remember, just like with this Ithilien piece. The music for the oliphaunts for example must be some of the most distinctive in the whole film. A nice touch that the screechy brass moment for the capturing of Sam and Frodo here, and the later moment, when the Rangers pull a hood over Gollum's head is similar. Maybe the "Faramir's Dubious Intentions"theme 23. One Of The Dunedain One of my favourite pieces in the whole film. So many little motifs and major themes on display here. This, again, feels like a concert piece. I don't quite understand why the Evenstar piece was tinkered with in the film. I find this a perfect example of how Howard Shore gave a scene, which is essentially nothing more than a love story some special dignity. Of course, as a film, Return of the King profited from that more than once. The Diminishment of the Elves theme is one of the most evocative and sadly overlooked oftentimes. 24. The Wolves Of Isengard This piece was butchered to death in the film, probably because it was a last minute addition and there was no time to do a rescore the way PJ wanted it. At least that's what I hope happened. The OST lack the hardanger, the CR version lacks the choir. The way to go is to have BOTH combined of course! Awesome chorus. This should have been in the film. PJ doesn't know what's good for him. Great tension building in 3 towards Aragorn's dive off the cliff. Some mean brass. 25. Refuge At Helm's Deep For some reason I really love the little string piece at the beginning, especially the statement of Fellowship in minor. And the way the fanfare for the arrival emulates an air of hope before pulling the bottom of the orchestra away. I love how the Rohan theme is so instantly recognisable upon hearing the skip-beat and the two 16th notes. 26.The Voice Of Saruman Oh Jesus, so many great additions to the score were cut from the film, sometimes I question PJ's senses. Awesome battle cry of Isengard music. 27. Arwen's Fate Sheila Chandra's song was always an odd little inclusion for my taste. Unquestionably, it fits into the slightly exotic Elven world, but at times it pushes it into that direction a bit too strongly I feel. The piece Howard Shore wrote for the vision of Arwen's future is so sad and dramatic, another stand alone piece, and again it is not in the film. Going through it track by track makes me realise just how much was edited away. I mean, the Evenstar solo fits the film, but in no way is it significantly better than this piece. On the contrary, it flows seamlessly into 28. The Story Foretold The airy and sad chorus for the Elves leaving is one of the most chilling moments in TTT. My favourite statement of Rivendell music actually. The winding celli are sublime. This is followed by the belated prologue. Strangely, it works in the film. I understand why executives wanted to have a prologue, but putting this at the beginning of the film would have killed the audience. It would have sent the message "seen and heard that already". Cor anglais again ... 29. Sons Of The Steward This would have been a great addition to the theatrical cut, but I understand why it wasn't there. Some evil times workout in the beginning. Some of the wind orchestration I love so much about these scores. Faramir's dream should have been included, it could have cleared up some things in this film as well as in ROTK. I adore how the music breathes in and out, follows a clear structure, seemingly unimpressed by the film. Often you have the feeling in films that the film chases to music along, but not here. Gondor's theme on bright solo trumpets, recalling former splendour, is a rare listen. I think it appears like this only twice in the entire trilogy. Once here, and the second one in ROTK, when Gandalf speaks of Gondor's former glory. It's these little details that make the scores so special. 30. Rock and Pool In many ways a typical Howard Shore piece. It's great how the fluttering winds and the harp reflect the image of the pool without overdoing it and going into the realm of clichee. You probably won't find better Howard Shore mood builders than this piece. And here we have the mean brass again for the capturing of Gollum. 31. Faramir's Good Council TTT is really all about exploring music for Gollum, Rohan and Isengard. Everything else is second to that. This is excellent examination for Gollum. And, of course, the seduction theme is cut from the film. Bastards. 32. Aragorn's Return Finally a majestic reading of Aragorn's theme, and at the same time Gondor's theme second phrase. The king has returned. And he's here to fight. Clever little addition in the middle, echoing the Riders Of Rohan motif. 