Dissertation

Max Aspinall Dissertation
1
Department of: Media
Media, Music & Sound: BA (Hons)
MUS3057: Independent Research Project
Dissertation Question: How Howard Shore and Peter Jackson’s music & visual
perspectives determined the selected locations and characters’ themes in
The Lord of the Rings Trilogy
By Max Aspinall
Supervisor’s: Richard Witts & Matt Lawson
Submission Date: 5th May 2015

2
Contents
Description PageNumber
1. Introduction 3-4
2. Literature Review 5-12
Dissertation
3. Director: Peter Jackson
a. From bookto screen, Peter Jackson’s vision 13-16
b. Creating the Shire, and bringing the Hobbits to life 17-20
c. Isengard, Sarumanand the Uruk-hai’s Dark Construction 21-25
4. Composer: Howard Shore
a. The connection between character, location and music 26-29
b. The music of the Shire and the Hobbits 30-33
c. The music of Isengard, Sarumanand the Uruk-hai 34-36
5. Integrated Conclusion 37-39
6. Alphabetical Bibliography / Filmography 40-41

3
Introduction
In this dissertation I will be analysing the audio and visual content in The Lord of the
Rings trilogy, the focal points being, Howard Shore’s musical scores and Peter Jackson’s
visual input, interpretations and perspectives. By researching these particular aspects of the
films, my main intention is to understand the connections between the audio and visual
characteristics, how the visuals influence and trigger the creative musical approaches from
composer Howard Shore, and how his sound connects to the scenes depending on the mood,
setting and location. Although I am looking for a connection between the two, I will be
focusing on audio and visual separately. The reason for this particular approach is that the
music is usually one of the final components in the filmmaking process, as the composer
usually structures his music around existing visual material.
Approaching visuals and audio separately is a vital part of my research, and a build up to
my integrated conclusion. Peter Jackson’s visual inspirations whether it’s from the LOTR
books or other forms of media have a massive impact on the creation of music. Howard
Shore stated, ‘I think to a composer music is very much what you see, and using that to your
own creative advantage.’ (2011). From a composer’s point of view, focusing on Howard
Shore’s statement above, the visual is a guideline for his music production.
Characters’ and locations are the two topics being addressed in this dissertation, and
researching the visual and audio connections that give the viewer an association with the
characters. By having a reoccurring sound that appears when a certain character or location is
seen on screen gives the viewer a sense of familiarity. For example the comparison between
Isengard and the Shire is extremely diverse visually and musically. The Shire is bright, green

4
and peaceful, the musical content consists of simplistic melodies yet flexibly constructed.
Doug Adams stated, ‘The melody serves a crucial purpose in The Lord of the Rings. It
establishes the sense of home, a regular and safe way of life. (2011: 23).’ This reoccurring
sound known as leitmotif is used with many characters and locations in the films. The
leitmotif that appears frequently whenever a scene is set in the Shire creates a connection as a
location and also has a connection with certain characters and their culture. You can
understand the nature of the characters from the location alone, in the case of the Shire, Rural
/ farming. Whereas Isengard is very dark and industrial, this is represented by the sound of
metal, hammered percussion, and weighty low brass. The contrast between the two is so
blatant and used to great effect by Shore and Jackson’s visual and musical ingenuity.
Not only am I addressing the music and visuals on a large scale and comparing the two,
but also researching minute intricate aspects that can make as much of an impact. By
researching smaller subtle aspects within the films music and visuals, it will also be
interesting to find how little things such as the choice of a prop or a certain instrument can
change the way you perceive a character or location. In the process of analysing these aspects
my intention is to discover how these decisions are put into effect, why they are initially used
and most importantly, to give the reader a detailed insight to the creative input of Peter
Jackson as a director, and Howard Shore as a composer.

