Jump to content

Howard Shore's The Battle of the Five Armies (Hobbit Part 3)


Jay
 Share

Recommended Posts

I can pretty much read all the notes on one sheet and it's basically Bard's theme. Just load the image on the twitter mobile app and zoom in.

2zf313r.jpg

However, I do applaud that particular cellist for using a German eraser.

Link to comment
Share on other sites

Well there you have it, the code name for Hobbit 3 is BR, which I assume is probably Big Rivers.

Curious there's a cue with a low number like 27, though. AUJ went from LR01 to LR135, and DOS was MR132 to MR272. If this cue was BR273 it would make more sense....

Link to comment
Share on other sites

Well there you have it, the code name for Hobbit 3 is BR, which I assume is probably Big Rivers.

Curious there's a cue with a low number like 27, though. AUJ went from LR01 to LR135, and DOS was MR132 to MR272. If this cue was BR273 it would make more sense....

Pretty sure it makes sense to the people in charge... I can't vouch for the validity of what I discerned from a blown-up and pixelated photo posted on Twitter and entered into a composition program. Might be 27SC, might be 273C, who knows. If anybody comes yelling at me because of some copyright bullshit, I'll punch them in the bracket.

Link to comment
Share on other sites

Well there you have it, the code name for Hobbit 3 is BR, which I assume is probably Big Rivers.

Curious there's a cue with a low number like 27, though. AUJ went from LR01 to LR135, and DOS was MR132 to MR272. If this cue was BR273 it would make more sense....

Pretty sure it makes sense to the people in charge... I can't vouch for the validity of what I discerned from a blown-up and pixelated photo posted on Twitter and entered into a composition program. Might be 27SC, might be 273C, who knows. If anybody comes yelling at me because of some copyright bullshit, I'll punch them in the bracket.

As I have no idea of the numbering logic on these scores, these extended pieces of music, I can't say one way or the other. But they don't always start from 01 and go on from that point?

Link to comment
Share on other sites

01 is the loneliest number.

Awww that is SO sad! Now my Sunday is ruined! :(

Link to comment
Share on other sites

Well there you have it, the code name for Hobbit 3 is BR, which I assume is probably Big Rivers.

Curious there's a cue with a low number like 27, though. AUJ went from LR01 to LR135, and DOS was MR132 to MR272. If this cue was BR273 it would make more sense....

Pretty sure it makes sense to the people in charge... I can't vouch for the validity of what I discerned from a blown-up and pixelated photo posted on Twitter and entered into a composition program. Might be 27SC, might be 273C, who knows. If anybody comes yelling at me because of some copyright bullshit, I'll punch them in the bracket.

Ah OK, I was on my phone earlier and couldn't really study the original JKMS pic, and only saw your engraving. Looking at the original, it looks like 278C to me, which makes sense, because BR273 is probably the prologue cue, and then BR278 is the first cue after all that and after the title screen, and Bard's theme being there would make sense cause surely the film starts with the attack on Lake-town.

Link to comment
Share on other sites

I was mostly referring to other scores that I usually seek the cue numbers for actually.

Why not just listen to the music?

I do both.

I listen to the score in full for probably over 30+ times before I even edit a shred of material....

The purity of the musical Journey is important to me.

Link to comment
Share on other sites

especially if there's 'inserts' or alternates, then we can see where the friggin hell things are meant to be heard. Then when all is ascertained, we can listen to it all. But you'd have had to have listened to it all in the first place anyway in order to order it correctly, eh?

Link to comment
Share on other sites

I think there is still more than a smidgeon of OCD in play with this stuff. ;)

Link to comment
Share on other sites

Nonsense. The recordings...will be preserved.

Publicly listenable In the highest quality format available? Or like the SW OUT?

Some things were not meant for our ears. We are not entitled.

Link to comment
Share on other sites

In response to the OCD thing:

Maybe. but I guess the idea that there is a logical progression from point A to point B is foreign to some members.

in response to the entitled thing:

You've got me there.

(though I still want to do this:... There are other forces at work in this world, Incy, besides the will of Shore and Co. perhaps we were meant to find the unreleased music. In which case, we were also meant to have it. And that is an encouraging thought." ;) )

Link to comment
Share on other sites

It does strike me that some fans of these scores react to them the same way as hardcore Tolkien fans react to his writings, in that they genuinly feel every single discarded page of Middle Earth material shouldd be released in it's original form, despite the fact that the largest amount of it are rough drafts, changed concepts, abandoned stories etc etc

Like we really need all this stuff and without it it's impossible to truly appriciate Tolkien's Middle Earth.

Link to comment
Share on other sites

Well there you have it, the code name for Hobbit 3 is BR, which I assume is probably Big Rivers.

Curious there's a cue with a low number like 27, though. AUJ went from LR01 to LR135, and DOS was MR132 to MR272. If this cue was BR273 it would make more sense....

Pretty sure it makes sense to the people in charge... I can't vouch for the validity of what I discerned from a blown-up and pixelated photo posted on Twitter and entered into a composition program. Might be 27SC, might be 273C, who knows. If anybody comes yelling at me because of some copyright bullshit, I'll punch them in the bracket.

Ah OK, I was on my phone earlier and couldn't really study the original JKMS pic, and only saw your engraving. Looking at the original, it looks like 278C to me, which makes sense, because BR273 is probably the prologue cue, and then BR278 is the first cue after all that and after the title screen, and Bard's theme being there would make sense cause surely the film starts with the attack on Lake-town.

