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Posted

What is the link to the message board or email or whatever that you can contact the guy that was in charge of working with Shore to compile the complete recordings?

I just want to ask if they can post the original cue sheets of the recording sessions with a list of ALL of the cues (their slate titles plus original cue title- for both the theathrical and the follow-up EE sessions)

Thanks,

~Andy

Posted

I doubt anyone would *want* that!

How does that enhance your listening pleasures?

Posted

The scoring session were so chaotic (controlled chaos, but chaos nevertheless) that I doubt there's a definite list.

Posted
I doubt anyone would *want* that!

I would. :dance:

How does that enhance your listening pleasures?

It wouldn't, but I have a slate number fetish.

Posted
It would be impossible for most of the music, since the choral and vocal parts were recorded completely separatly from the orchestral score.

The vocal parts, yes. But didn't they make it a point to record the choir along with the orchestra, unlike common practice? I think I've read that somewhere.

Posted

As far as I am aware the choir was always recorded separately.

Posted

Sorry... The question was not whether anyone else wanted it... or what they assumed the answer would be...

The question was - how can I contact that person? I know there was a forum or an email that people were able to ask him questions.

Thanks,

~Andy

Posted

D'oh.

I guess what I remember about the "no overdubbing" (or whatever) decision was related only to recording the orchestra as a whole, then.

Posted
Sorry... The question was not whether anyone else wanted it... or what they assumed the answer would be...

The question was - how can I contact that person? I know there was a forum or an email that people were able to ask him questions.

Thanks,

~Andy

I believe that would be the MovieMusic.com forums.

Or send him an e-mail via the adress he mentioned on FSM's TTT preview podcast.

  • 3 years later...
Posted

I am curious, has anyone attempted to make some sort of complete list of all known cues from all three LOTR movies that are not present in the Complete Recordings (regardless if they are alternates, properly edited, etc)? (including the theatrical edition, extended edition, from video games, original soundtracks, dvd menus & documentaries, etc?)

Thanks,

Andy

Posted

I am curious, has anyone attempted to make some sort of complete list of all known cues from all three LOTR movies that are not present in the Complete Recordings (regardless if they are alternates, properly edited, etc)? (including the theatrical edition, extended edition, from video games, original soundtracks, dvd menus & documentaries, etc?)

I might attempt this after listening to the 'rarities'.

Posted

deluxed editions of the OST contain somethings

Is Farewell to Lorien Two Towers Limited Edition version different from the one in FOTR CR ? (Apart from the fact that it is certainly shorter (being the theatrical version of that cue)). Because that's the only "additionnal" music I can think of in these Deluxe Editions (I don't know what's included in the DVDs of these editions, though)

Farewell to Lorien track on the Limited Edition of TTT soundtack is comprised of the actual FotR EE music for the extended Farewell to Lorien scene which is edited together with the Diminishment of the Elves theme from the earlier scene where Aragorn visits his mother's grave in Rivendell. Both are on the FotR Complete Recordings. Other than this track, which itself is not new music anymore, the Limited Editions do not offer any extra music as far as I know.

Posted

P.S. : What sources for LOTR unreleased music exist, apart from the EE DVDs and BFME video games ?

Some previously unused and alternate cues are present in the 'Return of the King - Live to Projection' score. Most were not recorded at the sessions, but I believe a few were. While interesting, they were not substantial enough to make it to the rarities.

Posted

isnt that unused ROTK credits song from the deluxe ost dvd or something?

Ah yes there is the performance of Use Well the Days on the RotK Limited Edition soundtrack DVD that we discussed a few pages ago in this thread.

  • 2 weeks later...
Posted

I am curious, has anyone attempted to make some sort of complete list of all known cues from all three LOTR movies that are not present in the Complete Recordings (regardless if they are alternates, properly edited, etc)? (including the theatrical edition, extended edition, from video games, original soundtracks, dvd menus & documentaries, etc?)

I might attempt this after listening to the 'rarities'.

I'll be making a start on this shortly!

  • 7 months later...
Posted

I have just finished combing Doug's book for every scrap of cue names and slate numbers, and here is the result of my work:

ROTK:

The Grace of Undómiel/Minas Tirith (602)

The End of All Things (926)

TTT:

Samwise The Brave (9a)

FOTR:

The Shire [m4]

Many Meetings (m55)

Cave Troll/Mithril Vest/The Second Hall (m94, m95, m95)

Khazad-Dum (m96)

The Fighting Uruk-Hai/The River Anduin (m120)

Posted

While I understand the meticulousness of your efforts, does it really matter if we do not know the slate numbers.

Posted

The ROTK numbering refers to date of composition (602 - June 2nd) and not to the position of a piece within the film.

The 'm' numbers for FOTR are from the initial spotting of the film ('Breaking the Fellowship' is M140) - these were updated before the sessions to use the reel number/letter format (for example 'Boromir' is 7N, 'A Knife in the Dark' is 4A, 'Concerning Hobbits' is 1G).

The 'Live to Projection' performances use a different numbering scheme again, with titles drawn from the Complete Recordings and the original cuesheets.

  • 4 years later...
Posted

LR = AUJ

MR = DOS

BR = BOFA

 

Cues are numbered based off the scene # of the start of the cue. So the very first cue in AUJ in LR01. DOS starts at MR136, etc. Remember that "Scene 88" featurette from AUJ, for the warg chase? Well, that's cue LR88 :) When cues get broken up for recording, each piece gets a letter after it, so there's for example an MR190a, MR190b, MR190c, MR190d, and MR190e.

 

1003 in that pic means he wrote the cue on October 3rd

 

1005 means it was orchestrated on October 5th.

 

Insert 165-171 means they are recording an insert that replaces bars 165 to 171 of the original MR272B.

 

Incidentally, MR272B is the second half of My Armor Is Iron

Posted

Haha interesting. Thanks for explaining all that! I wonder if any other composers have unconventional slate numbering. Or if anybody else uses Shore's format.

Posted

This isn't Shore's standard format; Just the way he did the Hobbit tril

Posted

What a waste of a post.

 

Trilogy.

Posted

I'm sure its just what made the most sense to him for this project >shrug< Who knows!

Posted

An embryonic form of this numbering system was used on The Return of the King and further refined for The Hobbit. Using reel/part numbers is tricky when a film is as editorially fluid as The Hobbit was in post! The use of dates and letters for composition, orchestration and conform makes it easier to keep track of the latest versions of each composition.

Posted

Fellowship and Two Towers were more straightforward. Fellowship compositions were given simple 'm' numbers during spotting which were converted to reel numbers and part letters as post-production progressed (The Great River started life as m135 and became 8G).

Posted

Would there be any harm in you posting a list of all the Fellowship slates and names here?

Posted

When it comes to Fellowship, I think we basically know all there is to know.

 

BOFA is the big mysterious one.

Posted

Hopefully bits of BOFA will make more sense when the EE is released.

Posted

Would there be any harm in you posting a list of all the Fellowship slates and names here?

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