|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Mar 12, 2015 - 9:28 AM
|
|
|
By: |
Jon Lewis
(Member)
|
I agree, of course, that the three Hobbit scores taken as a whole were not in LOTR's league; however, there were themes, cues and ideas that definitely were in LOTR's league: --The Radagast theme from AUJ. My favorite cue on any of the three albums. So delightful. Makes me want to hear what Shore would do with a more whimsical fantasy property (i.e. something in the harry potter lineage rather than the Tolkien lineage). Of course this ended up on the cutting room floor. --The music for Smaug with the metallophones. Total bullseye, beautiful, eerie, adaptable --The 'dragon-sickness' phasing-strings idea --The hushed, murmuring voices for the evil forest --the love theme. Infinitely more affecting than the on-screen romance --The pompous music for Laketown. Again, Shore doing whimsy and doing it well --pretty much all the suite cues and bonus cues they stuck at the ends of the deluxe editions were great; the BOFA ones especially so.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
. Not sure I agree, but you have made a valid point.
|
|
|
|
|
. If only this site supported signatures.
|
|
|
|
|
|
|
|
|
|