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Doug Adams

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Everything posted by Doug Adams

  1. The line in question is not Arwen's theme; Arwen Revealed is a separate figure. The use of this line in DOS is consistent with its use in FOTR.
  2. The horse was bound by "NDAs 'n shit", so if we didn't understand, it's probably because being tied by NDAs and having a cryptic way of speaking anyway are not a good combination when trying to talk some sense into rabid film score fanboys Actually, this was the one subject about which I was very direct. And yes, "5056464 times" seems about right by my count.
  3. #1 I believe Deluxe was taken from a version written in September, Standard was taken from a version written in October. #2 Yes, though they're both edited to play smoothly on the album. #3 I'll have to look this up when I have more time. #4 While I can't promise such a thing does not exist, I have no record of any version of this composition without the Lothlorien theme.
  4. Doug, since you are here, could you shed some light on the alternate versions of tracks between the OST and SE of AUJ? or are you still contractually obligated to keep silent? Ask away, but I probably have very little to add at this point. The differences are there because there was a lot of material generated and this seemed like a good way to present a bit more of it. There's really nothing linking the decisions, I'm afraid.
  5. Yep, I was on my way out the door to visit the sessions NZ when the phone call came in telling me to unpack my bags. Later the following winter, Shore had me over to hear his full Kong score, but only so we could talk about it on a personal level. He asked me to please leave specific details out of the public discussion, and so I honor that request. I will tell you that it was astonishingly beautiful, and that it had a great deal of heart ... I hope that everyone has a chance to hear it one day. So does that mean then that not every thing he wrote got recorded? Correct. Some of what we listened to was mock-ups.
  6. Yep, I was on my way out the door to visit the sessions NZ when the phone call came in telling me to unpack my bags. Later the following winter, Shore had me over to hear his full Kong score, but only so we could talk about it on a personal level. He asked me to please leave specific details out of the public discussion, and so I honor that request. I will tell you that it was astonishingly beautiful, and that it had a great deal of heart ... I hope that everyone has a chance to hear it one day.
  7. Yep. Or at least pushing that, I'd estimate. It's a couple of days of work for a couple hundred highly qualified people in an incredibly expensive room. It's no wonder so many productions resort to crummy sample orchestras. While I don't know for a fact that he wasn't asked, I'm guessing the thought of a seven-figure price tag (fees, studio, musicians, etc.) for less than a minute of music didn't look too good to the accountants. Young Bilbo was always going to be source, btw. And the three LOTR films have plenty of tracking as well. People tend to forget that. My theory (and maybe Doug will confirm it) is that there was never any plan to do so. The EE is 13 minutes extra. Some of this score is found on the SE of the soundtrack so I assume that music was intended for those extra scenes. The Goblin song takes up some of that extra time and so does that Man in the Moon. I would also guess that Flaming Red Hair was intended for the party scene and we know the Valley of Imladris was extended. When you take all of that there doesn't seem to have been need for Shore to score what was left. Maybe Doug will prove me wrong but that's just my guess. This is all essentially correct! Thought so I'd have loved more music from Shore but I can understand why they didn't do it this time. Seven figures is surprising but I guess it makes sense when you factor in all the various elements. Thanks again Doug. The thing is, he'd probably have written exactly what we heard anyway, so it kind of did make sense to do it editorially. Also remember, Shore did write music for the Extended cut, he just recorded it in October 2012.
  8. While I don't know for a fact that he wasn't asked, I'm guessing the thought of a seven-figure price tag (fees, studio, musicians, etc.) for less than a minute of music didn't look too good to the accountants. Young Bilbo was always going to be source, btw. And the three LOTR films have plenty of tracking as well. People tend to forget that. My theory (and maybe Doug will confirm it) is that there was never any plan to do so. The EE is 13 minutes extra. Some of this score is found on the SE of the soundtrack so I assume that music was intended for those extra scenes. The Goblin song takes up some of that extra time and so does that Man in the Moon. I would also guess that Flaming Red Hair was intended for the party scene and we know the Valley of Imladris was extended. When you take all of that there doesn't seem to have been need for Shore to score what was left. Maybe Doug will prove me wrong but that's just my guess. This is all essentially correct!
  9. The NDA thing isn't really all that nonsensical or nefarious. In a nutshell, it just states that I can't go out blabbing about the plot. It's kind of just the ultimate spoiler warning ... "give away the story and you owe us a billion dollars." Yes, NDAs are corporate things, but they're derived from showbiz instincts. There's a reason stages have curtains. NDAs don't cover people's personal lives, or details regarding production workflows. Sometimes I just don't answer questions or give details because it's not my place to do so. I'm enough of a bigmouth as it is ...