5
Literature Review
Dissertation Question: How Howard Shore and Peter Jackson’s music & visual perspectives
determined the selected locations and characters’ themes in The Lord of the Rings Trilogy.
Music Composition Process in Film
We can look at film music in many ways; and discover how different composers use
different methods, therefore having specific approaches whilst creating their music. A good
example of these methods could be best shown in a compositional process. It’s in this
instance that a composer can discover what fuels their creative approach, whether it’s by
viewing existing visual content, text or simply including their own creative input. So there are
numerous approaches a composer can use effectively to their advantage. Different composers
and these different creative approaches are what make music in film diverse, unique and
potentially iconic. Kalinak stated, ‘Film music guides our response to the images and
connects us to them.’ (2010: xiii). A good example of this put successfully into effect, is the
Star Wars introductory theme song, which is highly recognisable worldwide. As soon as you
hear the first few seconds of the opening crawl, the listener instantly recognises it, and
associates it with the Star Wars franchise. It is stand out pieces of music like this that
demonstrates the importance, and arguably the necessity of music in film. Howard Shore
explains his process whilst working on The Lord of the Rings trilogy by stating, ‘My process
entailed studying the book, watching the films and composing. It took over four years to
create in music an image of Tolkien’s writing.’ (2011: 11). The approach, Shore uses,
consists of consuming existing material, giving him the guidance and greater insight he needs
to create a sound that seems relevant. Taking into consideration that it took Shore over four

6
years to compose the sound he felt satisfied with, suggests that composing to existing visuals
and text is no walk in the park. That’s not to suggest that Shore is an unskilled composer, but
goes to show that this particular project was possibly the biggest music / film collaboration of
all time. Composing can be an extremely extensive and detailed process that may take long
periods of time, to create music of high quality.
In most cases the compositional process is done towards the end of the film making, for
the simple reason, that the visual content is only available at this stage for the composer to
structure his or her music around specific scenes. The scenes are likely to determine the
sound / sounds that the composer is hoping to achieve, for example, the deep bass pulse
noises used for the shark scenes in Jaws, or at least it gives people a greater perspective to the
sound the composer is hoping to achieve. Although this isn’t always the case, Gabriel Yared
a French-Lebanese composer worked on multiple films, collaborating with Jean-Jacques
Beineix, a French film director. The structure they used differs to the conventional
compositional approach, and the preparation is also completely different. Kalinak stated,
‘Yared read and discussed the scripts with Beineix and met with the actors in preproduction.
Yared’s scores were largely complete before filming began so that Beineix could play
Yared’s music on the set.’ (2010: 93). This suggests that in this instance music had more of
an impact on the visual. This goes to show how in this case the music can influence the scene,
and not the reverse scenario. Being able to use music as a basis for a visual structure, is like
using a song for a dance routine, which explains how much of impact music can have on the
structure of a film. This approach is a complete turnaround compared to Howard Shore’s
method, in which he used existing visual material to inspire his musical process. Shore states,
“I think to a composer music is very much what you see and using that to your own creative
advantage.” Theorists tend to agree with Shores approach and sway toward the conclusion,

7
that visuals have more of an impact on the music. Altman stated, ‘Virtually every film maker
or scholar who has written extensively about sound should at one point or another offer a
visual representation of the scene.’ (2013: 74). Altman stresses that without having a visual
representation to help guide the compositional process, could potentially result in a lack of
quality, or relevance to the scene.
Some composers prefer to stick to a particular theme, or favour certain themes over others.
Kalinak quoting Barry, “I love working with melody. I think if you can capture something in
the simplest possible way, which is what melody is, then you’re halfway there.” (Kalinak,
2010: 11). John Barry is an example of a composer who preferred working with content that
compliments his melodic musical approach. Other composers have totally different
approaches, and are more confident experimenting and making riskier decisions. Howard
Shore is a great example of a composer who creates a diverse array of musical scores. As the
composer for The Lord of the Rings trilogy; it was a necessity for Shore to structure certain
pieces of music to certain scenes, in order to make audible sense of the different locations and
characters.
Adams stated, ‘We understood that something in Shore’s musical
sensibility was intrinsically ‘right’ for these films. It had to do with
his ability to wrap his arm around a wide variety of musical forms, to
embrace both big and small moments on screen—his willingness to
take creative risks and, above all else, his understanding that, as
composer, his first obligation is to serve the needs of the story.’
(2010: xiii).