33. War Is Upon Us Another minor highlight for me. Yes, it is just some rhythmic pulsing, but I lovee the brass and the cold, harsh inevitability of it, that war is coming. The Ent/Fagorn music really fills the spot for fantasy music because otherwise, there isn't much genuine fantasy music in these films. 34. Where Is The Horse And The Rider? Another major highlight cue. Two moments that gave me chills and made me teary-eyed in the theatre. One is the sad Rohan theme for the children being called to fight, and the other the powerful chorus over Theoden citing his poem. I never thought a simple series of string figures can be that captivating. "To whatever end ..." I'm getting goosebumps right now. The heroic trumpet for Aragorn ... does PJ know how much of the impact his films had are due to Howard Shore's music? So why does he constantly cut it for Christ's sake? 35. The Host Of The Eldar A brilliant thematic variation completely out of left field. Elvish battle music ... if the Hobbit is only vaguely in this category of quality, I'm going to wet my underpants. Genius thing to recall the doors of Durin music. And a perfect mood setter for the battle. It says that it's not about an ultra cool battle that is about to start, it is about the story. 36. The Battle Of The Hornburg From this piece onwards, I would consider practically every track a strong highlight. From the moment of the deep string note, you're in for some of the best battle music ever conceived. Reduced orchestra for the maximum effect. Love the 5/4. 37. The Breach Of The Deeping Wall Great expansion of the Orc sound. With the high strings, it sounds like a perverted Olympic race. More Elvish war greatness. Just a great collection of motifs. 38. The Entmoot Decides There is a little alternate take of this cue on the ROTK EE documentary about the score, with soft horns, that I like better. Some more Aragorn motif, sounding like a defeat. 39. Retreat Haldir's Lament was, and is, a very nice addition to the overall sound of the Helm's Deep battle. I think his death is really one of the few deviations from the book that actually work completely. One of my favourite Fellowship statements in all the films follows, in driving 3/4, and the spine tingling Cruelty Of The Orcs motif on brass. There is nothing in the scores I love more than the unrestrained sound of heroic brass, like in the last third of this piece. The final fanfare of Rohan/Aragorn is another bit of thematic genius. 40. Master Peregrin's Plan Another little cue that is sadly overlooked, being surrounded by other brilliant cues. Love the anxious Shire variation, and the barely noticeable "Small Stones" motif. Nobody can convince me Howard Shore really believed the audience would catch something like that upon first viewing. Things like that, IMO, are added out of the sheer joy of creating a coherent piece of music. 41. The Last March Of The Ents Pure, simple, hair-raising movie magic going on here. The Nature theme with chorus, Treebeard's words made another tear form in my eye. There are very, very few scores that capture the essence of the story that perfectly. 42. The Nazgul Attack The Nazgul harmonies are instantly recognisable. For me, this track is basically a build-up to the grand finale. The Gandalf The White music in the end could have been in the film, but I feel like the tracked Nature theme fits the emotion at least just as well. But that may be because the theme is just so damn brilliant. 43. Theoden Rides Forth Once more, I don't get why this piece was tinkered with. Does it really make that much of a difference to start it three seconds later? IMO one of the best finale cues ever done. Ben Del Maestro is awesome, and the marriage of music and film is almost a transcendental experience. You have this epic conclusion to Helm's Deep that makes you shiver all over, and then it goes on with the Isengard demolition, which adds relentless adrenaline to it. Critics can blow "too much vertical writing" at their asses. This is an absolute powerhouse of movie scoring. 44. The Tales That Really Matter If the previous one is one of the best finale cues ever, so is this one. A thematically beautiful, meaningful, emotionally hooking and soul-touching piece of music. Actually, to describe this (and a few other pieces from the trilogy) with the word "music" is almost a little too lazy. There are SO many themes included in this; Shire, Frodo, Gondor, Gollum, Treebeard, Fellowship ... and they work together so flawless. And I don't get why people think there is no thematic developments in the scores. The Shire music here sounds different than the one from Fellowship, and noticeably so. There is a wonderful sense of impending doom at the end, with Gollum's music, when his Pity theme and the song mingle. And of course the clash of the Menace and Ring theme. 