Barnald

I'm not sure about the use of obsolete in relation to film or music. To me, it always suggests a practical function. Perhaps irrelevant might be more suitable, but even that could be debated (what exactly makes a film 'irrelevant'? That it didn't receive critical acclaim or awards? That it didn't do well at the box office? That it didn't make an impact on popular culture?)

That was my meaning also, the money men and whatnot.

Whether or not Shore wants to do it probably isn't the most important consideration in this unfortunately

Perhaps I'm being pessimistic, but I'd say the best chance of a Hobbit symphony would be as part of a general six-film encompassing symphony, should Shore wish to undertake such a challenging task.

I guess appreciation of Jackson's M-E films in general (and probably also the scores) will also hinge upon future adaptations, which will inevitably happen at some point. They could be better, but something tells me they'll be abominable (to the point where some might actually say "You know, maybe Jackson's Hobbit really wasn't that bad after all..."). Don't say you weren't warned.

I presume the scores, as the film argument has been done to death. I've no idea to be honest. I guess people will always be more fond of the LOTR scores for various reasons, but all that really matters to me is how I feel about them, which is unlikely to change that much over time (though releases of additional Hobbit music would only further enhance my appreciation of that).

If he is indeed Albanian I'll lose no sleep

Must be another Turkish siege of the island that no one knew about. Evidently they've severed all communications.

I was going to ask the same question! He tells me to post more, and then, when I do, he fucks off!

That's an interesting interpretation. I like the first 11 seconds of 'The High Fells', and what follows after the equivalent section (with 'The Nine' and whatnot), but prefer 'EotW's take on the intervening bit.

While I struggle greatly to understand it given my shameful ignorance, I find the above discussion absolutely fascinating. As far as my own observations go - and again you'll have to excuse my lack of requisite knowledge - I find certain passages in DoS and BotFA a little odd, in that the transition (space? bars?) between notes strikes me as too short, leading to a rather clumsy and awkward sound. I think I've mentioned this before, but the best example I have of this is something I can directly compare part of AUJ too: 'Edge of the Wild' and 'The High Fells'. When I listen to 1:20-1:43 of 'EotW', I observe - to my ears at least - a clear structure and breathing space between...sections (I hope you know what I mean by that). By comparison, 0:11-0:19 of 'The High Fells' (I know the direct comparison would involve a longer passage, but it's this bit I find problematic), sounds off to me, like it transitions from one section to the next much too quickly, leading to a messy-sounding passage. Again, perhaps it's just my lowly ears and tastes favouring a more distinct, 'hummable' sound, but in all 4 of Shore's previous M-E scores I really don't remember encountering anything quite as jarring as that. And there are other small parts of DoS and BotFA I feel similarly about. Perhaps one could offer explanations for this (i.e., Pope needing to fit the music to picture after changes?), but I won't venture too much incase it is indeed all by Shore's design. Of course its all 'acceptable' music when all's said and done, but I hope at least one person sees where I'm coming from (once you've recovered from my horrifying crimes against music lingo).

Mmm. Should we be concerned?

It's obvious! He must be clearing his workload for the impending Blu-ray box set of Middle-earth films, featuring new cuts of all six films rescored (where needed) by Howard himself! Long have we dreamed of this day.

It's certainly easier that way

Another item to add to the list for the impending great raid.

Can we still send you death threats, or has the window on that expired?

La Grande Bouffe Simply magnificent - funny, moving and repulsive in equal measure, with some wonderful performances. They really don't make them like this anymore.

And of course, despite the Reddit denial, we cannot forget that Howard did in fact turn up to conduct BotFA personally, only to be physically ejected from Wellington Town Hall and have his baton forcibly torn from his grasp by Sir Conrad of Pope. The heart was clearly willing to a point.

I reckon it was a case of PJ not wanting to go to London for a few weeks so late in the post-production stage (you look at the making-of DoS and BotFA, with them going right until the last minute, and wonder how the hell he could have done it). Wanting it all 'in-house', so to speak, he wished it to be moved to Wellington, and Shore - for various reasons (perhaps including the AUJ issues, perhaps being miffed that his traditional process was being changed, perhaps not enthused by the long flights) - didn't want to go there for that length of time. If anything, I have to think Shore is a true professional - a trooper - and can't see him throwing his toys out the pram and being the one who initiated the change. I'd say it was more likely to be a PJ directive.

You mean it's no longer odd to say 'odd' or 'oddly'? How odd!

The 'oddly enough' was in relation to your comment about no one in the film having a good time. Just me being facetious.

Oddly enough, I didn't have a good time watching it.

Good for Elstree. Not for Maoris.

Shirking battle along with Ackbar eh? Speaking of which, any indication of that fucker popping up in this one?

And where the fuck was Mon Mothma durin the Battles of Yavin and Hoth? This was Dodonna, Antilles and/or Rieekan's time to shine!