The Music of the Hobbit (making-of)

[auto-generated subtitles with a few corrections] what is Gandalf theme song it was a fellowship theme anybody know that two the fellowship two you should be honey To the bridge of Khazâd-dûm ! there's been a few times in the past decades where film music has really broken through into the popular consciousness and I think Howard Shore's work on the middle-earth films it's a very rare and very special thing throughout the Middle-Earth series beginning with the Lord of the Rings and now continuing into Hobbit, Howard Shore's score sort of hit the zeitgeist at the right time it's emotional then we look for his coming from the White Tower and you will not return the last of our kind it's dramatic and it's got a lot of heart and I think will continue to be so the best known scores in cinema going forward for decades setting out to create the Hobbit we wanted to bring this world into the world that we had already established with Lord of the Rings the first Hobbit movie an unexpected journey covered a lot of very familiar territory with Hobbiton and the hobbits and the ring and Gollum and Rivendell which all required us to reprise themes I mean we didn't want to write a new Rivendell theme there was a great score but um... The most exciting thing really about the second movie is that you know there wasn't hardly any old themes in it our journey goes into unchartered new territory and for the first time in the Hobbit trilogy Howard was able to write a brand new score from start to finish this is the Howard Shore score that I was certainly waiting for Tolkien's writing is very complex probably the most complex fantasy world ever created but filled up with so many ideas of places and cultures so you needed all of these themes for clarity storytelling a very big component of Howard's score is the use of themes to anchor you and remind you of a character and where you are in the story I think the score for film 2 has more new themes than we've had in a single film before even in the original trilogy Howard wrote 19 themes and all of those were approved by Peter before he was scoring anything to picture she'll be August write this because I think it's good to go the way that we work with Howard is that he starts to generate new themes if we want to new theme a new character you know we're going to a new place he generates those themes without any picture he literally writes a one and a half minutes synth mock-up once that theme exists and everybody's happy with it then it's so easy to then take their theme and apply it to the different scenes that you want to use it usually I spend a few months just writing the thematic ideas and I start with Tolkien's writings the words to me always inherently have everything I need to get started the lost paths no other idea would come into Bilbo's tired head he just sat staring in front of him at the endless trees and here we have three really good screenwriters so you take away a lot from the screenplay if this is to end in fire then we will all burn together looking at beautiful conceptual drawings of Alan Lee and John house is a great source of inspiration and I like to visit this app seeing the actual creations of Richard Taylor and what a workshop seeing the actual designs brought to life in the studio see the director in action yeah Peter describing an image in the green screen can be enlightening he spins around on you and this huge big buddy of the Dragon kind of smooth it in its way between one rule and the other but having to sit on that sometimes I like to just dream of it on my own it's a little bit like ours you know you don't want to take a peek behind the curtain and see how everything's being done do you want to stay in the magic of it I'd like to write the same is first and then go into the scoring process the themes and motifs are fully formed in the past with these films what has happened is that Howard would write the music he orchestrates the music delivers the final scores to the players and is up there conducting the LPO in London once again on the Lord of the Rings we were able to go to London from New Zealand and go to Abbey Road you know I should sit in on every single music recording session you would spend the entire scoring time in London so that he could be on the stage helping shape the performance of the music I just wondered if there was any way the 15 could start after the shot at : we moved back on Frodo again because it goes Frodo we thought we were going to be able to go to London when we did the first Hobbit movie but we just couldn't figure out how to leave the country for six weeks the post-production in New Zealand was so intense that we just couldn't get there I think we want to lower everything for the Goblin King's line so it really stands out Peter is a guide for not just music but for everything do you want one shot at the doors running towards us any process that Peter Jackson will be away from technical or creative decisions that last lack Springs off a bit lightweight that one the end those processes would suffer I'm going to get it as a violence shooter well the same thing happened for us because he wasn't able to come to London and it was a big struggle because it meant that he wasn't able to help in shaping the score and the way he had on the original trilogy so getting into film too we now knew that we're not gonna get Peter to come to London so how do we do it how we take the mountain to Mohammed so this is time under decision of schmear we