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 Andres
Ensign
Joined: Jan 24, 2003
Member#: 331
Posts: 38
   
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 Posted:
Sat May 15, 2004 4:33 pm Post subject: The Evolution of Howard Shore |
 
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Although I'm not fully familiar with Howard Shore's previous work, what I have heard gives me the impression that his work for LOTR is a significant departure from what he was doing before.
Is this a reasonable impression or are there strong examples of similar strongly thematic material in some of his earlier work?
If my impression is correct, how would you account for the shift? Is it just what he's been asked for, and he always wanted to do something more "old fashioned", or did the LOTR project push him to grow in range and technique beyond where he'd imagined going before?
Has he talked about this in any interviews you know of? |
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Hurr78
Commander
Joined: Feb 12, 2004
Member#: 5061
Posts: 739
Location: Toronto
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Posted:
Sun May 16, 2004 3:05 am Post subject: |
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As for the matter of his LOTR music being a significant departure from his previous work, I completely agree. Although, having said that, he has also been a composer with a very wide range, so I'm not surprised that he would come up with such a bold sound for LOTR.
He has had a longstanding relationship with Canadian director David Cronenberg (like Shore, a Toronto boy). In fact, his opening titles from Dead Ringers is a personal favourite of mine. His music for Cronenberg's take on The Fly is also very appealing.
But at the same time, he has a tendency to score a lot of comedic films (not to mention that he wrote the theme song for the Conan O'Brien Show). Mrs. Doubtfire and High Fidelity spring to mind... and then he'll turn around and score disturbing suspence films like Silence of the Lambs and Seven.
Yet never before has he done something as bold and complex as his LOTR work... My suspicion is that this new development was partly driven by Peter Jackson's urgings, but when I think back over Shore's career, I don't think that he has ever done a film that calls for this type of score before. Even stuff like "The Fly" and "Seven," which called for a fairly bold sound, were characterized by sustained chord sequences without the sort of melodic complexity heard in LOTR.
At least, that's my initial thoughts on the topic... |
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zirael
Commander
Joined: Feb 05, 2004
Member#: 4924
Posts: 795
Location: North Carolina
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Posted:
Sun May 16, 2004 2:35 pm Post subject: |
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I read on another forum that Shore's Looking for Richard was his workshop for choral use that helped him compose LOTR, but from what I can recall from watching that film, the score was not particularly memorable.
Even Ed Wood and Silence of the Lambs, which I think are two of his better scores, do not show the complexity and intertwined themes you hear in LOTR, which reminds me of the Star Wars Trilogy in its scope.
Brief melodic lines in Nobody's Fool are quoted and more richly developed in Fellowship, but I hadn't really noticed until recently.
Shore was particularly inspired for LOTR! |
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