8
Shore is an example of a composer that will experiment with various sounds, and
instruments, until he discovers the sound that fits the scene. It is an extensive procedure, and
very important but once accomplished can go relatively unnoticed. Bernard Herrmann is a
famous composer in motion pictures, and a good example of a composer with an egotistical,
self-centred approach, who notoriously insisted, Smith quoting Herrmann, “I have the final
say about my music; otherwise I refuse to do the music for the film.” (Smith, 2002: 362). As
you can see not all composers have the same approach and mind set, which is what makes
music in film so diverse. The composers overall technique and personality can heavily
influence the musical content they produce.
Director’s Approaches in Film
‘Directing can’t be told. Each director must find his own way; build
his own relationship with his fellow workers.’ –Hauser (2003).
Directors have to find their own specific style; there are no particular rules or guidelines
that have to be followed. Directors have their own personal input, enabling them to envision
scenes in their own unique way. A good example of directors with different approaches is
explained by Susan Lehman who discusses that, ‘Gilbert Cates emphatically stated that he
looked for exposition, conflict, and resolution with every moment in every scene.’ (2013).
Lehman compares this approach by quoting Elia Kazan’s definition of directing, ‘A spine
should be a motor. Directing consists of turning psychology into behaviour.’ (Kazan: 2009).
These are two opposing approaches that express the diversity in filmmaking; Cates prefers a
more explosive energetic outlook on film, whereas Kazan looks deeper into psychological
aspects, and uses these aspects to determine on screen characteristics. By having a variety of

9
directors with dissimilar approaches explains the different styles in film-making, whether it’s
by using specific themes, locations, studios or castings. Reich stated, ‘Some say directing is
60 percent casting, others say 90 percent. Regardless, it’s a lot. There is not a more important
single decision you will make during the production than who you put into a role.’ (2003:
17). Casting is hugely important; there have been many instances where you hear critics
praising directors and co-directors for their casting decisions, for example, Johnny Depp as
Jack Sparrow and Heath Ledger as The Joker. Choosing the cast wisely in most cases
determines the quality of the film.
Directors have to cope with a great deal of pressure. Accepting the responsibility of
making a film in the first place can be an exhausting ordeal, particularly when there’s an
intimidatingly large budget, and having to meet expectations. So much depends on the
approach, and creative input a director has to offer. Directors must put aside their previous
experience and confidence, and see each film as a new challenge while acknowledging that
so much is at stake; it’s only natural to feel the pressure once the process starts. Mark
Ordesky is an example of a director who has worked on huge blockbuster movies, and uses
the pressure to his advantage.
Ordesky stated, ‘If I want to do something I will run around and tell
everybody. That way I shame myself into having to deliver. This is
how I do things. I essentially put myself in a place where I’ve told
500 people that I’m going to do something, and if I fail I’m
humiliated. I intentionally put myself in this little corner then, by this
time I’m ready to move, I will burst out with such ferocious intensity

10
that there’s no way I won’t succeed. This is how I manage my
professional life.’ (2006: 628-629).
Ordesky has an unusual approach. An approach that most directors wouldn’t dream of
doing, intentionally putting himself under huge pressure, in order to motivate and create a
piece of work to the best of his ability. Different directors have different ways of dealing with
the pressure. Brian Sibley discusses Peter Jackson’s outlook on pressure and criticism, and
the ways in which he deals with it, therefore achieving his goals.
Sibley stated, ‘Yes, he is a perfectionist, an idealist; but he is also a
down-to-earth realist: someone who – for better or worse, and
regardless of accolades or criticism – sees life as it is and then does
his level best to handle it in whatever way seems most desirable – but
always with provision, if it doesn’t work out, then it is time to re-
think, to adapt and survive.’ (2006: 7).
Jackson takes things as they are and deals with pressure in a philosophical and calm
manner. The contrast between these two examples emphasizes the diverse personalities in
film-making, using their specific approaches to suit their personalities, to ultimately achieve
the requirements for success.
Russell Reich stated, ‘Being a director means interpreting, not to
demonstrate how clever you are, but to get out of the way, to let the
actors show the scene in clear to the audience. Your job is to prevent

11
any changes in the script unless you are honestly convinced by
repeated trial that change is essential.’ (2003: 79).
In most cases the director’s key role is to put on camera their envisioned representation,
using the basis provided, whether it’s a script, book, song or poetry. Pre-production is
arguably the most important procedure in the film-making process. A lot of work in all
departments, circles around the first initial idea a director brings fourth to the multiple
production teams, for example, camera crew, prop crew, CGI, location advisors and editors.
Reich stated above, that directors ultimately have the ability and freedom to change content
in the script if the translation to the visual is not working. It’s in instances like this, that a
director can use personal ideas to his or her advantage, enabling them to improve visual
content, which may not have been achievable from the script, or the initial idea.
‘Film is a vehicle for meanings by the filmmaker – either as an act of
deliberate communication or as an act of only partially self-aware
expression.’ –Bordwell (1991: 64).
Bordwell encourages the point that directors have the opportunity to involve as much of
their own creative input into a screenplay, whether it’s deliberate or by involving partially
self-aware expression. The amount of power and control a director has on the visual, and
other aspects of film, can be seen as negative or positive, depending on the viewer and critics
opinion. This is particularly the case with films adapted from books, were the viewer / critic,
having read the book, may have a strong sense of how they want to see the visual. This makes
things more challenging for the director, knowing he or she has the extra pressure and
responsibility of meeting the reader’s expectations. Countless times you hear fans of

