SafeUnderHill

That's why I prefer to refer to it as the 'Forces of Evil' motif.
And I think it makes perfect sense in the scene you mentioned.
If they'd turned that [Hobbit] scene on its head and instead had Azog drawing himself up (in slow motion, of course ) and charging at Thorin and taking him down then the choice of music would have been much more reasonable and comfortable.
In fact why the fuck didn't they do that?! It'd have been badass! And a PROPER nod to LOTR.

Well as a recurring thematic hint tying the Mordor material together, Nazgûl in pursuit of the Fellowship in LotR and the Wargs in similar chases in the Hobbit, I like it. It might be more of a stretch to say it makes the appearance of the Ringwraiths' theme in full force in the final duel somehow more logical or a natural choice.

Yeah it really is, isn't it. You could say it makes sense.

God, Thorin vs Azog segment is so much better with this music.
Karol

You realise this just now?
It came to me that it may actually have been Howard Shore's own choice to reuse those LotR cues, you know. Doug doesn't lie, and that is really the only possible explanation. I can see that he thought it needs more direct quotes to recreate the LotR feeling.

Yes, I really loved the unreleased bits of plan 9.
Seriously, its hard to pick out the action music, none of the Action Music on the OST has any of the good motifs in them, Brass Buttons for example, it doesnt really have a climax... where in the film it has that great bit of Plan 9.

I don't remember this amount of bitching and whining when FOTR was released on CD.
Enjoy the music guys!

just like the nazgul theme...oh wait...

Ha, that's a great story!

Well said. I'll be there again one year from now, hoping to enjoy myself.
In the mean time i'm not that interested in analysing the shit out of any clue we find online trying to determine were PJ will stray from the book.

I came to a helpful conclusion about that yesterday actually: it's better to not think of the book at all when wondering what might happen next. Jackson has clearly gone way, way off the page and so I've decided that the main thing now is that he makes two more thrilling fantasy movies in their own right, which I actually think he will. Referencing the book at this point is clearly futile and a waste of time. Best to just go along with the ride and see what happens, enjoy this new adventure in Hollywood's version of Middle-Earth. There'll still be a dragon, a Ring and battles. That's all people are really expecting anyway, and Jackson knows it.

The changes are not "bad" per se, because for the most part, the music plays very well in the film. But since Shore tried to craft his scores (and in fact the whole Middle Earth) in such detail, whenever you move something or illustrate it with different idea, it can create quite a stir. With all the extended edition and book, we got quite knowledgeable in the music and that's where all the negativity comes from. Besides, a lot of this unused material is pretty damn good.
Karol

It's not the tinkering that's the issue here. It's the ultimately pretty distracting heavy use of previous material from the franchise albeit rerecorded underscoring much of the movie's highlights; and that it's just a shame that Jackson didn't feel confident or comfortable enough to go with Shore's original music instead. This score as heard in the film is manipulative for all the wrong reasons.
Then again, maybe they tried it the other way first and for everyone who previewed it the fresh material simply lacked necessary impact, or they came to the conclusion (under duress) that the LotR music just resonated better, its superficiality not having the time to sink in before they had little choice but to lock shit down as deadlines neared.
There's a lot of talk and accepted opinion here about how this movie feels 'rushed' or 'messy', but I actually put a lot of that down to the score having a somewhat unwelcome knock-on effect on the movie's sense of flow and organics, because there's very little in the way of solid continuity to be heard and felt overall in the music - which significantly betrays what we've come to expect from Shore and Middle-Earth. A more uniform underscore with a stronger emotional narrative might have better propelled the story and really helped with this movie's apparent sloppiness.

Also know as Gandalf the Killstealer or Gandalf the XP hog.Oh and this score is damn addictive. I can't get the mysterious ethereal melody heard in Radagast the Brown and The White Council out of my head. The one that sways up and down hypnotically and is accompanied by the soft choir. Insistenly haunting. I wondered in the past if this is related to Radagast or the Necromancer and as both scenes refer to both characters, I can't quite figure it out. The swaying motif is definitely related to Radagast's nervous sewsawing and edgy music but I am not sure if the eerie melody would suit him. Perhaps Mr. Adams can shed some light on this at some point.

Tracking or not, the Nature music for the eagles is simply awesome. That brass is epic.

You know what?

I'm very excited to hear the score to Star Wars Episode 7!

Hopefully only 21 months to go till the first samples.....

Yeah for someone who knows the music it felt like a sudden jolt, took you out of the moment. That is what I meant with the thematic dissonance.
That actually sounds entirely approapriate and I thought of Benny Hill the very first time I saw that scene. It felt absurd headless running about then and it does feel so now.
Oh and Gondor Reborn is very specifically used for the renewal of the kingdom, of Gondor, restoration of the kingly line and start of a new era of prosperity in the realm not for some meeting of a dwarven prince and a hobbit on a rock somewhere where they make up and shake hands. It is a theme for world of men and now suddenly it is a theme for all people who want to reclaim their kingdoms and are a bit optimistic about it. As I said I feel that when you go from nearly 100 leitmotifs used precisely to a "free-for-all themes can be use for anything when you feel like it" (naturally a hyperbole in this case if only to make a point), it cheapens the previous creation. At least to me it sounds like an odd way to creating continuity or doing justice to the previous work. In the end it is only music and it is Shore' music and he shapes it in collaboration with Peter Jackson and they have their own visions and ideas and points of view on the matter. With Doug Adams' book we can peek into this creative process and hear their argument why they did what they did.

Sounded great in the film.
I think some fans are just disappointed that Shore didn't write it, and are having tier prissy and bitchy reaction to it.

My mistake then. Suppose I'm not as intimately familiar with it all as you guys. But I thought most of the "tracked" cues still worked well as I just enjoyed the film.

Again, there are no tracked cues from the previous films used in The Hobbit!

"perhaps it is because he's afraid, and deleting such posts gives him courage".
hobbit quoting time has officially started!

I have faith in PJ!