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Doug Adams

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Everything posted by Doug Adams

  1. He means part of him feels like saying, "I've done it all--written all I'm going to about Middle-earth. That's it. No more," while another part remains intrigued by the possibility of doing something else.
  2. What production tasks the liner notes guy with keeping the set in print?
  3. I don't think stealing from an artist you claim to admire would be very admirable. Alternates tend to live quite nicely as Rarities. Allows the principal album to maintain a proper narrative flow, yet ensures that the material still reaches interested listeners.
  4. Not including the rewrites (Radagast, Thorin's Wraith chant, etc.) or alternates, which are not currently considered to be "score canon" ... if such a thing exists.
  5. I would expect that people would have a mature and informed understanding that such decisions do not rest in any single pair of hands. Many people -- myself included -- would love to see Hobbit Complete Recordings. No one is depriving listeners for nefarious pleasure. It's simply a question of whether or not those with pockets deep enough to fund such a project are willing/able to do so without a guaranteed return on the investment. Right now, that hasn't happened. It doesn't necessarily mean it won't ever ... but right now Hobbit CRs do not have a green light. Other projects, however, do.
  6. The standard edition LOTR CDs vastly outsold the CRs, which were a niche collectors' item. Were they artistically superior? Yes, in my opinion. But that's not what drives the market. If you're referring to the home video releases of the films themselves, that's a different company. The albums are produced separately.
  7. Admittedly it's rare these days, but not all Americans throw "hissy fits."
  8. No. 1) LOTR and Hobbit did not get the same commercial treatment. The LOTR scores were initially released as standard suite-form OSTs, which left ample room for expansion. The Hobbit scores were released in nearly complete two-disc sets. This means Hobbit CRs would largely overlap the prior releases, which makes them a harder sell to the general public ... which makes producers jumpy. 2) Even ignoring the change in both film studios and record labels, release strategies vary greatly from property to property. They're not plugging material into a pre-eixtisting workflow.
  9. It's almost as if someone thought that writing about the complete scores would help reinforce their commercial viability, thus paving the road to potential future releases. What madness!
  10. No: "And yes, the book follows the complete Extended Scores ... and in the order and structure of the original fully orchestrated compositions (meaning the first fully realized draft before filmmaker conformations)."
  11. Working on bringing the podcast back ... in a different format. Two in the can now, but I'm waiting for a few more before launching so that there are several ready to go right off the bat. An no, it's not video. I hate that too.
  12. That's not the actual cover. I always use temp covers when I write. Not sure why. It helps with mood, I guess. And yes, the book follows the complete Extended Scores ... and in the order and structure of the original fully orchestrated compositions (meaning the first fully realized draft before filmmaker conformations).
  13. I'm sure he's thinking of Howard Hanson, whose Symphony #2 closes Alien.
  14. All lyrics will be provided. But the score will only be analyzed in the form in which it was originally composed by Shore.
  15. Oh, hugely rewarding! Sorry, hope it doesn't sound like I'm griping ... I certainly don't intend to!
  16. Absolutely. I've done liners for albums where I've had to pin down developmental arcs well before the score has even finished being composed. It's often a case of asking the composer, "Well, what do you think might happen?" You have to choose your words incredibly carefully, because you could easily tie yourself to something that makes no sense later. The first Hobbit was particularly tricky. Neither the film nor the score was done when I did the notes. And it was only part one of three, so the initial themes could have gone in almost any direction in future installments. Since I wanted to be
  17. Since I wouldn't want other people divulging the details of my contracts, I probably should offer them the same courtesy. That said, my contracts are deadly dull!
  18. That specific language ("the love theme for Aragorn and Arwen") is contractually required to be included. That's why that same wording always appears.
  19. You've heard Shore speaks dozens of times about the importance of instinct in his creative process. It was his instinct to shape the FOTR CR in this manner. That was the same clear-cut answer as it was 10 years ago, it's the same clear-cut answer that it'll be 10 years from now ... though by then, I'll be gumming my mash and yelling at clouds, so I'd advise you to believe me now. I've always had issues with the "Complete Recordings" name -- which was obviously chosen to delineate the sets from the prior album releases -- yet I'd be hard pressed to come up with a better title. The F
  20. Sorry, I managed to accidentally break this into two responses. Yes, Shore's process with Fellowship the CR was still reductive. You may not like it, but it was what he wanted. Creative decisions are the *entire* response to your question. This was not a ported over isolated score. No studio politics. Everything was recreated and remastered from scratch. Again, you may not like it, but statements to the contrary are simply inaccurate. For what it's worth, I only had one bit of input into the FOTR CR: I asked them to return the passage where Frodo looks down the road ea
  21. Except that this is inaccurate. Themes were written away from picture, not sequences. They were sketched at most -- and generally only insofar as general textures, and thematic appearances went. Final compositions were always written to picture. This was not a JFK situation. Yes, if the picture changed, the composition needed to change with it. And obviously that happened a lot. But draft three was no less authentic than draft one. The music was always made to match the visual.
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