![]() However, Peter Jackson was determined that he had made the right choice, and Shore stepped up, surpassing all expectations with a rich, dramatic and enthralling tapestry of music, constructed in the romantic, Wagnerian style with leitmotifs for characters, places and themes. Shore had certainly never scored anything as epic as this before. Butterfly, The Silence of the Lambs, and Seven, or for his more light-hearted scores such as Mrs Doubtfire. Shore was known at the time for his dark, ominous scores to films such as The Fly, M. So, who would Jackson turn to?Ī collective gasp was heard around the film music world when they eventually found out. Tolkien’s narrative and Jackson’s visual style were grand and sweeping, and they needed something equally grand to score it. Thus, in the manner of earlier directors, Jackson planned a trilogy of films, as epic and awesome as the source material. When director Peter Jackson, fresh from his successes with Heavenly Creatures and The Frighteners, turned his attention to the trilogy, there had been no major film or television adaptation thus far it was considered too grand, too epic, too vast to possibly capture in a film. The depth of the lore and fantastical elements was truly enthralling to the reading public, who were whisked away to the wondrous realm of Middle-Earth, a land of kings, queens, elves, dwarfs, magic, flying beasts and wicked creatures. Tolkien even had the original R.R.), and they have been croutons of the soup of nerd culture since the first book was published in 1955. Tolkien have been one of the finest fantasy novel trilogies ever written (sorry, Game of Thrones fans. Apologies again, for the lateness of this review – you can blame my sister’s birthday celebrations for that.Īlso, this is going to be a long one – leave a bit of time to read this fully.
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