Howard Shore's The Desolation Of Smaug (Hobbit Part 2)

[crocodile 8,520]

I knew it! It's all Kate Jackson's fault!

Karol

[BloodBoal 7,541]

Well, that sure explains a lot.

[Bilbo 3,828]

Yeah, none of that surprises me.

[Code 000. Destruct. 0. 4,260]

So, who's excited for all the new themes that we're gonna be getting? What do you think your favorite will be? I'm really looking forward to Mirkwood's material, as well as anything related to the Necromancer/Dol Guldur.

[BloodBoal 7,541]

[Incanus 5,801]

Beorn, The Woodland Realm, Thranduil and Lake-Town/Bard are probably my most anticipated thematic ideas. Also I am curious what will Shore do for Mirkwood. Something earthy, musty and ominous. Like Fangorn but with spookier and nastier feel to it.

[Code 000. Destruct. 0. 4,260]

I also feel that this score will benefit from having more of its own identity than AUJ did. That, of course, is a wonderful work, but it lives in the shadow of the original trilogy, inevitably. It's like PJ said, here we are fully into this new story, and the music will reflect that. It'll be very fresh and engaging. Some of the seemingly minor changes Shore has made to his instrumental lineup, for example, could make a really notable difference.

[Sharkissimo 1,974]

Don't know about favourite themes, but I think I'll love the track 'Flies and Spiders.'

[Incanus 5,801]

Don't know about favourite themes, but I think I'll love the track 'Flies and Spiders.'

If there is anything like the Shelob music from RotK in there it will rock!

[Kühni 484]

.

[BloodBoal 7,541]

Don't know about favourite themes, but I think I'll love the track 'Flies and Spiders.'

If there is anything like the Shelob music from RotK in there it will rock!

I want a scherzo for shakuhachi!

[Incanus 5,801]

I'm currently writing my own end credits song...no title yet, but it's in d-minor.

Any chance for a Horns of Doom interlude with a thick synth cello and double bass ostinato that you need a chainsaw to cut through?

[Code 000. Destruct. 0. 4,260]

Don't know about favourite themes, but I think I'll love the track 'Flies and Spiders.'

If there is anything like the Shelob music from RotK in there it will rock!

Lately my favorite moments from the trilogy scores are ones like that. Shore's more wild side.

[Kühni 484]

.

[Incanus 5,801]

I'm thinking triangle solo to emulate the clinking of Smaug's scales. No electric cello as of yet, but maybe an electric kettle. And a serpent ostinato! C'mon, that's inspired.

Indeed. You should perhaps use electric toothbrush as well to emulate the buzzing of flies as an homage both to Shore's The Fly and to the Flies and Spiders track from the soundtrack.

[Kühni 484]

.

[Incanus 5,801]

Do electric toothbrushes buzz in consonance with d-minor?

You could always try some sound manipulation to make it so.

And then you should come up with a striking title for the song.

Something in the vein of

Burning For You Baby (The Wrath of the Dragon)

Desolation of My Heart

Flame and Whirlwind (of Love)

Rolling Down a River (In a Barrel)

I'm On Fire (a Dwarf's Tale)

Can You Smell the Burning Wood Tonight?

Shiver Me Timbers (A Lake-Town Love Affair)

My Heart Will Go There and Back Again

[gkgyver 1,647]

I'm currently writing my own end credits song...no title yet, but it's in d-minor.

Can we expect you to conduct it yourself on video?

So, this guy did the whole song on one day? Christ, didn't Torrini record several versions of Gollum's Song before it was decided on a version? Shore wrote Use Well The Days, and then did a radically different approach with Into The West, and even considered different guitars.

And now these things are recorded on one day.

I can't believe the sunken standards on this production.

[Code 000. Destruct. 0. 4,260]

Don't know about favourite themes, but I think I'll love the track 'Flies and Spiders.'

If there is anything like the Shelob music from RotK in there it will rock!

I want a scherzo for shakuhachi!

Scherzo for Shakuhachi and Spider-Web

[SafeUnderHill 205]

[Kühni 484]

.