  10. Shore wrote every note you'll hear, same as ever. He writes themes away from picture, then writes the actual compositions to picture. It's the same process he's always used. At the same time, he supervised the orchestration and the recording. This is a newer part process, however, he's implemented it to a lesser degree on his last couple of projects (going all the way back to Hugo), so it's not entirely new. No one noted a signifcant difference in sound then, and no one will notice one now. Does the NZSO sound like a different ensemble to discerning ears? Sure, a bit -- but no more so than the sound of the LPO changed over the years as membership changed. The ensemble that played FOTR wasn't exactly the same as the ensemble that played TTT, etc. If you picked up on this, you'll notice a slightly different sound to the group. If you didn't notice this, you won't notice anything here. The engineers, etc. are all Middle-earth vets, so they've made sure the sound flows seamlessly. Does the conducting change the sound? Well, not really, to be honest. Shore's principal job as a session conductor is to make sure that the ensemble understands the overall concept. So Shore worked with Pope through much of the summer -- and continuing through the fall -- to make sure he understood the concept. A session conductor is obviously not playing with tempo or even with interpretation, because that messes with the sync and the mix. It's a different gig. Even most of the balance comes from the ears in the booth. And though it's getting silly, I will reiterate, Shore is entirely healthy. Saw him last month, and he looked better rested than I do on the Hobbit appendices ... speaking of ... No, Shore did not sit down for a new face-to-face interview for the appendices. Part of that was due to schedule (most of the appendices material was shot during the spring and summer when Shore was working on DOS; part of that due to the fact that sometimes people just don't enjoy having a camera shoved in their face. Shore is a pretty private guy. Despite the fact that he knows everyone in the industry, his inner circle is relatively small. There's a reason he lives in a forest. He likes quiet. Many composers do, which is hardly surprising. The musical emphasis in this years appendices was songs, anyway. That was always going to be the focus, Shore or no Shore. I was asked to speak a little about the songs and to speak a little more about Shore's work, which I was happy to do. I've watched the doc once with my wife, and I showed the first few minutes to my parents, and that'll probably be the last time I look at it. I hate seeing myself on camera. But, it's good! The emphasis is definitely on the songs, but I believe the tentative plan is to do more in-depth score discussion next year. I know that these threads last longer and are more entertaining when we all resort to exaggeration, in-character posts, and negativity that requires responses, but please try to remember that this is how ugly rumors get started. And rumors are strong currency in the fan community. Making a joke of a person's health is never cool; there's no way to sugar-coat that. I don't stop by here that often -- though I stop by often enough to see who's making fun of me ... gotta keep the "naughty list" up-to-date! But, if you have questions -- the type that I can actually answer -- feel free to flag me on Twitter (@DougAdamsMusic) or on the blog (www.MusicofLOTR.com) I don't want to dissuade conversation here, but maybe all these "curious," "suspicious," "doom," posts could give way to actual material discussion if you'd just ask! I'm not scary. Just look at me in the appendices doc ... I'm really just a scrawny musician-type with access to interesting people. Ok. Horse out.
  11. Doug has said nothing at all regarding Hobbit Complete Recordings because he knows this isn't even up for discussion yet, and won't be for a long time.
  12. He's not scoring Wolf of Wall Street and he's completely and utterly healthy. The schedule--and travel--simply worked better with a few tasks divvied up. The NZ performance is great and the music is entirely Shore's, don't sweat it. There's no news because people are ... you know ... working! This score is going to knock everyone's socks off; it's *phenomenal*. But don't look for details for a while yet. Work comes first, promotion after. The play's the thing. -The Horse
  13. Definitely one of my more boring posts! Sorry ... I'll try to improve later this fall. D
  14. Huh, actually, I am! Doug, I have a question for you which I'm afraid you probably won't be able to answer to, but I'm gonna ask it anyway. In the case of an eventual CR release, what would appear on the CD: the Ringwraiths theme, or the choral material appearing in Out Of The Frying-Pan? Your feelings serve you well ... I can't answer that! Sorry! D
  15. The Descending Third underscores the Orcs in ROTK. Again, I certainly don't mean to supplant anyone's opinion, but in point of fact, both the Wraith's signature chord and variations on the Descending Third are used throughout the finale and lead up to Thorin's charge. People may not love the pacing, etc., but the material is indeed in the scene. D
  16. The use of the theme comes indeed very suddenly and in full force. There is no build-up as such, it just starts abruptly. This scene doesn't somehow earn it at this point in my opinion. Again, that's entirely subjective, so I certainly won't argue your opinion. However, it's worth noting that this sequence begins with the Descending Thirds motif, which has been presented in a sort of devolved variation upon almost every appearance of Azog. The fight with Thorin is very much the culmination of a compositional thread that has been running throughout the full score. Obviously this doesn't make it better or worse, but it's important to note that there is, in fact, a dramatic through line. D
  17. It's not "the explanation," it's just another example of how the music of Mordor (or variations) is consistently assigned to the Orcs in this score. Love it or hate it, the finale is very much in keeping with the pervading approaching. D
  18. Don't ban anyone on my account. They got me fair and square. No harm done ... Peace, D
  19. I haven't seen the film with finished fx, but from what I've seen, it's not clear where the Elves hail from (other than Elrond). I doubt Galadriel arrived unaccompanied. As for the Ringwraiths, if you read between the lines of my previous post, I kind of did explain it. Studio prefers that I say no more for now.
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