Tema: Bandas sonoras

Cito extracto de la biografía de Peter Jackson:


A choice also needed to be made about the music for the film. When creating the Animatic from the storyboard, various pieces of music had been carefully selected in order to enhance the telling of the story. Several of the films from which the temporary music track was constructed had been scored by one composer – Howard Shore.

"Even though films like Silence of the Lambs, Crash, Naked Lunch and The Fly seemed unlikely sources for music to accompany The Lord of the Rings, they worked incredibly well. Some of the more obvious choices, such as James Horner’s score for Braveheart, seemed predictable and clichéd whereas once you added Howard’s music to our pictures, they immediately became atmospheric, dark and evocative.

We eventually decided to call him up and he was really nice and warmed to our project."

‘We talked at length,’ Howard remembers, ‘about music and film-making in general and, finally, they asked if I was interested – and, of course, I was!'

"It sounds mercenary but we were looking for a composer who would give us a bit more than usual. The normal film industry arrangement is that you engage a composer, talk about the film and they then don’t start working till they get a cut of the movie. You pay them a fee for about six weeks and some composers do as many as four or five scores a year. We wanted to find the right person – somebody who was willing to commit to the project for a significant period of time – and Howard turned out to be perfect. He devoted himself to it slavishly and apart from Panic Room and Spider, which he scored for friends David Fincher and David Cronenberg, he worked virtually full time on The Lord of the Rings for three years. Unbelievable. He was as obsessed as we were!"

Howard recalls, ‘I went down and visited Edoras, Rivendell and Lothlorien, saw some digital animation being done. It was obviously going to be a challenging project but for me it was irresistible: I could see that Middle-earth would be a wonderful world in which to work.’







Estoy convencido de que a Shore le dieron el Oscar por La Comunidad del Anillo específicamente por esta secuencia.

Esa secuencia es una maravilla, que apabulla en todos los sentidos.

Me quedo con lo que dice Jackson, respecto a la música de Shore que parece que no iba a pegar con las imágenes, pero sí, al final queda bien porque para mí la música de Shore es tan a la vez oscura, pero bella y de eso oscuridad y belleza la Tierra Media esta llena. Además cuando quiere Shore es casi operístico (lo fácil es citar m. Buttefly, pero La mosca ya lo era) y además está más que acostumbrado en música nuevas carnes (y ahí están los oscsros, la "nueva carne" oscura, embrutecida por el mal, de los elfos).

Saludos

Ufff... con el precio de los vinilos.

Saludos