12
Tolkien’s work state that the book was better or indeed that the film was nothing like the
book! A good example of a film not meeting the public expectations of the much loved book
is Peter Jackson’s interpretation of The Hobbit. This is a very good example of a director’s
visual interpretation being negatively received by the viewers and critics.

13
Dissertation
To ensure all the necessary information is addressed in this dissertation, narrowing down
the content is essential. I have broken the characters and locations down into two case
studies. By doing this it allows me to go into greater detail with certain character and location
themes, as opposed to describing the whole cast which would be unrealistic and too broad.
The characters and locations I have chosen to address are, (The Shire and the Hobbits) and
(Isengard, Saruman and the Uruk-hi). I have chosen these two case studies because they are
very different. As a result of choosing dissimilar themes it allows me to explore the
differences and diverse approaches from a composer and a director’s point of view.
Director: Peter Jackson
a. From book to screen, Peter Jackson’s vison
“The themes of Tolkien are another way of honouring the book.
Because there’s so much detail, you ultimately can’t re-create the
world of The Lord of the Rings with everything in the books. But the
thematic material is obviously important to translate from book to
film.” –Peter Jackson (The Lord of the Rings: The Fellowship of the
Ring Extended Edition, 2002).
Peter Jackson’s biggest challenge of his career to date was embarking on this huge
cinematic project, which required many years, just in the planning stage. The planning ahead

14
process consisted of studying the book with his closest colleagues, some of which had studied
the book their entire adult lives. One of the main priorities Peter Jackson was adamant in
achieving, was to add all the necessary content that the hardcore Tolkien fans would
appreciate most, and translate them to screen. As the quotation above states, it would be
impossible to recreate every detail from the book into a movie trilogy, due to the immense
detail and thought Tolkien put into his life’s work. To include all the intricate details into a
nine hour trilogy would be unrealistic. In the quotation above Jackson stated that for him the
thematic material was the most important to translate from book to film. These thematic
attributes are typically a body of topics that would surely need addressing in the films. Fran
Walsh (film producer & Script writer) in all three LOTR films stated, ‘It was rather a
protracted period, getting to know the true nature of the book and the job. It wasn’t something
you could just dive into: it was more of a slow ongoing education.’ (Sibley 2006: 542).
Ensuring that the films themes were accurate and gave the book justice was the biggest
priority that had to be achieved.
Jackson stated, ‘If you were to shoot the book page by page, scene by scene, it would just
be a mess.’ (The Lord of the Rings: The Fellowship of the Ring Extended Edition, 2002).
Jackson wanted to film the trilogy as a clear timeline with no interference. In the book there
is a lot of content that would sway away from the main focus point temporarily. Jackson
purposely dismissed these sections from the book, and focused on delivering a detailed
timeline that the audience could follow with ease. Filming the trilogy based on every page in
the book would be unachievable; Jackson stated it would be a poor approach that would most
likely end in disaster. While Walsh stated, ‘We tried keeping a relationship between Frodo
and the ring, keeping the events totally focused on the forward movement of the journey.’

