![]() ![]() He, too, had a canvas large enough to allow for it. There is one other movie composer who has ever attempted this kind of Wagnerian treatment, and that is John Williams for the six Star Wars movies. And that's why I consider his results worth the effort of putting together this site. That's why Howard Shore must have thanked his gods, his muses, or whoever he figures watches over his life when he was offered the chance to write a single coherent piece of music across an 11-hour space of time. Three hours simply isn't time enough to introduce a whole set of themes, associate them with certain concepts, and then use those associations to comment further on the action. ![]() Why has it never been done before now? Time. But most such themes are treated in a rather straight representational way - see the character, hear his theme - and many a film composer must have wished he had the opportunity to flesh the system out a bit - to develop the themes, and use them not just to signify but to add layers, to elucidate and comment. Movie composers have been doing something like this, of course, ever since the invention of the talkies. Unhappily, I found the movie, and Shore's additional music for it, too uninteresting to justify the effort it would take to do this kind of analysis. ![]() ![]() Several people have written me to ask if I intend to expand this site to include The Hobbit. ![]()
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