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Do you *really* think Williams' SW PREQUEL Trilogy is as good as Shore's LOTR?


Ricard

Howard Shore's The Lord of the Rings vs. John Willams' Star Wars Prequel Trilogy  

52 members have voted

  1. 1. Which one is better

    • Howard Shore's The Lord of the Rings Trilogy (The Fellowship of the Ring, The Two Towers, The Return of the King)
    • John Williams' Star Wars Prequel Trilogy (The Phantom Menace, Attack of the Clones, Revenge of the Sith)
    • They're both equally good


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I love listening to Shore's LOTR scores. They are providing excellent background music for driving through BC and Yukon (and using my camcorder for quick movies). But I feel weird listening to the prequel scores.

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Prequels, easily. They are more varied, active, and interesting. LOTR is awash in "epicness", but is so sonically saturated, it feels like a musical wet blanket.

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In places - few and far between ones, but definitely harming ones - it does, I agree with you.

Hence my sickening dislike of the countless Hobbit's courage/Shire theme being regurgitated at increasingly regular intervals the further into the trilogy you get.

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Correct, and it's only in AUJ a lot because of director retracking. The Shire theme only appears in DOS twice, and briefly each time.

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Indeed. And due to the material being scored, far nobler than anything John wrote for the SW prequels.

The Order 66 sequence is probably the noblest (and simultaneously tragic) music from those films, but that's more thanks to the mythology of it and what it represents than the way it's actually executed in the film. And of course the much beloved moment when Qui-Gon is cutting through the blast door....

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Lee didn't like the Galway bits in Mordor?? Those were some of the best emotional bits!! Among the trilogy's noblest moments!

I love the Galway parts, they're some of the most affecting score I've ever heard. So no, that not those bits.

I just find the over reliance on the Hobbit melody gets too bloody much after the umpteenth time watching/listening.

Ooo I feel sad. HOBBIT THEME

Ooo I feel reflective. HOBBIT THEME

Ooo I feel bittersweet. HOBBIT THEME

Ooo I feel renewed. HOBBIT THEME

Ooo I feel appreciated. HOBBIT THEME

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I disagree with you there Lee. I always thought Shore handled the Hobbit theme with variety and subtlety, especially in TTT. The only part where I might see the point you're making is for the epilogue material for ROTK, but that's mainly because of the content.

It does become rather excessive in AUJ, but I think PJ deserves a good amount of blame for that.

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Lee didn't like the Galway bits in Mordor?? Those were some of the best emotional bits!! Among the trilogy's noblest moments!

I love the Galway parts, they're some of the most affecting score I've ever heard. So no, that not those bits.

I just find the over reliance on the Hobbit melody gets too bloody much after the umpteenth time watching/listening.

Ooo I feel sad. HOBBIT THEME

Ooo I feel reflective. HOBBIT THEME

Ooo I feel bittersweet. HOBBIT THEME

Ooo I feel renewed. HOBBIT THEME

Ooo I feel appreciated. HOBBIT THEME

Which one?

Rural? Pensive? Hymn? A Hobbit's Understanding?

Indeed. And due to the material being scored, far nobler than anything John wrote for the SW prequels.

Arrival at Coruscant and The Meeting of Anakin and Padme beg to differ!

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I think the only statement of the Shire theme I don't really care for is the one in TTT for the "Samwise the Brave" conversation.

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I think the only statement of the Shire theme I don't really care for is the one in TTT for the "Samwise the Brave" conversation.

My favourite statement is the original and best: "Don't you leave him Samwise Gamgee! And I don't mean to. I don't mean to."

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Unfortunately the melody was gradually watered down after that, through repetition.

Still great scoring in the scheme of things, but come guys... we've got another year till Star Wars 4.

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I think the only statement of the Shire theme I don't really care for is the one in TTT for the "Samwise the Brave" conversation.

My favourite statement is the original

? What evidence you have

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That its the original.

My dear, technically minded Faleel. I merely alluded to the true subconscious first weighted impact the melody made upon its audience. The moment when the film earned its emotional gravitas.

Lee - dismisses the idea that Binary Sunset is the first time the audience "feels" Luke's journey.

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Although I've listened to, and will probably continue to listen to, the SW prequel scores more over the years, there is a piece of me that wants to admit that the LOTR scores are better. I should revisit them, haven't given them a spin in quite a few years. Never did pick up the complete recordings for ROTK though.

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I think the only statement of the Shire theme I don't really care for is the one in TTT for the "Samwise the Brave" conversation.

Ha wow, really? That's one of my favorites, especially the harp accompaniment. Very simple and moving. Goes to show, I guess.

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Still a great scoring, but come guys... We've got another year till Star Wars 4.

Star Wars 4?

Star Wars

Empire Strikes Back

Return of the Jedi

Han Solo's Fixation

I believe you are talking about the Star Wars Christmas Special.

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Is it true all tge CR sets are discontinued? Luckily I bought all three two years ago. They are my most treasured possessions. Those and my family...maybe...

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I think Doug Adams mentioned that they are quite an expensive undertaking to manufacture so there hasn't been a new batch in ages. I don't know if WB Music (or Water Tower Records or what the heck they are today called) has decided to discontinue their manufacture entirely though. Let's hope not.

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Again I certainly hope not. The CRs have been extremely good sellers so it is a bit odd they have not been re-pressed in awhile.

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I have the complete recordings and slogged through all of them just once. I've made it my life's mission to collect every significant film score box set in existence (with the exception of that overpriced Elfman/Burton box), so these make for nice shelf items.

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The Order 66 sequence is probably the noblest (and simultaneously tragic) music from those films, but that's more thanks to the mythology of it and what it represents than the way it's actually executed in the film. And of course the much beloved moment when Qui-Gon is cutting through the blast door....

For me, It Can't Be (my favourite ROTS cue) trumps both.

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The Order 66 sequence is probably the noblest (and simultaneously tragic) music from those films, but that's more thanks to the mythology of it and what it represents than the way it's actually executed in the film. And of course the much beloved moment when Qui-Gon is cutting through the blast door....

For me, It Can't Be (my favourite ROTS cue) trumps both.

Yeah the whole build-up of that cue is fantastic. That and Lament are the top pieces from RotS for me. And to think JW's initial instinct at the spotting sessions was to go with march-type bellicose music for the Order 66 scene. I am glad they opted for the much more fitting point of view of accenting the tragedy rather than the action.

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