45. Long Ways To Go Yet You know, there are over 10 hours of music in LOTR, but if I had to pick a moment when music and imagery just create something inexplicably special, I would name the opening of Gollum's Song with the boys choir. I don't even know how to name the atmosphere it creates. The music together with the camera panning over the Morgul vale and Gorgoroth, and the quiet, calling low brass chords under the choir over the image of Mordor ... that is simply sublime scoring. Best transition from movie to credits, hands down. It also creates a sense of satisfaction, I don't know how you could end the middle part of a trilogy better. My favourite song of the three as well. Emiliana Torrini has a stunning voice. Then the credits. IMO the one weakness of the scores, no actualy, proper end credits suite. However, TTT comes closest with Eowyn's theme and the Rohan fanfare. The Evenstar on solo oboe is gorgeous, but I'm not sure why the Leave Taking and Seduction themes are there. Better to make the end credits finale short and sweet than selecting random pieces from the film. Overall, Two Towers is maybe the most interesting score of the three because it handles such interesting material. Without it, neither FOTR nor ROTK would have the same impact. It is certainly the gloomiest of all three scores, and that plays into Howard Shore's cards of course. For me, there are many pieces in here that I consider among the best of the trilogy. It certainly has the best character-related music, with Eowyn's themes, Aragorn's themes, Gollum's themes thoroughly explored. And it has some of the very best setpiece music, with the Dead Marshes and Helm's Deep.

After years and years of not really playing any video games, I find myself playing them again! Right now I'm in the middle of New Super Mario Brothers on the DS (which I've beaten 100% in the past) and Final Fantasy IV, the DS remake (I've beat FF4 many times, but this is my first time playing through the DS remake. Tonight I think I will start a console game - the DS screen size is bugging me, and I might not continue much on it until I (hopefully) get the 3DS XL for X-Mas. So tonight I might start either Resident Evil 0 or Metroid Prime - not sure. I also have the GBA Gamecube Player addon so maybe I will start with Metroid Zero Mission or Minish Cap, hmmm) The amount of games I owned but haven't played (or even opened) rivals Wojo's score collection. Off the top of my head: Metroid Prime Trilogy, Fusion, and Zero Mission (Might pick up Other M soon, and want to play Super Metroid and Metroid 2 on WiiConsole and 3DSConsole respectively) Resident Evil 0,1, 2, 3, Code: Verionica, and 4 (2-4 and CV are still sealed, I started 0 and 1 back in the day but didn't finish I don't think) Zelda Minish Cap, LTTP Advance, Twilight Princess, Wind Waker, Four Swords Adventure (And I also have a Link's Awakening cartridge, my only remaining Gameboy OG cartridge) (I also have a Gamecube disc that has Zelda 1, Zelda 2, Ocarina of Time, and Majora's Mask. I've beaten Ocarina on the N64 but never played Majora's Mask) Final Fantasy 3 and 4 DS, 1&2, 4, 5, 6 Advance, Chrono Trigger DS Super Mario Galaxy 1 and 2 (Never beat 1, 2 is still unopened), New Super Mario Bros DS and Wii, Mario vs DK GBA, Mario vs DK 2 DS, and Super Mario Brothres Advance 1-4, none of which I've played through (though I have finished the original or prior remake versions of all these games multiple times) Games I am thinking of buying, despite having all these to play: Yoshi's Island DS, Phantom Hourglass and Spirit Tracks, Skyward Sword, and if actually play through the 6 Resident Evils I have, I'll have to find a system I can play Res Evil 5 and 6 on (The systems I own are Nintendo 64, Dreamcast, Gamecube, X-Box, Wii, GB, GBA, DS Lite). And if I do get a 3DS XL, I want Super Mario 3D Land and New Super Mario Bros 2.

I'm absolutely in for the trilogy screening. I haven't seen any of the originals in a theater. I think the Boston Common showing is sold out. A giant curved screen? There's something I wish we'd see more of. Theaters have been mostly standardized. It may have been a gimmick, but Cinerama was some friggin' hardcore shit.