bought the scoring to New Zealand we did that in the Whittington town hall with the New Zealand Symphony Orchestra we also built a system and a team so that Howard can stay in New York where he lives and works and really focus on that one thing that nobody else can do and that is compose breaking the tasks down so that James Sizemore and Conrad Pope could do the orchestrations how it is usually composing two minutes of new music each day and we developed the sounds and textures under his supervision it's quite a team effort really so to kind of work like that for me James to Conrad and then Conrad conducting and what an Orchestrator can do is take a composer shorthand and help him determine the part each instrument in the ensemble will play this is a massive test because each bar is so contained with so much information of dynamics how loud you play how long you play well they're not as stark Otto marcado is all these things that are just overwhelming the amount of information and that's one bar and these pieces of music that howard has written will have 400 bars in them this is an example of one violin part from one cue we prepared for The Hobbit film we don't get to see the parts ahead of time and we arrive and it's just on our music stand this is what we get and then we start reading and you know sometimes it's a bit easier but it's it's just that's just what we do there's no real rehearsal we just come in and we do our job which is to play everything perfectly first time here we go for insanity back recording tool here lies our path through Mirkwood Mirkwood it's a forest that's kind of hallu cinogenic almost you get lost in this tangle of trees and fungus and in the music and actually get inside the heads of the characters more effectively than just about anything Mirkwood definitely had a clear identifiable tune to it it's a very simple straightforward line that tends to get lost in the texture but there's this recurring idea and then they wander off the path and they lose that theme and they lose that clarity everything becomes jumbled and hypnotic that music was made to make you feel... to make you feel a bit woozy Howard has a very impressive ability to really shape the sound using some aleatory methods and the music a Lee toric in a very rough sense boils down to there being some improvised element of the music that creates this very bizarre but beautiful texture we were great debt to the composers of the fifties the Polish avant-garde really was just where it really became more well known technique modern composers like fender etske that really stressed that type of writing essentially the players have a box with some notes in it they can play any of those notes in any order in any rhythm they want and they don't have to play them all they can pick a few they can make one but the main thing is to get some randomness in it it's almost like a scene from Dante's hell you could actually hear the tormenting of the various souls that human element that we bring to it a lot of the work to create the sense of what a trippy kind of experience that the doors going through was obviously going to be done through sound strokes or whatever you do on the water phone whatever it is you do to that thing we wanted to invoke some sound of things falling off the trees and think slipping out of your mind the orchestra could just come up with some whatnot sound effects but almost like musical sound effects stringed instruments being played in ways they shouldn't be played a whole lot of different or strange percussion sound bowed cymbals the name for this is random stuff and fuse it together into what i s Mirkwood further in honor Mirkwood is the Woodland Realm which is the elvish kingdom of Thranduil when the Woodland Elves are introduced there has to be a little bit of cohesiveness and continuity to tie them together with all the other elf cultures there to have the low Florian elves we have the Rivendell elves Rivendell has had its own structure its own harmonic language you would have based around a much more formal type of system of harmony and then you move over and Lothlorien which sounds slightly Arabic if you will but now you have this whole new elf culture which has their own heritage behind it when you get to the woodland realm things start to get a little bit more complex in terms of "Are these friends ? Are these foes ?" I offer you my help they're sort of both light and dark at the same time and I think the theme actually does represent that and show that I do not think you would allow your son to pledge himself to a lowly Silvan elf tauriel is one of the few elf characters to have her own theme where either elf royalty didn't have thematic music specifically created for them like Elrond or Galadriel they have hints of their culture connected to them but Tauriel has her own motifs her theme sort of draws on a little figure that you often hear at the end of the theme for the woodland realm so that [music] is very similar to the [music] same idea music describes her movement and a fluid it was one of my favorite musical themes and these films so far is Killi and Tauriel's theme it's absolutely beautiful this theme was based on the concept of duality in the beginning you have a duet for flute and oboe you know two different voices conversing she worries she thinks I'm reckless Are you ? basically have a relationship theme here that's between two cultures that don't traditionally go together this connection that falls between the two of them it's doomed from