Interviewed by David Garland
on the WNYC radio program: Spinning on Air
Friday, February 6, 2004
I found this to be a fascinating
interview. I always try to remain as close to the spoken
words when transcribing, but since the interview was
conversational, I did some minor editing to make it more
readable. To hear the interview, follow the link above to
Spinning on Air's web site. I think anyone with a strong
interest in soundtracks in general will like the portion of the
interview I did not transcribe. ~Magpie
The heroic Fellowship
Theme from Bridge of Khazad-dŻm plays.
DG: Welcome to Spinning on Air, Iím David Garland
and I have a special guest this week. A composer Iíve been looking
forward to talking to for a number of years now, Howard Shore,
composer of many film scores. We can even call you now the Oscar
nominated Howard Shore. Howard welcome to Spinning on Air.
HS: Hi, David. Really great to be here.
DG: The nomination has come for your work on the Lord of the Rings
trilogy, a gigantic project that I guess youíre not even finished
with yet even though all the movies have been released. And, weíre
going to be listening to some of that great music from Lord of the
Rings in just a moment. But weíre also, after that, going to be
looking back at some of your earlier music, (music stops) because to
me, up until Lord of the Rings, Iíd thought of you as a composer
specializing in fear, alienation and anxiety. And how you get from
there to be a composer of music about courage and heart and loyalty
is something thatís going to be interesting to find out, I guess.
So, thanks for joining me and letís begin with some of the music and
familiar themes that you wrote for Lord of the Rings.
The following music plays:
The Prophecy - FOTR Track
Concerning Hobbits - FOTR
The Black Gate Opens and
fades out. - ROTK Track 15
DG: Weíve just heard some music by Howard Shore,
who Iím glad to say is my guest on Spinning on Air here on WNYC. Iím
David Garland. And weíve just heard music from the first episode of
the Lord of the Rings trilogy, The Fellowship of the Ring. And to
write music, going into this project I mean, there are composers who
perhaps participate in a successful film and the studio decides,
well, maybe we can follow up with a part two. And then perhaps the
same forces are reconvened to work creatively on the follow up. But
this was a huge project right from itís initial conception. It
wasnít, as far as I know, much like anything you had done up to that
point. Were you a little bit afraid?
HS: Ah, I think it was a daunting task and
very challenging. And I think we all felt a great responsibility
with the Tolkien book. Cause we, when I say we - Peter Jackson, and
Fran Walsh and Philippa Boyens, those were my really great
collaborators - we felt a responsibility to put the book on the
screen as realistically a way as possible. The book is very
important to us... we were great fans of the book. And we wanted to
make a movie that we, as fans, would love and that other people who
love the book and there were so many people from all over the world
- itís been translated into forty languages and it was a classic
piece of literature from the 20th Century - we wanted to make sure
that we treated it with great respect and put it on the screen as
best that we humanly could. And so I think having that on our
shoulders was a big task, yes.
DG: And, did you know from the start that you were going to be going
for the... I guess you must have known that you were going for epic
proportions for this epic story with a huge orchestra and voices and
HS: Well, didnít know at first. It was really
Peterís vision, I think, and Fran Walsh, most certainly, as well
as... Fran was a great collaborator in terms of how to use the music
in the story.
DG: What was her input? Sheís one of the producers, is that right...
and a writer?
HS: No. Fran Walsh is actually one of the
screenwriters. (DG: Okay) And probably
through this piece Iíll mention Peter and Fran and Philippa. And to
understand their relationship is important because they were the
three screenwriters. They were the three artists who said: We will
take on this piece and adapt Tolkienís book for the screen. No small
task. That alone is an amazing task - to take that book and the
complexity of that book and attempt to put that on the screen is an
amazing thing. And they worked tirelessly and many years before I
worked on the piece. Iíve worked on the films for over three years,
three and a half years. And Peter, Fran, Philippa worked on it four
years before that. (DG laughs) Richard
Taylor and Tanya Rodgers, his partner, who created much of the
imagery that youíre seeing on screen, the costumes and the design -
the production design. Grant Major worked on it many years. Alan
Lee, the great Tolkien illustrator. John Howe, another Tolkien
illustrator, living now in Switzerland. I mean, the people came, I
think, from all over the world to New Zealand to participate in the
creation of these movies - really for the love of the story and of
the story telling. And it was our job to do the best we possibly
could and we worked, I think, tirelessly at it. We really tried to
really do as best work we could.
