The Hobbit - Awards thread

[Elentári]

The latter, Al..

[Smaug's voice]

Lol. Like I said, I agree with Elen's posts the most around here.
I think as a standalone as well as in the context of the film the LotR scores are better. DoS really had not much in the film. The Smaug themes
were very less prominent. The Tauriel theme was much repeated (more than the misty mountains - action music!). But most of all, all the jumping, running, sneaking, fighting really overshadowed the music. Unlike PtB, it all felt disjointed.
As a standalone though, i love it!

[Passdagas the Brown]

Elen,

As a standalone piece, I can understand and respect that opinion. It becomes harder for me, however, to accept that the LOTR score works better within the context of the films. But as V-man says, it's all a matter of taste.

I suppose I lean far less to the operatic, and far more to the understated forms of orchestral music.

Except for "Lacrimosa." I cry every time I hear that piece of music.

[Passdagas the Brown]

Lol. Like I said, I agree with Elen's posts the most around here.
I think as a standalone as well as in the context of the film the LotR scores are better. DoS really had not much in the film. The Smaug themes were very less prominent. The Tauriel theme was much repeated (more than the misty mountains - action music!)

Though surely the music in the Smaug scenes (particularly before the dwarf-dragon confrontation) with those Balinese bells, was the best music across all five films??!!

[Smaug's voice]

Lol. Like I said, I agree with Elen's
posts the most around here.
I think as a standalone as well as in the context of the film the LotR
scores are better. DoS really had not much in the film. The Smaug themes
were very less prominent. The Tauriel theme was much repeated (more
than the misty mountains - action music!)

Though surely the music in the Smaug scenes (particularly before the
dwarf-dragon confrontation) with those Balinese bells, was the best
music across all five films??!!

I did not love it as much as I did outside of the film. As a standalone piece, it's definitely in my top 5. But not the best.

[Elentári]

Elen,

As a standalone piece, I can understand and respect that opinion. It becomes harder for me, however, to accept that the LOTR score works better within the context of the films. But as V-man says, it's all a matter of taste.

I suppose I lean far less to the operatic, and far more to the understated forms of orchestral music.

Except for "Lacrimosa." I cry every time I hear that piece of music.

Just corrected that for you.

Though surely the music in the Smaug scenes (particularly before the dwarf-dragon confrontation) with those Balinese bells, was the best music across all five films??!!

Yes, but apart from when moment when Bilbo first enters the great hall (and says "Not at home," coincidently) I can't remember noticing it again with all the action going on above it.

[Smaug's voice]

El, Elen, Elentári.
What's wrong with that?

[Passdagas the Brown]

Elen,

You have earned the right to hit me with a fish.

Yes, but apart from when moment when Bilbo first enters the great hall (and says "Not at home," coincidently) I can't remember noticing it again with all the action going on above it.

Interestingly, I think the volume of the music track during this scene was turned down considerably. For example, when the Tauriel theme enters, it blazes quite loudly. But during this early sequence in Smaug's lair, the music is very soft and subdued. I imagine this was intentional, though I would argue that the volume should have been turned up juuuust a little bit.

[kzer_za]

I've always liked the Weathertop music too. Until I read this topic, the idea that the choirs were out of place never entered my mind!

The LOTR score seemed to often overwhelm everything else. Like Dave Matthews' cr@ppy voice and attitude overwhelming his talented musicians.

Howard Shore is a very talented composer, so this isn't a very good analogy.

As a standalone piece, I can understand and respect that opinion. It becomes harder for me, however, to accept that the LOTR score works better within the context of the films. But as V-man says, it's all a matter of taste.

It's a matter of opinion of course, but it's not exactly an uncommon one. The soundtrack is a major reason why LotR is so widely beloved.

Also, LotR isn't the first highly-regarded movie to feature music so centrally in an operatic way, even in the era of more modern soundtracks. A lot of movies with Ennio Morricone as composer are very music-driven, for example. He wrote the score for Once Upon a Time in the West before shooting started. And the last fifteen minutes of The Good, the Bad, and the Ugly rely on music more heavily than any part of LotR - almost a music video!