the beginning but it's no less beautiful for being doomed one of the favorite things that I get to do working on these films is to work with Howard Shaw writing lyrics for Howard when he needs choir It is Mereth-e-nGilith the feast of starlight all light is sacred to the Eldar but Wood Elves love best the light of the stars when she speaks about how elves love all light above all else they love starlight and the notion that this young Silvan elf whose world has probably been confined by this dark woodland and who has never really ever ventured out into the world has yet in a way spiritually gone beyond the confines of the world and walked as she says I've walked there sometimes beyond the forest and up into the night that became the theme of the song and then me David - David Salo who does all our translations the chorus is two different languages you have an elvish language and you have whose duals the dwarvish language kind of going back and forth Colin responds this soprano with the London voices grace who sang that I'd have to say one of the best Sopranos I've ever heard she did an amazing amazing job and then by the time we actually hear that tauriel and Kili theme developed when tauriel feels Kili attend it's so much more powerful because it's kind of had the chance to grow and mature along with those characters it's like a fragile thing the way they connect and I think Howard just perfectly captured that with the theme that he wrote at its heart you're using limit material that that till is telling the story Do you think she could have love me ? the music is really an emotional guide and Howard scores have been a big part of the success and the connection that the audience has with these films the journey on the Hobbit's score has been has been different for a number of reasons and for a film - we knew we're not gonna get Peter to come to London so we decided that we would launch a scoring adventure if you will and while it's in Town Hall now this building is exactly a hundred years old and it's an auditorium built before anybody recorded sound it's built for live performance and as such the acoustics are incredibly good soon after it was opened it was rated as one of the top 10 auditoriums in the world their town hall hosted queen Elizabeth II on her inauguration tour when she first visited New Zealand later in its history the first time New Zealand has got to hear the Beatles live in concert was at the Wellington Town hall in 1964 the acoustics in the townhall are quite impressive but the problem is it's not a dedicated recording facility and I was very nervous about that because there's a lot of equipment that we need in order to do this properly today is day one of our packing for recording into the Town Hall you know we're still kind of working out what needs to go where and how we're gonna have it because essentially we're building a studio inside this beautiful building hopefully in a few days we would have totally worked it out look at all this gear behind over here the townhall he's got a fantastic acoustic and so we want to be able to capture the sound of the orchestra in the room but the way that we are setting it up is really studio equality so we're hoping to get the best of both worlds the floor layout of the Town Hall was a similar space to Abbey Road in London before he came out here people measured everything out at Abbey Road and then overlaid that Orchestra set up into the CAD drawings that the ends that I saw had sent us for the Town Hall and then that became essentially this duplicate set off of what he had done in studio one at Abbey Road Pete Coburn basically set it up with an array of incredible old microphones some of them 50 or 60 years old we've got some classic m15 Norman microphones and they're good 60 years old and they've got a fantastic a warm coloration he's got microphones in all sorts of interests in middle places recording not just the orchestra is recording like the reverb and the echo and the decay that a place like this actually gives you you can just hear if you think of the sound going up to the ceiling and then back down you can write bigger music more epic music more music like Ricard Strauss because this hall can be filled with a mint sound we actually recorded a large section of the Fellowship of the Ring score here back in 2001 with the New Zealand Sudbury Orchestra we started with the New Zealand Symphony on the mines of moria they were the first Orchestra that recorded music for the Lord of the Rings it was a piece that we took to can it was kind of a teaser real kind of thing greetings from New Zealand I'd like to introduce you to my friend and passenger Peter Jackson thank you Gandalf thank you I'd like to welcome you all to the special screening of some footage from the Lord of the Rings trilogy new line wanted to roll out fellowship the ring in a big way at the Cannes Film Festival in May of 2001 and was decided that it would show an entire sequence for the film Orcs ! we were a long way from doing any music scoring but we needed to do this section so they brought Howard down there and this is why the films were still very much in production so everything sort of needed to be down in New Zealand there was some time for anyone to go anywhere else actually tomorrow I go out and shoot some more of the film so it's the kind of interesting place to be in tonight you don't know whether you're Arthur or Martha the Cannes Film Festival a presentation was critical there was no guarantee that this series