I did not transcribe
the next section that contained the following:
Naked Lunch music
interests and experiences
discussion and music (with hints of the
'Threat of Mordor' motif
earlier scores -
motivation for composing soundtracks
Naked Lunch and
Ornette Coleman, tempos and rhythms (49:15)
Naked Lunch music -
end of first hour
Ed Wood discussion
Crash - HS begins a
discussion about using 3 harps, 6 electric guitars and 3 woodwinds
HS: So that became the
imagery and everything was recorded, again, in that imagery. That
became the initial recording. Once the initial recording was done, I
probably mutated 25% of the piece and regenerated it and looped it
again using tape techniques. This time the tape techniques had
advanced a bit over the years from the early Seventies, now you can
sample the pieces into computers and do that processing in
DG: So youíre saying after the musicians went home you were still
fiddling with the music.
HS: Well, I wasnít really even fiddling. It
was part of the composition that I would then... (DG:
Un-hun.. Okay) I left room in the orchestration
for a certain amount of regeneration of the sounds. I think that
came from the ideas based in the book. I think so much of what Iím
doing is really based on the words of the book. And itís something I
think Iíve learned... now that I been working in movies over this
period of time, I think itís been twenty five years, I think Iíve
realized more and more how important the concepts of the book, in
this case, the J.G. Ballard book and then into the screenplay and
then into the film because what youíre essentially writing for is
this idea, this book, this words that somebody has put on the page.
I mean, that is really essentially what youíre writing for. And it
also takes us to the Tolkien. Because youíre writing a piece based
on Peter Jacksonís great imagery but of course youíre writing music
that is based on Tolkienís book. And the case of Naked Lunch -
similar. Youíre writing a piece based on Burroughsís book. And David
Cronenberg is taking Burroughsís book and trying to put it on the
screen in the best way he knows how. And youíre also creating music
based on Davidís imagery and Burroughsís book. Crash is very
similar. And youíre using the philosophy of the book and Davidís
film making and thatís how you arrive at that sound. And the use of
those instruments is interesting. I did it very intuitively led me
to the 6 electric guitars and the three harps as I just explained.
Because a group grew out of a compositional idea. So Iím thinking of
it: pure music - this relates to this - and of course, if you have
the harps and you want to amplify them you would use the guitars.
Itís pure music and sort of orchestrational ideas and recording
ideas. And then David came in heard it. I remember the first time he
heard it he went, ďOh, of course - guitar - harp.Ē (HS laughs) You
know. It all made sense to him. And I guess thatís that great part
of the collaboration is being able to create a piece that relates to
the idea of the film. And thatís the great beauty of it. And thatís
the great joy of it I guess.
DG: Very interesting, because one might think that a composer for
film would be very oriented toward the visual, which no doubt youíre
taking into consideration. But youíre trying to go, somehow, sort
of, deeper - into the feel of something.
HS: Yeah, well Iím using the visual kind of as
a reference to it. Iím kind of watching it. Like a lot of the
composition itís done away from the film. A lot of... particularly
with Davidís movies, I would watch the film as a spectator. I wanted
to have that feeling that it was fresh and new and Iíd watch it for
the first time and then Iíd put the film away and say, ďOkay, now...
what do you feel about that? Express what you feel about that film.Ē
And, as a writer, you could do that. And Iím sure everybody whoís
watched a film or has ideas about it and they can write them down or
express them to a friend or do it verbally. You know, thereís some
expression about what they felt when they watched the film. Iím
essentially doing the same thing except Iím expressing it in music.
And I like to go through... that a very, very, important process.
Thatís a very quiet process. Thatís putting it all away and in the
case of a book, you want to absorb the book as much as you can. I
mean, in Tolkien, I spent four or five months just reading and
studying the books, studying ring mythology, studying influence of
Tolkien.. you know, what may have influenced Tolkien. Professor
Tolkien spent 14 years writing the Lord of the Rings, you know. What
influences the book had after it was published in 1953. I needed to
know that stuff intellectually. And then I need to put it all away.
And just think emotionally. Because music is an emotional language.
