I didn't really like the LOTR scores at all (I wish I *did* like them though), but based on the music in the trailer, I think I might like those for the Hobbit more. Here's hoping...
Thanks for posting. This looks great! Martin Freeman seems like a perfect fit for Bilbo and Shore's score sounds wonderful. Love that theme building out of the Dwarves' song and the hint of the ring theme at the end.
I didn't really like the LOTR scores at all (I wish I *did* like them though), but based on the music in the trailer, I think I might like those for the Hobbit more. Here's hoping...
I'm surprised to hear you say that as I find the trailer music to be a perfect extension of Shore's music from the previous films. What is it about this particular piece that piqued your interested and that might have been lacking the previous three scores?
I didn't really like the LOTR scores at all (I wish I *did* like them though), but based on the music in the trailer, I think I might like those for the Hobbit more. Here's hoping...
I'm surprised to hear you say that as I find the trailer music to be a perfect extension of Shore's music from the previous films. What is it about this particular piece that piqued your interested and that might have been lacking the previous three scores?
-Erik-
Yes, Erik: it IS odd. I don't like Shore's first scores primarily because they are so filled with choral dissonance. I like melodic harmony. However, I DO like SOME parts, specifically the hobbits' theme, that of Rohan, "The Breaking of the Fellowship," and some other isolated sections (the latter half of "Isengard Unleashed," for example). Someone once told me I would appreciate the scores more after seeing the film, and I in part believe them.
Of course, I know some would consider my "gripes" with the score to be akin to blasphemy, but what can I say? There is no truly-universally loved score.
From the trailer music, I like the rendition of the hobbits' theme at beginning; then I love the glorious orchestral version of dwarves' song, starting at 1:48: this rendition is AMAZING. This kind of music appeals to me.
Here's what I predict, unfortunately (for me): the Hobbit scores will be very similar to those for LOTR—they will be technically superb, yet filled with much dissonance and too little melodic harmony and beauty.
However, perhaps the overarching concept of Adventure (as opposed to Danger) will be found in the score, and I will love these two scores.
Too bad the release date is so far off. I will probably get the scores anyway.
I'm curious about something. Jackson rejected Shore's score for King Kong and hired JN Howard. I just figured Shore would not come back and work for Jackson again. On the other hand, his music and themes are such strong reminders of the LOTR trilogy and characters that it makes sense to keep Shore. Maybe there were no hard feeling over King Kong. I'm just curious how fences were mended. Anyone know?
Jackson rejected Shore's score for King Kong and hired JN Howard. I just figured Shore would not come back and work for Jackson again. On the other hand, his music and themes are such strong reminders of the LOTR trilogy and characters that it makes sense to keep Shore. Maybe there were no hard feeling over King Kong. I'm just curious how fences were mended. Anyone know?
Anyone with specific knowledge is not saying. But these people are professionals. While we fans tend to view score rejections as unforgivable betrayals, composers who've been around a while understand that this is the nature of the beast. The reality is that not all creative collaborations will always work out.
The full story of what happened for "King Kong" is known to only a few, but it's quite possible the parting was mutual and amicable. Perhaps Shore wasn't satisfied with how it was working out, either. This happens. Possibly, Shore went down the agreed upon road with Jackson, and Jackson decided it wasn't working. This happens, too. (Until you put music to picture, it's all just theory.) Shore is famously methodical (he orchestrates his own scores), and if a new approach was deemed necessary at the eleventh hour, he may well have agreed that he could not possibly do an all-new score in that timeframe. Or maybe, at the end of the day, Jackson just said "Howard, I love you, but this is not working for me, I need to try something new." Again, not an unforgivable sin, just a creative and necessary decision to protect a movie that cost upwards of $200 million.
Obviously, rejections can end collaborations forever. But by no means is that the only way things have to play out. And obviously, "The Hobbit" is evidence of that.
It was interesting how King Kong destroyed the orchestra pit though. At the time I thought... "Gee, when Jackson rejects a score he doesn't kid around!"
Wow. Great trailer and more great music. Damn, still 12 months to go.
Loved Shore's work on the first films - it seemed like the material really fired him up and got into him to create an entire musical world. Really looking forward to going back into that world both through the films and Shore's music. I wonder if the fact that the music seems to have been a part of Shore's life since Lord of the Rings with the symphonies, liver performances and whatnot, has helped him get back into the musical world he created.
Not very impressed by the trailer (or the silly fanservice of connecting the previous films to this one) but I do rather like the motif (for what I assume is) for the dwarfs.