was gonna be a success and if it hadn't been even though he shot all three films we would have downscaled our post-production efforts on film two and three so there was a lot riding on it it was the proof of concept for the film but it also was for the music Howard wasn't known as somebody that had tackled this sort of filmmaking before so to be able to introduce that to the world both cinematically and musically it was just hugely important hopefully they'll get some sort of idea of the sheer scope and depth and passion we have for these movies even just showing the 24 minutes that we showed after four years of work Wow it feels a bit like a premie area and everybody has been so kind comments of what they saw that I think it's a good course of celebration so we're very happy it played terrific Lee it can and we felt okay we've got a winner here and now we just have to finish it was before the actual score was due to be recorded in the UK so we thought it might get replaced eventually before the film was finished but there wasn't the case the New Zealand sabri also played so brilliantly in this room sounded so fantastic that it was never replaced and that's what you're hearing in the movie that 26 minutes that we recorded very much became the sound and in a way that kind of set the mood for that film and for pieces that came after the number the players had been with us who did the mines of Moria so it was a little bit of a homecoming yeah I was part of the First Lord of the Rings movie of course I was a bit younger like we all were but it was really exciting something I had never done before to be involved in such a huge film score oscar-winning score I was just having the best time of my life with that to now go full circle after so many years and be back playing his music with another wonderful conductor Conrad Pope it's a great combination this is a huge deal for the entity so obviously the Lord of the Rings in Hobbiton is presenting his own to the rest of the world I mean this is model earth would be wanting to do this recording for a very long time so we're very glad it's gone there and back again there's now back in New Zealand the New Zealand orchestra plays truly impressive and I gotta say the sound that came out of there was really amazing I always thought it'd be great to be able to bring that home and let them get their t eeth around an entire school this time rather than just a 20-minute section it's really different recording to performing a part of the differences that in a recording you know goes on for a whole day so the concert would never go on for a whole day you have to keep your energy strong and concentrated throughout many more hours I find this in a way more challenging and more stimulating than playing a Bruckner symphony it is very different to what we normally would do in a symphony concert for example we need to be directed by the conductor this you know in this case conductor and Orchestrator just gonna play this and try to catch the various tempo changes with the flick then we'll come back and dissect it Conrad Pope is pretty much the top Orchestrator in town and he brings such a kind of an infectious joy he's so sort of laid-back and chilled out he sort of doesn't it all suit the stereotype of a conductor and we're locking the doors a good conductor is not someone who makes a performance a good conductor is someone who actually releases a performance not dictated not commanded perhaps guided but know that his real role is to honor their artistry and to make it possible for all the instrumentalists here to give their best what is this place this master buggy this is the world of men the Laketown thing was about this town that once had glory now it's faded into the past because of its trials and tribulations with a dragon we wanted to base the Laketown theme almost like a Smuggler's shantytown something like out of you know England and the 1700s at the corn will coast 17th century pirate's smugglers it has that feeling to me of this folk piece that may have been a hundred a couple of years old folk songs tend to have that simple repetitive structure you know it has a tongue that that done that it almost felt like a work song it probably relates more to Rohan in the folk aspect of it but Rohan had the hard anger it had this northern European sound whereas Laketown does feel more like England give me a brandy the mayor and his lackey really have the serta tainted air of decay and corruption the master of Laketown has got this little theme which is played on her clavichord Howard asked for the four clavichord and but in the demo he sent it was a harpsichord sample Pete really liked the sound of the demo and I was really concerned that we would go and record the clavichord and Pete would be wondering what it was and what happened to the sound and the demo that he had kid really liked they're both keyboard instruments with metal strings inside clavichord is struck with little metal blades which gives it a sort of dingy ER tone whereas a harpsichord plucks its strings as it's played which gives it a nice brilliant type of sound so we had to decide would we do a harpsichord or clavichord so he decided to get both down to the town hall and try them when we actually came around to review it for Pete, Fran actually immediately said "well it's obvious which one we have to go to" and to us it was all obvious and but we weren't sure whether her obvious was the same that was obvious to us and then there was this pause it was almost a deliberate