Jump to content

Doug Adams

Members
  • Posts

    256
  • Joined

  • Last visited

  • Days Won

    6

Everything posted by Doug Adams

  1. There are rescued bits from the theme compositions in all three Hobbit scores. None really has any particular thematic connection anymore, however. LOTR was the same way. Early ideas often popped up elsewhere and were repurposed. Very common practice for all composers, not just film. Btw, one the major Dwarf themes in AUJ began life as a Dol Guldur theme! Shore reshaped it and made it Dwarf-ier. That's not a secondary Gandalf theme. It has a broader application.
  2. It was meant to play a larger role overall, but nothing was written for DOS or BOFA while it was still in play, so it's impossible to know for certain what it might have done in those scores. This was sort of a quest theme (the titles for the theme pieces on the album were all assigned after the fact and have little to no bearing on what the themes actually represented), and as such it functioned similarly to Misty Mountains. It's entirely possible that, like Misty Mountains, the theme wouldn't haven survived to DOS or BOFA. EDIT: Sorry, this was referring to the "Erebor" theme track (which, similarly, was not a theme for Erebor). Same general answer applies to all the Dwarf theme pieces, however.
  3. I don't know the exact passages, but it was all last act/finale stuff, so it's very possible.
  4. What was Robert Ziegler's role in AUJ?He conducted a few pickup sessions at the very end when time grew tight and Shore needed to concentrate on writing. They'd collaborated in a similar manner on Hugo.
  5. Funny story .... When the timing sheets were prepared for the DOS score, whoever was typing them up kept referring to Bard's oldest daughter as his wife. Shore had to send a handwritten note saying, "Hey, that's his daughter!"
  6. Half of it.Is there a reason why a theme for Bard's family would relate in any way to a theme for a Hobbit from the Shire? Because to me, it seems more like Peter Jackson rejected the theme and Shore "salvaged" it by creating Bard and Family out of its core idea, not that's there a compelling in-story reason for there to be a connection. If that's the case, I am curious how you will describe the connection in the book, since you don't really discuss that aspect of the filmmaking process in the books, really. One of the greatest things I've learned from being close to productions such as this is that assumptions from afar seldom pan out. Better to wait for explanations that to leap to conclusions.
  7. One of Radagast's secondary themes was originally set to reappear in BOFA, but it was changed shortly after the initial sketches.
  8. That's the Burglar Motif! Or is it? Too many darn similar ideas! Funny thing: there is no burglar motif in The Hobbit. Never was. Does Shore talk you through the music and what everything means, or does he leave it with you to digest and ask questions if you have any? We constantly talk.
  9. That's the Burglar Motif! Or is it? Too many darn similar ideas! Funny thing: there is no burglar motif in The Hobbit. Never was.
  10. While I'm inclined to agree, I can see how it could be argued that the struggle between his Baggins and Took natures ceases to be an issue after he finds the ring ... or somewhere around that time. (And again, there are a few tiny hints that make it into films two and three.)
  11. The Hobbit--and I'm going back to pure Tolkien here--is largely a story about change. LOTR is a story about restoring the world, but The Hobbit isn't. It's more "there" than "back again." There was an attempt to reflect this musically by allowing themes to disappear, or change, or migrate. Misty Mountains was the one everyone noticed (and I get a good giggle every time this is chalked up to "copyright issues"), but it's not the only example. Thorin completely loses his theme for a while, and even when it returns, it's significantly altered. Some of Bilbo's themes travel with him through his fully journey, though they develop in such wonderfully interesting ways that many people haven't yet noticed. Keep your ears open for very subtle references to his Adventure motif. As far as the Fussy theme goes, it departs as Bilbo changes. The Hobbit that once fretted over his handkerchief ceases to exist. (That was the point of him finding it back at Bag End in the finale, too.) But, he also gains a new theme that replaces it. It's character development by music. There's a lot of that in The Hobbit--and again, unlike LOTR the ending doesn't hit the reset button. I think that, in time, listeners are going to find a lot of unique subtlety in these scores that they maybe missed the first time. That's certainly been my experience.
  12. Might simply have been a slip of the tongue. We all make them--myself included.
  13. I did see the DOS hammers. Not really a sequence. Just a few shots. Very Droid Factory-esque.
  14. I did. Largely the same save for temp fx and a few editorial differences in the finale.
  15. So, to be clear, you mean that the whole Dol Guldur sequence was re-edited, and the Palantir scene would not fit into that new edit, not that the Palantir sequnece was reworked for a different context right?Correct.
  16. I think that--and the material surrounding it--was the only thing that didn't make the EE. That said, it wasn't just tossed. The whole sequence was reworked. Palantir wouldn't fit in the final version of the film.
  17. I do, but I think the filmmakers would prefer to control how and when this would be discussed. I will be respectful of that.
  18. The whole of North. Nothing upcoming here either as far as I know.Always important to note that, in general, it's the orchestras that book these concerts. Want it to play locally? Contact your local a-list orchestra. That's almost always how the ball gets rolling.
×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.