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


Jay

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The key is finding a place to host the file yourself, I guess. Then again, you can probably just attach them to your post like you would any other file, probably.

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"And the Ringwraith music there at the end has been cause for countless discussions over the past couple years, and angry accusations and everything else you can imagine. I think the idea there was just to add a bit of darkness to the scene. People are always wondering what that theme has to do with dwarves, Its a Mordor theme. But they always kind of forget who the other character is in that scene, Azog is aligned with the Necromancer who, spoiler alert, we learn a bit about what his story is, so theres that connection there. Is it a direct line saying, This theme goes to him because hes related? No. Its little bit more tenuous than it usually is. But that was the idea there. I cant speak for anyone else but to me the true versions of those moments are what we hear on the album, the original scoring that went with those. To me thats the one that makes the most sense musically. Some people love that moment, some people got very confused by it. I know that it was a strong thematic connection that became the head-scratcher for people. I certainly understand the confusion."

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He doesn't talk about the BOFA score at all in this interview!

Probably because it was conducted before the OST and film were out and he was still being so spoiler-conscious.

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The conductor of this interview didn't seem very familiar with the scores at all!

"Oh, Plan 9 wrote Misty Mountains? Wow!"

Film Score Monthly Online is publishing an interview with Howard Shore today, hopefully he talks about BOFA more in that one.

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When are the other parts of the interview going up?

And what is the point of splitting up the interview? Just to garner more traffic?

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With Pope saying

"The greatest challenge on this gig was being open to changing/adapting/ reimagining the music to a picture that was always becoming more refined and morphing---all the while, preserving the integrity Howard's music"

do you think it's possible that there is "adapted" music on the album, not initially written by Shore, or at least severely altered?

I'm asking because it always strikes me how the Tauriel/Kili music for Kili's death in "Ravenhill" is exactly the same as the recording heard in "Shores of the Long-Lake", only with an altered lead-out. Could it be ...?

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Doug Adams' article for FSM Online is up!

http://filmscoremonthly.com/fsmonline/story.cfm?maID=4989


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The Twilight of the Ring
Howard Shore reminisces about his journey through Middle-earth.
By Doug Adams



I'm starting to read it right.. .now!








I thought this passage was interesting:


DA: Correct me if you disagree, but it feels like there are more character themes inThe Hobbit than in The Lord of the Rings. Whereas Rings used a lot of cultural themes—themes that would represent full groups of characters—Hobbit often goes right to the individual. I mean both scores have both approaches, of course, but this is a little different.

HS: Yes, it was a different approach. You’re introducing these characters for the first time. I wanted to have clarity within the relationships—again for somebody who was starting with An Unexpected Journey and had never seen Lord of the Rings.

Gandalf was interesting. Gandalf’s role, it seemed, was different in The Hobbit than it was in The Lord of the Rings where he felt like a fleeting character who delivered information and then was gone. He does that in The Hobbit as well, but he also becomes more of a participant.

DA: He’s also fallible in The Hobbit. He makes mistakes. He’s hurt. It was nice to have a theme that treated him as a character and not a semi-omniscient overseer.

HS: Right. And again, remember the themes were for clarity. Here, you had another Wizard. Who’s Radagast and what’s their relationship? That set off a lot of thinking about how to use themes and motifs in this new trilogy.

DA: I wonder how this will all play for those who discover the six scores in chronological order—probably not in one day, but over a few days. It’ll be fascinating to observe how these themes move from the Hobbit’s character focus toRing’s cultural focus. It broadens so organically.

HS: It evolves, exactly. The Hobbit had a closer relationship with the characters than The Lord of the Rings—it’s a smaller story and, in a sense, a more intimate story.

DA: It has different stakes.

HS: So the thematic ideas—the leitmotifs—they interrelate differently. Lord of the Rings is a more expansive world than The Hobbit.


There's a lot of good stuff in here!

One more tidbit for ya'll

DA: Is it too early to discuss live performances of any of the Hobbit music?

HS: Well, with each one of The Lord of the Rings scores, creating the concert version took at least eight months. So, with these scores it would take a few years to reach the concert stage. It would take a few years to un-archive and prepare it. It’s kind of a little fresh right now. You know, it was a few years after The Lord of the Rings ended that the projection concerts started in ’08. So you can see there are a few years in there just in preparation.

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Anyways, I like the explanation of why The Hobbit has more character themes and LOTR has more cultural and world aware themes.

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Well, there is a new Bard theme as well and that's probably one of the coolest themes in this trilogy for me.

And there's Gundabad material.

Shore already mentioned there isn't any room for new themes because all the elements were already in place.

Karol

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