[gkgyver 1,647]

Well, you can argue about the sunken standards, but that the song for such an anticipated movie is allowed to be done in a single day ...? Come on.

[Code 000. Destruct. 0. 4,260]

I wonder if Tauriel is going to have her own motivic identity. If she does, I have a feeling that it may be similar to Eowyn's. That lydian flavor seems to work very well for kick-ass female characters, to my ears anyway.

[Barnald 402]

I doubt the speed with which Sheeran's song was produced as anything to do with the production. More likely it concerns his schedule, since he seems to be on tour at the minute. The problem was picking him in the first place!

With Neil Finn, for example, it's evident with all that talk about the experimenting with Khuzdul lyrics that more thought went into it's production, probably because he had more time.

In general I'm not sure about all this sunken standards talk. The lack of miniatures and bigatures is a loss, as is the amount of green screen and CGI, but these were conscious decisions taken by the filmmakers since this is the direction major blockbuster cinema is going. On a production of this scale, which has been developed for something like 5-6 years, I wouldn't want to accuse anyone of cutting corners and putting in less effort.

[Jay 39,429]

I think the problem with the CGI was that AUJ opened too soon after principal photography finished and there wasn't enough time allotted to the VFX that there should have been, plus the fact that PJ was cutting and recutting the film from 1/2 of his story to 1/3 of it, likely led to the VFX shots all getting rejiggered and such. The newest trailer for DOS shows that with a whole year to work on the VFX this time, things have gotten much better and the disparity between miniatures and CGI is much smaller.

How long the song took to write is irrelevant, as is who wrote it. It's all about how good the song is! It's a good folk tune the majority of people will like or be impartial to. The Shore score-lovers here are dumping on it because they want things their own way and/or things to be more like the way LOTR was. But that isn't going to happen and you'll be happier if you just enjoy what we have and don't spent time regretting what could have been.

Judging the movie before you've seen it is just as dumb as judging the song before you'd heard it!

[crocodile 8,520]

It's funny when you say "production of this scale", because so much of the splendour and size lied in locations and actual sets in the previous films. This one feels a lot smaller.

Karol

[Code 000. Destruct. 0. 4,260]

I'm currently writing my own end credits song...no title yet, but it's in d-minor.

Can we expect you to conduct it yourself on video?

So, this guy did the whole song on one day? Christ, didn't Torrini record several versions of Gollum's Song before it was decided on a version? Shore wrote Use Well The Days, and then did a radically different approach with Into The West, and even considered different guitars.

And now these things are recorded on one day.

I can't believe the sunken standards on this production.

It is immensely unfortunate. But at least for me, I can always go back to LotR and enjoy its splendour. I know how "later chapters" can pull everything that came before down with them, but I'm happy to say it's not the case here. The nine years between the trilogies is long enough for me to be able to regard them as completely separate entities.

I'd really, really like to have a candid chat with someone on the production about those "sunken standards". It's completely hypothetical and I'd probably get shot down within a minute about not being allowed to have an opinion because I don't know all the facts, but I'd love to be able to ask something "Why the teal and orange?" or "Who thought of Tauriel?" etc. and not letting them get away with evasive answers.

I guess I would have to have a Nazgûl by my side in order to pull this off, but hey, it's nice to think about it.

I think those two are pretty easily answered. Just look up the teal/orange issue; there are plenty of fascinating discussions and explanations about it, and it's not just limited to the advertising of these films. And I think the filmmakers have been very clear about Tauriel's purpose. She is there to 1) add more feminine presence, which is never a bad thing, and 2) give more identity to the Mirkwood elves, rather than have just Thranduil, his son, and a bunch of faceless Firstborn.

How long the song took to write is irrelevant, as is who wrote it. It's all about how good the song is! It's a good folk tune the majority of people will like or be impartial to. The Shore score-lovers here are dumping on it because they want things their own way and/or things to be more like the way LOTR was. But that isn't going to happen and you'll be happier if you just enjoy what we have and don't spent time regretting what could have been.

+1

[BloodBoal 7,541]

[KK 3,308]

Right. Some of just don't think it's that good a song. It has nothing to do with Shores involvement of lack thereof, at least for me that is.

