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Doug Adams

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Everything posted by Doug Adams

  1. Cheers, guys. The thing to remember about all of this is that, as a story, The Hobbit is not going out of style. It's been relevant for decades, and will continue to be so for the foreseeable future. There will probably always be interest in this music and in this composer. It's not like we have a tiny window in which the scores need to be released before they're lost to the ages. I know we're all impatient when it comes to our favorite stuff, but hang in there ... we're playing the long game on this one. In the meantime, I'll continue to push ...
  2. Yes, the Thorin quote at the end of "Moon Runes" was intended for that spot. Now that the EE has been seen, I was just wondering if you might tell us what you were referring to here, since it seems as though you were alluding to more than just the (apparently quite brief) funeral composition. The funeral piece is longer than what appears in the film. A gorgeous summation of nearly all the principal Dwarf material. That's the main attraction--but there's also some great material for the chariot, the "whirly-gigs," etc. Some made the album, but not all. Is there any chance of us hearing the ful
  3. Yes, the Thorin quote at the end of "Moon Runes" was intended for that spot. Now that the EE has been seen, I was just wondering if you might tell us what you were referring to here, since it seems as though you were alluding to more than just the (apparently quite brief) funeral composition. The funeral piece is longer than what appears in the film. A gorgeous summation of nearly all the principal Dwarf material. That's the main attraction--but there's also some great material for the chariot, the "whirly-gigs," etc. Some made the album, but not all.
  4. It from the scene in AUJ where the Company approaches the farmhouse--before Gandalf and Thorin argue.
  5. Sure, but... What he originally wrote in his first sketch? The first orchestrated sheets? The first recording, with podium changes? For example, in DOS, for the scene where Thorin is pleading to The Master, there's a scene where Bilbo steps forward and stands up for him. Shore scored it with The Shire Theme. The scene ended up being removed from the Theatrical Cut, so that Shire Theme bit was never recorded. But then PJ decided to put the scene back into the Extended Edition. Sadly, that Shire theme variation wasn't recorded for the EE (since there was so separate EE recordings). So anyway, wo
  6. If there were to be a book, I imagine it would only deal with the score as Shore originally intended it. If there were to be a book. And timestamps are for the weak!
  7. Doug Adams

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    We've discussed multiple times the extra recording sessions that happened for BOFA. How did you miss it? We discussed that Shore was involved in the project this year, after Doug told us here, but I don't think we saw that tweet. Some downplayed the news as likely nothing significant. Do we know if the NZSO were involved (I would presume not under Pope's baton)? The NZSO was not involved. Neither was Conrad.
  8. Shore generally (though not always) has full sections divide to add more pitches. In other words, bar one would have tutti violins divided four ways. Bar two would have tutti violins divided six ways. Bar three would have tutti violins divided eight ways. So he's not adding players, he's adding pitch material. The dynamics are more controllable this way since the number of players is consistent and the shaping is less given to chance. Again, this isn't *always* how it's handled, but more often than not, it is.
  9. Never let it be said that we don't listen to the fans!
  10. That's correct. It never made it to the Rarities Archive as there would have been too much duplication of the surrounding material - it's around thirty seconds in a six minute composition. Yep!
  11. Doug Adams

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    The music got a great big wet smooch in the DOS documentaries. Howard is a humble fellow, and is more than happy to share the spotlight this time around. We know some kind of super 6-film box set is in the works, so that will probably be the final say on all things Jackson Middle-earth. I hear they're saving a ten-hour documentary on the score especially for it. The documentary consists of a video of Doug Adams in a nice armchair reading out loud both of his books on the music of the LotR and the Hobbit. I can write that stuff, but no one can say it ... #HarrisonFord
  12. Doug Adams

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    They do when they research-based, 700+ pages, and being written concurrent to other books. Really though, 2012 to 2016 isn't too bad a stretch.
  13. Doug Adams

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    Thanks! Very different from the big commercial properties I've been around lately, but I honestly believe it'll change the way many people look at film music. For me, at least, it was a revelation.
  14. Doug Adams

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    Editing is finishing during the next week or two. (We've been on it all summer ... ) Engraving and layout will follow shortly. Next year seems likely.
  15. Doug Adams

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    I pushed (gently) for a few more music comments, but the focus was elsewhere this time. Totally understand, too. This is their big wrap-up presentation--and they certainly featured scoring heavily last time out. No bad blood. And don't worry, we'll have plenty more to say about the music in the future. Anyway, I'm set for an entirely different documentary later this month ... if Jim lets me. D
  16. I suppose the climactic face-off with the Necromancer could have used it (all three Wizards were present), but it's always a question of perspective, of course. And Galadriel's material might have been lost in the mix.
  17. No public documentation of every individual composition, but I can tell you that no site was exclusively orchestral or choral. Early on, Watford was used for both choral and orchestral--simultaneously, in fact, until the logistics of the room made it way too difficult to conduct. After that, it was mostly orchestral. Abbey was primarily choral, but a few orchestral sessions crept in there. Air was the same, though I believe the orchestra recorded the big Mumakil bit from ROTK there as well. (The cramped space led to the untimely death of a harp, as I've heard it told.) Henry Wood was used in
  18. The text is about Radagast. Also, I asked the composer. In The Hobbit, many (most?) characters receive a personal theme and a cultural theme. This was true of Bilbo (initially), of Bard, of Thorin, of Tauriel ... and it's true of Gandalf. For whatever reason, the decision was made to downplay the other Wizards' musical identities. Some of Radagast's secondary material returned in an early draft of BOFA, but it never made it to the recording floor; Saruman's theme was never slated to reappear after its initial cameo. So this Istari theme simply ended up with Gandalf most of the time. It absolu
  19. Jim is correct. For the same reason a theme for Rivendell Elves as a whole plays when Elrond gives Aragorn a sword. The score often takes a broader perspective than the film does, which is why it's able to deal with subtexts, etc. rather than just slavishly repeating what we see.
  20. Thematic/motivic development in The Hobbit is less circular than it was in LOTR. That's part of what makes it its own animal. In a sense, LOTR was more "there and back again," and The Hobbit is "there and there."
  21. Ohh, skips seems interesting! I didn't even remember that existed. Your play counts completely dwarf my numbers! And wow is that "The Last Goodbye" figure big. I also need to get the standard Roast Mutton edition, the extended really misses out by not having the driving Misty Mountain statement. I might just wait for Expanded Releases/Complete Recordings. What's happening with the iPod? It's supposed to sync playback information from iPods back to iTunes so listening on any device adds to the total count. I wonder if Doug listens through iTunes (and whether he uses the official releases)..
  22. Yes, Howard wrote a short motif for me once. I rarely mention it because I have a hard time wrapping my own head around the idea. Hardly competition SUH. I am sure it is littered with inaccuracies and some misinterpretations but it is just my way of expressing my fanhood of this music. I was just teasing. It's incredible the amount of time you put into that! I'm definitely give it a proper look through when I'm able. No can do, sorry. Can you tell us which piece was recorded later and why? "Music expresses that which cannot be said and on which it is impossible to be silent." -Victor Hu
  23. Were such a book to exist, chances are my first draft would have been delivered and I'd be waiting for the first round of edits. But that's all conjecture at this point.
  24. The BOFA EE music was all written and recorded alongside the Theatrical music--with the exception of one piece. Shore's work was largely done last fall. (I believe the final short composition was written in late February and recorded shortly thereafter ... though I'd have to check to be certain.) Music editing on the Hobbit films was a pretty independent process. Glad you've enjoyed the LOTR book, thanks! We'll see if we can come up with a worthy followup or two.
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