I think that she just waited like 10 seconds or so before she actually said which one but it was the clavichord I think we can go to the next spot what do you want the score that we receive at the beginning of each session it's really just the starting point for the music that we'll be recording that day there are so many changes that are made I find myself at a disadvantage when I'm sitting in the room trying to give notes don't know anything about bars and octaves sem itones and there's all kind of Latin nonsense to me really but I listen to the music and I imagine dramatically you know help it's got to work within the framework of the film any notes yeah just kind of small ones I just wondered if the very first notes are a bit too I don't know selecting tension or licking any edge when it comes to music he doesn't have the musical terminology but he explains the story and you understand what he's trying to do with the story that pretty much explains everything that that needs to happen from a music perspective I will translate what the director says and know immediately because of my orchestrational skills this this this and this let's let's try it flutes all of you take piccolos with your piccolos and stuff just do rips up to the highest possible note let's try that yeah let's see if this works psychos you can get yeah without being psycho it's the the flutes is what's doing the the psycho stuff it's a bit - it's a wee bit too much I think hey Conrad we've gone too far with the flutes I think what Pete's looking for is if we put the flutes back to what they have and I don't know if we can have anything playing this part an octave up from what the top currently is there are more complex changes to the music we actually need to get new parts printed did you give the trumpets basically the clarinet part from bars 26 to 34 at Conrad's request he wanted to add the trumpets into a section of music that didn't have trumpets previously anyone of them to play what the clarinets were playing so I'm creating a new part for the trumpets and then I'll print and pass it out to the players we could give a reasonably complex change and within a few minutes actually have new parts out to the players that the change affected it's amazing to me how Conrad's mine can perceive the colors he wants by subtracting instruments or adding instruments 26 please and so those have to be done on the spot and we were able to do that because of the artistry of the orchestra their attentiveness and their willingness to sort of play it by ear kind of feel to it that's what yeah yeah sometimes things are happening in a control room that they're making film decisions that we're not party to and we have to sit and wait until they're finished I can sometimes be a little alienating for an orchestra so it's really important that the conductor is the link between what he knows he needs to deliver for the control room and the filmmakers and keeping the orchestra engaged is this a pro tool thing yeah how much longer we got as I can tell all my jokes you might have time for another joke my country to join the Musicians Union they don't ask you to play an instrument they first say can you tell time drink here I've never heard of Red Bull and vodka it's called the conductor no with the jokes nothing I'm looking for a second career because if I did I'd definitely fail her that one my goal is to keep everyone engaged and so when we actually come back to them they're all ready to go and they're focused those Fiola player in the Boston Symphony couldn't stand Arthur Fiedler just hated here comes sometimes he kind of gets halfway through a joke and then the control room steps in and we don't get to hear the end of it so the pops were playing this arrangement we're ready not filming I think we've got about three more words each time we tried to tell it and finally we got to the punchline first piece up after intermission and there's gonna be over the Mexican Hat dance so Fiedler walks out on stage where he knows that one of the violas plays that heated him head on his British Mexican hat and he looked at the guy and he said take that off no I'm gonna come down and take it off him come ahead and in mid thing Fiedler jumped off the podium because he's just as so infuriated after about 32 bars and goes after the guy and they start to wrestling and the audience goes wild they think this is the best show so we're definitely ready now and you hey could we do that like in about 20 minutes New York shows do a break sure and then after 20 minute break I came back and I just gotten all these changes from Peter and I had so much to dictate to the orchestra and I came up and I raced up to the podium here and I had my head just buried and so somebody said the violas have a question that you always have a question I go I'm fine fine I'm more you always have a question I looked up we did a lot of very hard work very tough work work requiring a lot of concentration but we sort of never lost sense of it all sort of just having a good time it's all been elevated are we just marking time told Pete gets here yes okay we'll just try this and Peter is scheduled as is it complex tap-danced of his time every day consists of a little bit of everything from going to scoring sessions to visual effects reviews to recording a TR to sound mixing I thought this sounded going in and out of the thing could be a little bit more accentuated having a scored right there in New Zealand it was beneficial for all Peter Peters time could be