Youíre saying to yourself, ďWell, what do you feel about that? What
do you feel about Burroughsís book or Ballardís book or Tolkienís
book? Whatís your expression of that in music?Ē And then you go on
this discovery. And that process a very quiet process, very
introspective. Itís very dreamy. Because essentially youíre dealing
with ideas. Itís a very internal process. And itís a creative
process because anythingís possible. And youíre allowing your mind
to kind of free associate. And frankly, thereís a lot of napping
involved. (DG laughs) There is, because
I like to use the nap as a source of intuitiveness. Because the nap
places you into somewhat of a dream state. Right? Youíre kind of..
you know, a napping in the afternoon is somewhat a half awake kind
of thing. Youíre not really soundly asleep, although I do get a good
night sleep. But this allows you to go into a somewhat state of
semi-consciousness and dream. And what Iím trying to do is put
myself into that dream state so that I can get in touch with some
feelings and ideas about what I feel about this piece.
And it could just be one image. One image will
do it. It might just be one frame of a film will tell you the
music... what the expression of this piece is. Sometimes thatís all
it is and you can just... you know, itís like looking at one still
or a picture and you can express it. And then the process starts and
itís just a flowing of ideas after that. And the interesting thing
that I was interested in - in Ornette Coleman that we talked about -
was the free expression of ideas. And I was interested in
improvisation as how it related to composition. Because I thought
improvisation was interesting because itís a free flowing of ideas,
itís very spontaneous. And I thought this is a wonderful process to
express emotion because itís immediate, itís happening right at the
moment, thereís no intellectual process going on. Itís a pure
outpouring of feeling. And so I would use that improvisational
technique and then I would analyze it in a compositional technique.
I wouldnít use the intellect until later. I would try to get that
feeling of it and then there would be that more intellectual process
of, ďWell, okay, hereís the idea. Now how does it relate to the
film? Where can you actually use this in the film? And in what way?
And whatís the tempo? And whatís the meter here? And whatís the
emphasis? And whatís the dynamic of this piece? And who plays it?Ē
And orchestration, to me, is really the feeling, the idea of ďWho
plays it? Hereís the piece now how are you going to express that
piece? And with what instruments?Ē And itís a different type of
process. And these things donít happen all at once. They happen in
this linear, logical way until youíre on the podium or youíre in the
recording studio actually creating what you hear as a recording. And
what youíre doing, at that point is, really, trying to take what
youíre hearing in your head and putting them down in a way that
other people can hear them. Youíre hearing them all the time every
day and now itís a way that you can share them with an audience, and
you know, other people can... and what youíre doing is trying to
realize them as well as you can in sound.
DG: Hmm. Howard Shore is here with me. Composer of many film scores
including the Lord of the Rings trilogy. And weíre going to hear
some of the music that he wrote for the combination of six electric
guitars, three harps and some woodwinds and metallic percussion for
the 1996 filming of J.G. Ballardís Crash.
Music plays to end.
DG: Thatís music by Howard Shore from his score
that he wrote for Crash, the movie that David Cronenberg directed
based on the J.G. Ballard novel back in 1996. A really wonderful and
strange and bizarre sound which was perfectly appropriate for the
film. And you mentioned, Howard Shore, that you had some metallic
percussion in that. In listening to your scores, those at least that
I have available to me, I donít hear much percussion generally. One
thinks of a Hollywood score these days as being really propelled by
a lot of drumming. And you certainly have drums that come into play
in the Lord of the Rings music, but you donít seem to have been a
very percussion oriented composer.
HS: It really depended on the piece I was
writing and how it was used in the film. And that would decide what
was orchestrally right to use it in that context.
DG: Now you mentioned before we heard the music from Crash that
napping is important to your creative process. Is there a score, or
part of a score that really sort of came out of that dream state
HS: Oh, I think a lot of the Cronenberg pieces
were originated in that process. It was something Iíd learned to do
because I was trying to get into my inner consciousness... about how
I felt about something. And I found that dreamy state really allowed
me to kind of tap into some feelings that I had about things.
DG: Iím speaking with Howard Shore and Iím David Garland This is
Spinning on Air. Howard, weíve heard some of the music you
wrote prior to the last couple of years but your last few years have
been pretty much tied up in one gigantic project, the music for the
Lord of the Rings trilogy. And when it was announced that you would
be the composer for that project frankly I was surprised. You didnít
seem to me to be the guy would be writing something for a big
fantasy epic. How was it that you were chosen for that project?