So if you're reading this correctly, it would appear that the film does not go immediately into Smaug's attack on Lake-town, but has a prologue before it? This would be good news if so. Hopefully it's Thorin's aforementioned meeting with Dain and the other Dwarf Lords at Ered Luin.

Link to comment
Share on other sites

In response to the OCD thing:

Maybe. but I guess the idea that there is a logical progression from point A to point B is foreign to some members.

in response to the entitled thing:

You've got me there.

(though I still want to do this:... There are other forces at work in this world, Incy, besides the will of Shore and Co. perhaps we were meant to find the unreleased music. In which case, we were also meant to have it. And that is an encouraging thought." ;) )

Yes of course the interest in the process and evolution of the music is entirely valid. Undeniably such process produces some fantastic intermediate compositions before the final stage. But what I am saying is that we also can't diminish the later compositions that ended up in the film just because they came after what the composer initially or originally intended. In my opinion in the case of pure editing jobs (which e.g. FotR had in places) it is perhaps more valid to raise the issue of original VS final version though as it is not always a case of composition transforming into something else but mere scissor work done by the film makers in the process of crafting the film.

It does strike me that some fans of these scores react to them the same way as hardcore Tolkien fans react to his writings, in that they genuinly feel every single discarded page of Middle Earth material shouldd be released in it's original form, despite the fact that the largest amount of it are rough drafts, changed concepts, abandoned stories etc etc

Like we really need all this stuff and without it it's impossible to truly appriciate Tolkien's Middle Earth.

That is actually a very deft analogy. And here as with the music the interest is focused truly on the process and not the end product but the process itself is somewhat different in mechanics and canonization of music VS text. It causes perhaps somewhat less controversy with the writings than it does with the music. I know there are 5 or 6 different iterations of how Tolkien sketched out the search for the One Ring by the Ulairí, but the one in the novel is the canon version for me and the other versions just add some minute pleasure in discovering the process that went into charting this part of the narrative. I might prefer parts of it to the original but I still do not have any issue with the final product. But as you say it really does not diminish the final version or lessen the enjoyment of the novel if I didn't know of them.

Link to comment
Share on other sites

Yes, I somehow doubt it would start with the attack sequence.

Karol

The way PJ has talked about diving straight in, I was somewhat concerned that it would break from the tradition of previous films by having a flashback prologue. Of course, just because Bard's theme is apparently heard just after the prologue doesn't mean that the prologue does not show Smaug's attack - it could foreseeably comprise a few minutes of his wholesale destruction of Lake-town, with the Bard narrative picking up shortly after. Still, that would mean that a major event would probably be over 5 minutes into the film proper, when I could see PJ wanting to stretch it out for closer to 15.

A prologue featuring the meeting in the Blue Mountains would work well, as it would introduce Dain quickly, show the dynamic between him and Thorin, and set-up some of the politics later on in the film.

Link to comment
Share on other sites

Well, you know, it can be postponed until later in this story. I mean, Smaug could be stuck in traffic or something. Or he's having a Lost-like flashbacks in the middle of his flight. There, half of the film sorted! ;)

Karol

Link to comment
Share on other sites

I hope they flesh out Smaug's family in the prologue of the last film so as to make his appearance doubly tragic. Smaug surrounded by friends and family in the happy years of his youth, before the dark times, before the treasure of Erebor.

Link to comment
Share on other sites

Yes, I somehow doubt it would start with the attack sequence.

Karol

The way PJ has talked about diving straight in, I was somewhat concerned that it would break from the tradition of previous films by having a flashback prologue. Of course, just because Bard's theme is apparently heard just after the prologue doesn't mean that the prologue does not show Smaug's attack - it could foreseeably comprise a few minutes of his wholesale destruction of Lake-town, with the Bard narrative picking up shortly after. Still, that would mean that a major event would probably be over 5 minutes into the film proper, when I could see PJ wanting to stretch it out for closer to 15.

A prologue featuring the meeting in the Blue Mountains would work well, as it would introduce Dain quickly, show the dynamic between him and Thorin, and set-up some of the politics later on in the film.

You're reading to much into what PJ said, he said the exact same thing about DOS. He just means you can go straight into the story without introducing he characters, there'll still be a prologue.

Also, Conrad Pope is heading back to LA temporarily. Are the sessions on pause, or will another person take to the podium temporarily?

Looking at the NZSO calendar again, it seems they have a few events coming up later this week, so it would make sense if things resumed around 4th September. They're free from then until the 10th October.

Link to comment
Share on other sites

Not particularly different to the schedule for Unexpected Journey, with recording blocks interspersed with writing blocks.

I hope there won't be any writer's blocks. ;)

Link to comment
Share on other sites

Not particularly different to the schedule for Unexpected Journey, with recording blocks interspersed with writing blocks.

Never knew he schedule before. Is it like, they record some music, discuss what they think (feedback), write some more then record again etc?

I am sure the smaller tweaks can be handled on the podium by Mr. Pope but the larger issues warranting rewrites might require time to address.

Link to comment
Share on other sites

What?

The Hobbit films going from 2 films to a trilogy in mid production, resulting in a radical reshaping of the first film, in particular it's final act. That's why so much music in the last part of the Hobbit is rescored or edited in some way.

Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
 Share

×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.