used wisely I bet he's all over the place you know he almost needs one of those segues to cruise around of course what always happens with the music recording is that set the most frantic time of the moviemaking process it's right in the middle of post-production and getting the frying pan and then you go to the guy with a mop getting wet so everything funnels together into this very compressed six eight week window that's the sort of water but you want to go for because you believe that it's deep enough okay I see a schedule coming I just think well I've got it easy but he has a tremendous ability to be focused on whatever task is in front of him even though I'm busy I love being here I love the music just having it playing all I'm dealing with all this stuff is actually a little different which is nice bit of soft gentle musical accompaniment music is such a a heartbeat a sort of a pulse of the movie I mean visual effects design production that's all okay but I don't know what's more important than music in some respects the Dwarven themes had to have a nobility they had to have a sadness they had to have a sense of a faded sort of Empire it kind of takes back to what I had thought about and what I had created in Lord of the Rings for the dwarf kingdom Howard Shore created the sound of dwarvish culture the sound of ruined grandeur something that was once beautiful and proud and great but has sort of been worn away by the horrors that have befallen it and the Hobbit the House of Durin theme is a very similar feel to it it's interesting how with the different dwarf themes house of Durin has become so predominant and very important piece and a passenger encounter Tate's back to the history of the dwarves and their lineage and Thorins they grew out of the house of Durin what the interesting thing is is when you take that theme and you you repurpose it in different ways with Thorin's theme you begin with the scene that's really kind of before any of the quest has begun you see Thorin and you hear this very shadowy version of his theme it's not quite put together yet the goals of that character are a little bit lost so you see him go from discovering his quest to realizing his quest and the music follows it and then of course we have the Erebor's theme you hear that piece and you know where you are and Erebor is where we get of course to meets a rather large dragon Smaug's theme had to accomplish a lot musically I mean this is a much more epic very sinister cunning and powerful character I think Smaug required of sound and a texture different from the rest of the film there's one smart melody that's very long takes a long time to develop and the other one can be done pretty quickly just with a few notes you can say Smaug pretty quick you have the basic form here the ascending version is a little bit longer but built on the same pitches I think that smelled melody is to sort of comfortable sounding this is a way that we can just make it last yet you just want to creep here just yeah I mean it's basically the melody part this is just a little too musical and too nice oh we wanted something that would play this sort of paranoid psychotic feel and so rather than sort of Bend the theme in a way I thought well you know what we should do is probably just do something that you never hear that's very hard to actually for them to do which is various people doing their own interpretation and intonation just all over the place and ugly lots of pressure pretend you're taking an audition where you don't want the job and what they were all doing is as they were all playing slightly detuned but all different which is v ery hard because they've all learned to play in tune Smaug is somebody who literally is a psychopath and music is a wonderful secret weapon like a the sort of malleability get here where the digits trying to drill a root canal into you to sort of thing just kind of something that gets into you you know watch it destroy him watch it corrupt his heart and drive him mad was chipping and by the time we get the gamelan and everything else in here it's going to be just unbelievable then Smaug theme we use Eastern elements of the gamelan gamilons a family of instruments from Indonesia which includes all sorts of different sounds deep dongs the telephones xylophones a lot of pitched metal instruments it's very tied into all aspects of Indonesian culture it was used for ceremonies used for dances suited for puppet plays and the legend behind it was that it was designed by this God that lived too high up upon him out so you have that idea of somebody up in their Mountain using this sound to sort of relate to the other gods around you wanted to reveal Smaug as a forest from the east somethin g very exotic and it was a way to bring in the Eastern culture there's a gamelan orchestra at the University and I was charged with the task of going up to investigate record some ideas incorporate those colors and those textures with the conventional Western score the concept of the gamelan is the togetherness we're playing it together we did a lot of things that can be used in film composition to make layers of texture and some things for the composer to use it's just an exotic sound and so I would play around with different melodic parts that are totally written in scales that evoke you know pseudo above these really and most of it is for the scene where Bilbo is going into the cave with all the coins and the gold and sneaking around I remember there were spots where we featured it