[Incanus 5,801]

Right. Some of just don't think it's that good a song. It has nothing to do with Shores involvement of lack thereof, at least for me that is.

Yup!

[Jay 39,429]

I meant more that it's worthwhile to spend time talking about the stuff you do like and ignoring the parts you didn't, rather than the other way around. There's been so much negative energy around here lately!

AUJ was a flawed film, but the score was great, and the DOS film looks better than AUJ in every way, and the score is going to kick ass!

The end credit songs never mattered to me much, most of the time I skip over them when listening to the scores.

[Sharkissimo 1,974]

Listen to the song, BloodBoal. I DEMAND YOU.

[Incanus 5,801]

I meant more that it's worthwhile to spend time talking about the stuff you do like and ignoring the parts you didn't, rather than the other way around. There's been so much negative energy around here lately!

AUJ was a flawed film, but the score was great, and the DOS film looks better than AUJ in every way, and the score is going to kick ass!

The end credit songs never mattered to me much, most of the time I skip over them when listening to the scores.

Well that is a sensibly positive attitude Jason.

And I fully endorse it myself.

Naturally the song got our attention since it is the first thing released from the film's soundtrack album. There is nothing else to discuss yet outside track titles and expectations but we would do well to try to keep it positive.

[Code 000. Destruct. 0. 4,260]

I meant more that it's worthwhile to spend time talking about the stuff you do like and ignoring the parts you didn't, rather than the other way around. There's been so much negative energy around here lately!

Exactly! JWFan, you're being verrrrry un-Dude.

[SafeUnderHill 205]

[Jay 39,429]

I love that the song stars acapella, then adds only guitars for a while, then gradually more instruments come in. Cool structure. And catchy melody!

I do hope in the film itself, the end credits begin with a little transition cue from Shore, which worked so wonderfully in ROTK and AUJ. Starting acapella right after the action stops and the credits begin would be a little odd, I think.

[BloodBoal 7,541]

[KK 3,308]

Agreed, but considering Pope said he had no involvement in the process, I don't think that's going to happen.

[Code 000. Destruct. 0. 4,260]

Really boring chord progressions and milquetoast lyrics (as I've discovered Crowded House/Neil Finn in the last couple of weeks thanks to Barnald, SOTMM has really grown on me), but as Lewya says I'm sure it'll help the score's sale figures/exposure. Much like how Adele's equally bland song helped Newman's rousing score for SKYFALL become the best selling Bond album since Barry's AVTAK (which in turn benefitted from the huge popularity of Duran Duran).

Really?? From what I've heard the Skyfall score was a little disappointing. That song was brilliant as a Bond song, I don't think people care about how musical it is, it just has to sound good.

Every complaint I saw about Skyfall was that the Bond theme didn't appear enough. But really it was perfectly done and Newman, like a skilled lover, understands the virtues of delayed gratification. And Adele's song was pretty unremarkable to me. Lyrically lame and musically whatever.

[Incanus 5,801]

Well we have nearly 130 minutes of music to explore on the Special Edition! I can't wait to delve into all the new stuff and revisiting of the older material from not only LotR but AUJ as well in the score. The new ideas and major new cultures and set pieces promise to offer such wealth of excellent music.

[SafeUnderHill 205]

[Incanus 5,801]

Well the people over at TORN seemed to be ecstatic about this new song if you look at the first few comments after the news of Sheeran's work on the soundtrack album.

[KK 3,308]

Aren't they usually ecstatic about everything in these films?

[SafeUnderHill 205]

[Incanus 5,801]

Aren't they usually ecstatic about everything in these films?

Well not always. Some of them are as critical as we often are here. But apparently not in this case.

I don't mean to offend people here but it makes sense. I get the impression lots of those with lots of musical knowledge here kind of look down on music like it.

I wouldn't say so. I didn't dismiss the end credits songs in LotR off-hand because they were not written all by Shore and actually like them quite a lot. Sometimes music just doesn't click with you and it hasn't got anything to do with your liking of a particular genre, like film music, or amount of musical knowledge.