[Voronwë the Faithful]

The Misty Mountains song by the dwarves was great, but I really didn't like the way the theme burst in in its heroic form (worst offenders being during the troll scene, and Goblintown).

I very much agree with this, and I was quite pleased (and more than a little surprised) that they dropped it altogether in DoS. Which of course puts me at odds with virtually everyone else who has commented on it.

[kzer_za]

I didn't mind the heroic version of the Erebor theme, but it was definitely overused. And it didn't seem to have the same careful attention paid to different variations as the Fellowship theme (we hear the full version or something close to it as early as the trolls).

[Passdagas the Brown]

The Misty Mountains song by the dwarves was great, but I really didn't like the way the theme burst in in its heroic form (worst offenders being during the troll scene, and Goblintown).

I very much agree with this, and I was quite pleased (and more than a little surprised) that they dropped it altogether in DoS. Which of course puts me at odds with virtually everyone else who has commented on it.

Except for me, of course.

I think there were other ways they could have used the Misty Mountains theme to great effect, but that just wasn't the case in AUJ, and I'm glad it was left out of DOS.

[Smaug's voice]

The rehash of the Erebor theme is okay in DoS, I guess.
I do distaste the rehash of the misty mountains in AUJ. That is worse than re-using LotR themes.
I like the Weathertop scene primarily because of the music.

As an aside, on repeat listenings (at least 20 each) "Beyond the Forest" has overtaken the Smaug themes as my personal favorite from DoS.

[Smaug's voice]

What kzer ca said 3 posts above. Ditto.

[Passdagas the Brown]

I've always liked the Weathertop music too. Until I read this topic, the idea that the choirs were out of place never entered my mind!

The LOTR score seemed to often overwhelm everything else. Like Dave Matthews' cr@ppy voice and attitude overwhelming his talented musicians.

Howard Shore is a very talented composer, so this isn't a very good analogy.

As a standalone piece, I can understand and respect that opinion. It becomes harder for me, however, to accept that the LOTR score works better within the context of the films. But as V-man says, it's all a matter of taste.

It's a matter of opinion of course, but it's not exactly an uncommon one. The soundtrack is a major reason why LotR is so widely beloved.

Also, LotR isn't the first highly-regarded movie to feature music so centrally in an operatic way, even in the era of more modern soundtracks. A lot of movies with Ennio Morricone as composer are very music-driven, for example. He wrote the score for Once Upon a Time in the West before shooting started. And the last fifteen minutes of The Good, the Bad, and the Ugly rely on music more heavily than any part of LotR - almost a music video!

The analogy doesn't necessitate an equality of talent between Shore and Matthews. The point was only about the balance. Just like Matthews' voice (whether you like it or not) often overwhelms the music (I believe that is a choice he makes in the recording studio) I believe Shore's music in LOTR (whether you like it or not) often overwhelms the other elements of a scene.

And I don't really care if it's an uncommon opinion. I simply don't respond well to it, and that's primarily because I prefer a greater balance among the various elements at a filmmakers disposal.

As for Morricone and Sergio Leone films, the music is huge. But it is so well integrated with Leone's stylistic visual flair and choreography, that it works wonderfully. Plus, it's not at all as operatic as the LOTR scores. The scenes heavily rely on it, but Morricone doesn't shout.

In short, I think operatic scores that are too heavily infused with choral work are often too much. Just a matter of taste, though, so there's really nothing to argue about!

[Voronwë the Faithful]

Except for me, of course.

That goes without saying. (does that make me Elros and you Elrond, or the other way around?)

[Passdagas the Brown]

If you don't mind, I'd rather be Elros. Elrond's hairline is receding just a bit too much for my comfort.

[Dave_LF]

It really is surprising that theme disappeared. I'd guess it is somehow related to the fact that they outsourced the thing.

[Passdagas the Brown]

It really is surprising that theme disappeared. I'd guess it is somehow related to the fact that they outsourced the thing.

Either that, or they decided that after the company crosses the Misty Mountains, it no longer applies...

[Dave_LF]

That's what everyone keeps saying, but although the song mentions the Misty Mountains, it isn't about them; it's about reclaiming long-forgotten gold from someone who made the trees blaze like torches. And that was more applicable than ever.