I just remember pushing up on the fader because we like the sound it's a good complement to a lot of the action you'll hear a little tinglies crazy sounds they almost sound like the jewels but they're not there they're percussive little hits that accent the stillness of that room and just to the quietness and all that blended together with the orchestra gets a really really interesting color while smaug's theme dominates that last section of the picture there is a battle going on with the dwarves and Smaug but if you look at it from purely musical aspect there's a battle of themes certainly these guys drop up it's on his head so now Smaug gives is getting spying them time and now the gold starts to go down this channel so maybe we're almost playing Thorin to Lando and it lifts and now smokes coming at him the tide turns it's going with our guys now what's going against our guys it's like watching a you know high-speed tennis match from a filmmaking point of view there's so much subtle stuff that you could do that unconsciously kind of supports the story that you're telling and now this is the culmination of Thorin's play when the statute melts it's a triumphant moment for Thorin and Depp themes playing for a moment we think that Smaug has gone is suddenly smelled bursts out of the gold and then it changed into Schmucks they the Smaug music dominates right to the very end and you're left with the sense of it seems like smaug's victorious we're here on our last day of scoring and we're actually recording a section of the film right now that isn't really finished so it's very hard because we're trying to record a piece of music for a section of film that doesn't exist and we have kind of a guide of it there will be visual effect shots that are finished at the very last minute and so if you don't have a CGI dragon fighting in the forges cuz you literally haven't done that yet you don't know how long it's going to be you don't know whether it is you're talking about a three-second shot five-second shot so what you tend to do then is you must give yourself flexibility and the best way to do that was to record the orchestra and sections what we would like to do is when we record this section we're gonna split it out do it in layers we're recording all those parts of this music separately so that as the picture changes we'll be able to edit the music and manipulate the music and sort of rearrange it to work well with the new picture yes if we could did women's festivals woodwinds you know you hear the orchestra playing together all the time and you how good it sounds it is a fantastic sound but then we suddenly started breaking the orchestra up and then you realize that every individual section is phenomenal the forges was also obviously a climax so you've got the full orchestra playing and you've got you know it's got to be very very exciting and you know you put all that together and it sounds exactly like what Howard wrote thank you very much you've all been amazing now I've just come to say that we thought we might want to do the whole score again one instrument at a time hey um folks just want to thank you very very much it's been fantastic it's um I've looked forward every day I've looked forward to coming in here and sitting and hearing at all it's just been terrific and you've done us proud honestly done New Zealand proud too so congratulations and thank you so much for all the incredible focus and you've made our movie sound so incredibly good thank you there's got to be great pride from the orchestra to know that they played this score they brought their own personalities it's got a distinctive sound I must say I'm proud if you think of film score as being in a way the emotional heart because you can close your eyes but you can never close your ears even in the movies well film is a very collaborative medium it's really a team a group there's a lot of great artists who work on a film great engineers the musicians that I've worked with in England musicians we worked with in Wellington that have contributed so enormously and I always thought that to make good films you have to have this really good sense of collaboration you have to have this balance between the arts and all the different disciplines that are required to make a film of course everybody wants to know how does it end all I can tell you is we've started working earning on the third film and the third part is interesting because it's really the third of six so you're really writing a piece between two and four and that's an interesting place to be so it's not really a closure really it's really an ending in a beginning I'm very much wanting that to be six movies that ultimately become a grain grand story that you can see from beginning to in music unites the film and ultimately that's going to unite the entire six films as well and now I must take my pencil to paper and write a new score thank you all for this

Channel: The Hobbit - Complete Recordings

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Keywords: howard, Howard, shore, Shore, music, Music, hobbit, Hobbit, soundtrack, Soundtrack, making, of, Making, making-of, Making-of, extra, extras, bonus, Bonus, score, Score, track, tracks, choir, lord, rings, Lord, the, doug, adams, Doug, Adams, Jackson, jackson, peter, Peter, movie, movies, films, trilogy, sound, lyrics, Lyrics, theme, themes, unexpected, journey, desolation, battle, five, armies, smaug, an

Id: FWZxGcv8qKU

Length: 65min 3sec (3903 seconds)

Published: Thu Oct 31 2019