[SafeUnderHill 205]

[Code 000. Destruct. 0. 4,260]

I don't mean to offend people here but it makes sense. I get the impression lots of those with lots of musical knowledge here kind of look down on music like it.

Shots fired!

[Alex Shore 83]

THE HOBBIT: THE DESOLATION OF SMAUG
ORIGINAL MOTION PICTURE SOUNDTRACK 2 CD SET DUE DECEMBER 10TH FROM WATERTOWER MUSIC

Featuring Original Music by Academy Award® Winner Howard Shore

With An Original Song I See Fire Performed by
GRAMMY Nominated Singer-Songwriter Ed Sheeran

2 CD Special Edition Soundtrack Also Available

(November 5, 2013 – Los Angeles, CA) – WaterTower Music today announced details of the soundtrack to “The Hobbit: The Desolation of Smaug,” a production of New Line Cinema and Metro-Goldwyn-Mayer Pictures (MGM), the second in a trilogy of films by Academy Award®-winning filmmaker Peter Jackson adapting the enduringly popular masterpiece The Hobbit, by J.R.R. Tolkien. The soundtrack will be released on December 10, 2013, three days before the December 13 release of the film, and will be available both digitally and as a 2 CD set. A Special Edition soundtrack, featuring twelve extended tracks, a bonus track, expanded liner notes and interactive sheet music will also be available. Fans will be able to preorder the album at both iTunes and Amazon on November 5.

The Hobbit: The Desolation of Smaug Original Motion Picture Soundtrack features the music of Howard Shore, one of film music’s most respected, honored, and active composers and conductors. "I’m looking forward to introducing you to Smaug," exclaimed Shore, who previously worked with director Peter Jackson on The Lord of the Rings Trilogy and on The Hobbit: An Unexpected Journey.

Jackson added, "Howard Shore's music soars and enriches way beyond its connection to our images, a unique sound like no other. He truly has created an epic musical world of his own. "

Shore’s music for The Lord of the Rings Trilogy has been performed in numerous concerts internationally. In 2003 he conducted the New Zealand Symphony Orchestra and Chorus in the world premiere of The Lord of the Rings Symphony in Wellington, New Zealand. Since then, the work has been performed nearly 300 times by the world’s most prestigious orchestras, and has been the subject of a book, The Music of The Lord of the Rings Films: A Comprehensive Account of Howard Shore's Scores.

Howard Shore’s music for The Lord of the Rings Trilogy stands as his most towering achievement to date, garnering three Academy Awards® for his music for those films, two for Best Original Score, and one for Best Original Song. Shore has also won numerous other honors for his film work, including four Grammys and three Golden Globe Awards, the Career Achievement for Music Composition Award from the National Board of Review of Motion Pictures, New York Chapter’s Recording Academy Honors, ASCAP’s Henry Mancini Award, the Frederick Loewe Award and the Max Steiner Award from the city of Vienna. He holds honorary doctorates from Berklee College of Music and York University, and is an Officier de l’ordre des Arts et des Lettres de la France and the recipient of the Governor General’s Performing Arts Award in Canada.

Included on the soundtrack is I See Fire, a new song created for the film by Ed Sheeran, the 22-year old British singer/songwriter and multi-platinum global phenomenon who was nominated in the prestigious “Song of the Year” category at this year’s 55th Annual Grammy Awards. Sheeran is also a two-time BRIT Award winner and recipient of the highly esteemed Ivor Novello award for best song musically and lyrically in the UK." “It was such an honor working with Peter Jackson on this song," Sheeran says. "Not only is he one of my favorite directors of my favorite films, The Hobbit was the first book I ever read as a child, so it means a lot that I get to produce music for the motion picture.”

Elaborating on the collaboration with Jackson, as well as filmmakers Fran Walsh and Philippa Boyens, Sheeran stated, “I was allowed complete freedom to create what I thought was fitting for the film, which is very rare, and Peter, Fran and Philippa were always on hand to give notes and pointers. The entire team down in New Zealand was out of this world. The film is amazing, I'm still geeking out that I've done a song for a Peter Jackson film set in Middle-earth!”

"Ed Sheeran is a true Tolkien fan, and also happens to be a brilliant singer-songwriter,” offered Peter Jackson. I See Fire is Ed's emotional response to the film. It's perfect."