HS: I think we talked a bit about that earlier
and I think it was the interest that Peter Jackson and Fran Walsh
had with music that I was creating for movies like The Fly and
Silence of the Lambs and Dead Ringers and Crash. And I think they
knew of those films and they thought that I might be a good person
to work with... to collaborate with. They were really, I think, very
much feeling that they needed to find somebody that would be a great
collaborator to work with them and they rang me up... I didnít
really know much about the film at the time. They invited me to New
Zealand. And I was of course, fascinated by what was going on in New
Zealand. The level of creativity and the design work of Richard
Taylor and meeting Alan Lee and spending time with Peter and Fran
and Philippa was unbelievable.
DG: This was at a preproduction point?
HS: This was about half way through the
original shoot which was a fifteen month film shoot. And when you
saw that as a film maker you wanted to be part of that. And I think
what Peter and Fran did with me was not really different than other
people that they had asked to become part of the piece. I think itís
the strength of what made Lord of the Rings... was the casting, the
choosing of the people to create, really a true Fellowship. I mean
we worked together as friends and colleagues. We supported each
other and I think that was an important part of it. And people came
from all over the world to work on Lord of the Rings and I think
that Peter, as great as he is, was able to take the talent and
create something with the people that he chose that was so much
better than anyone might have created on their own. And so you see
the great Shakespearean actor, Ian McKellan, and Peter would
transform him into Gandalf. And he would take Elijah Wood and make
him Frodo and Sean Astin - Sam. And when you watch the movie you
only see Gandalf, Frodo and Sam. And he did that, I think, with
everybody. And I think I was part of that process where I had done
over sixty films by the time I started on Lord of the Rings. I was
at the right level, really, of experience to take on the challenge
of writing that. I was at a good age to do it.
DG: Why? In what way?
HS: Just energy. Because it was enormous...
task to do and it was hard, I think, for all of us... to do it.
Physically Ė you needed to be able to do that work and work at
that... to have the stamina, really, to make those films in that
DG: So youíre talking literally, the length of the work day and
those sort of things.
HS: Those films were made with full on energy
for many, many days and weeks and months. Because we felt, and I
mentioned this earlier, such a great responsibility to do it. We
didnít feel people would make Lord of the Rings again, or at least
not for a long time. And because the book is so iconic, say, in
Return of the King when youíre writing the piece for the destruction
of the Ring, you realize the enormity of that. You are now going to
create a piece thatís going to live in this production for a long
time that expresses this very important moment in this book about
the destruction of the Ring or Gollum finally having the Ring. And
what will that be? And what will you do? And whatís your expression
of that? And actually, frankly, it took many years to find out.
Because you couldnít write the Destruction of the Ring until you had
written the beginning of the story and the prologue...
HS: Yeah, you had to write your way into it.
HS: You know, at first it seemed daunting. But
as you wrote your way into it and started to create music into it,
it became more and more interesting actually. And the complexity of
it became even more and more interesting. And at some point, Iím
sure there were loved ones saying, ďMaybe we should take Howard away
from Tolkien for a little while (DG and HS laugh)
because heís seems a little obsessed by it.Ē But that was the kind
of a joy of it.
: excerpt above in bold
DG: You felt obsessed in a personal way, not just professional?
HS: Oh yes, you became absorbed and obsessed
by creating it and itís all you really wanted to do. And of course
living in Middle-earth is not a bad place to live. I mean, it was
with great friends and great trusts that you were there. You had
great support from the people creating the film and credit should be
given to NewLine and the music department at NewLine for allowing us
to create the movie in as great a way as we could. And allowed us
the resources to record with a 200 piece orchestra when we needed
to. So, you had the great musicians of the world, you could work
with Renťe Fleming and Annie Lennox and James Galway and Enya in the
first film... Isabel Bayrakdarian and Elizabeth Fraser, Sheila
Chandra.. I mean, you could choose the great artist you wanted to
work with. You had an amazingly great orchestra, great technical
team and an amazing movie to work on. For a composer to write music
to Lord of the Rings is everything you imagined the greatness of
movies is. Nothing could be finer than to write to that imagery and
those ideas. And so you had all this wonderful thing to work with
and you wanted to take advantage of that. And so,
I think the stamina part came in because of
the need for the perfection and the need to create it as good as you
could. There were many times when we would create something, Peter
and I... and we would look at it and we knew we could do it better
so we would try to do it better.
HS: Oh yes. Peter says the movie is finished
only when they take it away. The movieís never finished.