“It is an honor to once again work with the tremendous Howard Shore, who has created the musical voice of Peter Jackson’s iconic The Hobbit and The Lord of The Rings films from the beginning,” stated WaterTower Music head Jason Linn. “And we are thrilled that the stars aligned for this collaboration with Ed Sheeran and his truly inspired original song for our soundtrack. WaterTower anticipates another exciting and successful soundtrack journey with these two exceptional musicians.”

The Hobbit: The Desolation of Smaug Original Motion Picture Soundtrack will be released on December 10, 2013. The track list is as follows:


DISC 1
1. The Quest for Erebor
2. Wilderland
3. A Necromancer (Bonus Track) *
4. The House of Beorn **
5. Mirkwood **
6. Flies and Spiders **
7. The Woodland Realm **
8. Feast of Starlight
9. Barrels Out of Bond
10. The Forest River **
11. Bard, a Man of Lake-town **
12. The High Fells **
13. The Nature of Evil
14. Protector of the Common Folk


DISC 2
1. Thrice Welcome
2. Girion, Lord of Dale **
3. Durin's Folk **
4. In the Shadow of the Mountain
5. A Spell of Concealment **
6. On the Doorstep
7. The Courage of Hobbits
8. Inside Information
9. Kingsfoil
10. A Liar and a Thief
11. The Hunters **
12. Smaug **
13. My Armor Is Iron
14. I See Fire performed by Ed Sheeran
15. Beyond the Forest

* Bonus track available on Special Edition Soundtrack only
** Extended Versions of these songs Available on Special Edition Soundtrack only

From Academy Award®-winning filmmaker Peter Jackson comes “The Hobbit: The Desolation of Smaug,” the second in a trilogy of films adapting the enduringly popular masterpiece The Hobbit, by J.R.R. Tolkien.

The three films tell a continuous story set in Middle-earth 60 years before “The Lord of the Rings,” which Jackson and his filmmaking team brought to the big screen in the blockbuster trilogy that culminated with the Oscar®-winning “The Lord of the Rings: The Return of the King.”

The screenplay for “The Hobbit: The Desolation of Smaug” is by Fran Walsh & Philippa Boyens & Peter Jackson & Guillermo del Toro based on the novel by J.R.R. Tolkien. Jackson also produced the film, together with Carolynne Cunningham, Zane Weiner and Fran Walsh. The executive producers are Alan Horn, Toby Emmerich, Ken Kamins and Carolyn Blackwood, with Philippa Boyens and Eileen Moran serving as co-producers.

Under Jackson’s direction, “The Hobbit: The Desolation of Smaug” was shot in 3D 48 frames-per-second and will be released in High Frame Rate 3D (HFR 3D) in select theaters, other 2D and 3D formats, and IMAX®. Production took place at Jackson’s own facilities in Miramar, Wellington, and on location around New Zealand. Post production took place at Park Road Post Production in Wellington.

New Line Cinema and Metro-Goldwyn-Mayer Pictures Present a WingNut Films Production, “The Hobbit: The Desolation of Smaug.” The film is a production of New Line Cinema and Metro-Goldwyn-Mayer Pictures (MGM), with New Line managing production. Warner Bros. Pictures is handling worldwide theatrical distribution, with select international territories as well as all international television distribution being handled by MGM. www.thehobbit.net

WaterTower Music, the in house music label for Warner Bros., has been releasing recorded music since 2001. Distributed through InGrooves Fontana, WTM has released over 150 titles, including the film soundtracks to “The Hobbit: An Unexpected Journey,” “Gravity,” “Man of Steel,” “The Dark Knight Rises,” “Game of Thrones,” and “The Great Gatsby Jazz Recordings” among others.

###

For Soundtrack information contact:
Joe Kara, WaterTower Music
watertowermusic@warnerbros.com


For Ed Sheeran information contact:
Glenn Fukushima, Atlantic Records
Glenn.Fukushima@atlanticrecords.com

[Jay 39,429]

Cool. Too bad iTunes beat them to it

[KK 3,308]

So it begins!