HS: Thereís just a point when they take it away, meaning that there
has to be an end. You know, the studio says, ďIt must stop now. You
know, you must stop working on this.Ē
And thatís the way we all feel. There is that
sort of delivery date, that goal, that moment when they say, ďIt
must stop.Ē But you work so full on, and so completely dedicated to
it to create it... because you also know youíre not going there...
you know, you are creating this moment, say, of the Destruction of
the Ring or describing the world of Lothlůrien that people have read
about for 50 years. And you want to make sure that your imagery of
those worlds is as true and as real and as well crafted as you could
possibly do it.
: excerpt above in bold
DG: So you folks in the production of the Lord of the Rings were
really trying to create something that had longevity to it? You were
looking to a history of affection for this material, and umm...
really consciously trying to build something that would stay and be
revisited many times.
HS: By all means. I mean, again, I think that
was always the feeling of the responsibility of putting this work,
this great piece of literature on the screen and doing it as good as
you could humanly do it. With the energy, all the bit of energy that
you had to do it. Because it may have to last for a long time
(chuckles). And people will be looking at it
for a long time.
DG: I think they will.
HS: Well, we hope so and so we wanted to
create something of lasting value. And so having that, and having
the resources to do it and having the determination, you needed also
the energy and the stamina, and all that you know, and the
experience to do it.
HS: And we talked about even doing live, I
conducted live show (in early parts of the interview), I mean I
think all of that, you know from the 70's and I did a thousand
one-nighters in the 60's, I mean I think all that taught you how to
work, how to conserve your energy and how to use it and how to
create a piece. And Lord of the Rings, I mean, the piece for Return
of the King is four and a half hours of music for that film...
(Lothlůrien Theme from FOTR begins playing in the background)
And I think even to be able to create it, to do the composition on
paper and to do the orchestrations and to do the recordings sessions
- which were many, many, many.. over thirty, I think, for the
orchestra - I mean... thereís stamina in that, just conducting it
and producing it. And I think, that was all part of the process of
making the movies. ...the movie, itís cast so well of what you see
on screen, but I think itís well cast behind the screen, in his
collaborators, the creative collaborators and all the people who
worked on the film - and there were thousands of people who worked
on the movie - and I think they were just well suited and well cast
to create to create this piece.
DG: Well you were very well chosen, despite what I expressed earlier
being a little surprised that you were chosen for it because I knew
you from scores like Naked Lunch and Crash...
HS: Remember that Frodo was chosen to carry
the Ring to Mordor.
DG: (laughs) An unlikely choice.
HS: An unlikely choice. And so really, the
movie is really similar to us making the movie. (DG: Un-huh.)
And I always associated myself with Frodo and having the weight of
the Ring in my pocket. (DG: Un-huh.)
And it was many mornings Iíd wake up and Iíd say to Elizabeth, my
wife, ďI donít think I can really do it.. I donít think Iím really
going to be able to go and do this.Ē
DG: Wow. Yeah.
HS: ďI mean, itís just not possible. It canít
be done.Ē And Peter would say, ďYou can do it.Ē There were many
moments where he was Gandalf saying, ďThis way my boy.Ē (DG:
Yes.) ďPut one foot in front of the other and
youíre going to make it.Ē
DG: It is what the movie is all about.
HS: It is true. And Peter would say the same
thing to me and he talks about it, I think, in the liner notes where
he says that I was sometimes the one, you know, pushing him on too.
ďWeíre going to do it, Pete. Weíre going to do it.Ē You know. ďA
little more editing.Ē You know. ďItís going to happen. Weíre going
to make the movie.Ē And you really did feel like Frodo. And when
Frodo, in Return of the King, is on the slopes of Mount Doom
struggling up in the sand... that was you... (DG chuckles)
struggling your way to the end... to make it as good as you could...
(HS voice trails off) to get to the
DG: Iím speaking with Howard Shore, composer of the music for Lord
of the Rings trilogy. Letís hear some of it. Those of you whoíve
seen the movies will find these themes very familiar and itís
interesting that, of course the movies are very emotional movies,
and that comes through, obviously - as you watch the film, through
the actors and their expressions and their delivery of the lines and
those spectacular visuals. But I think as you listen to Howard
Shoreís music all by itself you begin to realize how much of what
you felt, watching the movie, was a result, in part, in large part,
of the music you were listening to as you saw it all in front of
you. Music by Howard Shore. Iím David Garland. This is Spinning on
Lothlůrien from FOTR
fades out and The Black Gate Opens from ROTK plays to the end of
DG: Thatís music from the Lord of the Rings
trilogy. Thereís so much music thatís been composed for that. All of
it by my guest, Howard Shore. And Howard, I thought weíd mention
one, in particular, sequence in the latest of the movies, the Return
of the King, where I think people will remember how sort of
surprising and effective the music was. In the sequence in which a
small party of soldiers - I donít know. soldiers is the right word -
but some of the loyal followers of the mad king (geek comment: he
means Denethor who was Steward, not King of Gondor) were sent off on
a hopeless task to...
HS: Gondorian knights.
DG: Is that the right way to refer to them? They couldnít possibly
win the battle they were being sent out to. And was that a
collaborative decision made with director Peter Jackson, or how was
it chosen that, as these knights go toward their battle instead of
what might be expected Ė some rising orchestral excitement Ė
suddenly everything drops out except the singing voice of one actor.
HS: Yes. Uh, very careful collaboration with
Peter on all these moments in the film and the use of contrast, of
using the large... our large forces are two hundred to the one
voice... we would discuss these ideas and we would try to find the
emotional moments. We would try to be as true as we could. As the
knights are leaving Minas Tirith, the music is playing
(ďSteward of GondorĒ starts playing in the
background) more just the emotional
feeling of the suicide. The civilians are watching them leave and
they know they might never come back. And so youíre really... the
music is expressing the idea of the pain of war and the loss of
these young soldiers.
DG: And then we see and we hear the song thatís being sung to the
HS: Yes, thatís sung by Pippin to Denethor.
And Denethor wants to hear a song. He wants to be entertained in his
court and he asks the Hobbit to sing him something. (DG:
Um-hm.) And Pippin sings this solo piece and
then Peter contrasts that with the charge of the knights against the
besieged city of Osgiliath. Itís held by Orc army. And theyíre just
riding into a hail of arrows. And you hear that solo voice. I mean
itís beautifully edited and cut for the feeling involved.
DG: And a very effective use of music in the Return of the King,
part of the Lord of the Rings trilogy. The music is by my guest,
Howard Shore, here on Spinning on Air.
(solemn version of
Gondor Theme from ďSteward of GondorĒ plays to the end of the
DG: Iím curious, how did you begin the task of
writing for the trilogy? How did you get started?
HS: I think you begin with the words and there
was a lot of research done before any composition was attempted.
There was many months, four or five months of reading Tolkienís
books, studying Ring mythology, studying influences of Tolkien. I
had to do that in order to write, to express any ideas. I had to
feel that I had absorbed at least some of the ideas of this vast
book. And having done that, I started to write pieces all the way
from the film. And I would write pieces based on what I felt of the
Shire. Iíd write pieces based on the idea of the Fellowship. And
quite a lot of the pieces in the film were created away from the
movie. And I would do them with Peter.
DG: But they werenít linked to a certain action sequence, or
HS: No... not at that time. Itís part of the
process of what I was discussing earlier about creating music away
from the film based on what you feel about it and not really based
on the specific imagery of the movie. And Peter and I would work on
the pieces as stand alone pieces. I mean I would write pieces based
on, say, the culture of Rohan. So there actually existed a piece
that expressed the major theme of Rohan and the sub-themes of Rohan.
So it would give you the material, really, of which you would then
start to score the film. And the scoring of the film is a more
head-on approach where youíre actually, you know, working directly
with the action on screen and the imagery on screen. And that
process was really, I call it reverse opera process where, when you
go to see an opera on stage and the music being created first is
then dramatized on stage, all based on the feeling of the music, the
rhythm of the music, the expression of the music. And so itís
affecting the movement, the gestures, the lighting, all the visual
performances all based around the music in an opera. Whereas in a
movie, what we tried to do with Lord of the Rings is to create the
music afterwards but have it have the same feeling as that. So it
was so a part of it, it was so much connected to the worlds that you
were in that it just became, (it) placed you in the world. (last
minute or so of ďThe Grey HavensĒ begins to play in the background)
In Turandot, Puccini is trying to put you in the world of Turandot.
And weíre trying to do a similar thing, so when youíre in
Lothlůrien, and you hear the music of Lothlůrien, or if youíre in
Edoras or in Minas Tirith, the music is helping to create those
worlds and place you in those worlds... in the time and the space of
those worlds. And it also is creating clarity, as well, for the
listener so that you know that you are in the world of Rohan or you
are in the world of Gondor. Itís helping to describe objects and
places and things and helping to tell the story.
DG: Howard Shore has been my guest here on Spinning on Air.