15
(Sibley 2006: 543). Walsh had the same idea as Jackson and wanted to achieve a sequential
forward moving timeline.
Only once the constantly evolving structure (script, set design, casting and locations) came
to a final conclusion, and the big film companies and studios such a Miramax and New Line
Cinema were happy, was it time to begin filming. It took a strenuous 438 days to complete
the principal photography process, the phase of film production in which the movie is filmed,
with actors on set, and cameras recording. The LOTR trilogy was filmed entirely in Jackson’s
New Zealand, using its stunning locations and landscapes to best represent the world of
Middle-earth, (Tolkien’s made-up world). As a result of the huge success the movie franchise
received. New Zealand has added some of these film locations to the countries tourist
attractions, with thousands of fans traveling specifically to see locations from the LOTR
films. Deborah Jones and Karen Smith stated, ‘Tourism intensification is seen as the most
significant spin-off, and tourism campaigns linked to LOTR demonstrate how national
identity as established in the LOTR project lends authenticity to tourism rhetoric,’ (2005:
927). Jones and Smith acknowledge the positive impact the films have had on New Zealand
as a country. People instantly identify New Zealand with the LOTR due to the huge
worldwide success of the franchise.
Once the news had been announced that the LOTR was being made into a three part
motion picture, the end product was eagerly anticipated amongst the book fans. Brian Sibley
stated, ‘Here’s a book that’s 1000 pages long. It has all kinds of races, beings and creatures. It
took the author 15 years to write it, this is a challenging book to try and put into film.’ (The
Lord of the Rings: The Fellowship of the Ring Extended Edition, 2002). Sibley takes into
consideration the difficulty in making these films a success, the story is loved and respected

16
worldwide, and the fans will be expecting to see a masterpiece. There was lots of negativity
during the pre-release build-up to The Fellowship of the Ring. It is not uncommon to receive
negative anticipation before a film is released, particularly when a film of this magnitude and
ever growing hype in the media is about to reach the cinemas.
With a mixture of passion for filmmaking, love of the book, and being an overall
perfectionist, Jackson would seem to have the right combination of skills to make these films
a success. Many people in the film industry now look up to Jackson and would now take his
techniques into account themselves. Randall Cook (Visual Effects) stated, ‘I’ve felt like I’ve
been able to learn from him, its stuff that I was sure wouldn’t work that he makes work, he
does a lot of things that shouldn’t work, but does.’ (The Lord of the Rings: The Two Towers
Extended Edition, 2002). Jackson can use filmmaking techniques that aren’t conventional; he
looks outside the box and experiments with unusual approaches. Cook stated above that it
surprises members of the production team how he manages to pull off these unconventional
techniques. In the process of this filming this trilogy Jackson has changed the rules. Typically
a director would stick to the script and comply with the commands of Hollywood and other
major film companies, but having the freedom to experiment and do as he pleased proved to
be a most effective way of filming and structuring these films. Jones and Smith emphasize
the point above by stating, ‘Peter Jackson has changed the rules about filmmaking so
profoundly. Most budding film director’s bugger off to Hollywood, Peter made Hollywood
bugger off to him.’ (2005: 930).

17
b. Creating the Shire, and Bringing the Hobbits to Life
The Shire was built on a 1,250 acre working sheep farm on New Zealand’s North Island in
a small town named Matamata. Matamata was the seen by Jackson as the perfect place to
portray the peaceful nature of the hobbits. Even before props, plants and houses were built to
enhance the Hobbiton theme; it naturally looked as if it was taken straight from the book, due
to the greenery streams and round hillock’s that were already a part of the location. Dan
Henman (Art Director) stated, ‘We started planning from a very early age with the Shire. We
could begin construction a year out from filming.’ (The Lord of the Rings: The Fellowship of
the Ring Extended Edition, 2002). This gave the art designers and model workstations time to
design, build and plant what was required to meet the expectations before shooting scenes.
Jackson stated, ‘I didn’t want a fantasy movie, Hollywood sort of style design. I wanted
something that felt authentic.’ (The Lord of the Rings: The Fellowship of the Ring Extended
Edition, 2002). Jackson wanted an authentic feel to his visual style, as opposed to a
Hollywood production, which predominantly entails the use of green screens and special
effects. This is a slightly contradictory statement from Jackson due to some locations in the
films including typical attributes of a Hollywood production (green screen and special
effects). However, the Shire is a real life location, which is clearly a good starting point in
order to achieve an authentic looking visual.
Builders, artists, landscapers and even the army contributed to the construction of the
Shire set. The army built roads and pathways leading to the “hobbit holes”, the landscapers
planted lots of flowers to help bring the Shire to life, and the artists drew their creative visons
down on paper, which were later analysed by Jackson. Jackson had been studying Alan Lee’s
artistic interpretation of what a hobbit hole would look like, and eagerly requested Lee to

18
draw the outside and inside structure of “Bag End” (Bilbo & Frodo’s home) from an
architectural point of view. Alan Lee is an artist with a catalogue of artwork based on
Tolkien’s novels. He had made many drawings of the Shire years before the films had been
announced. Jackson actively targeted Alan Lee after studying his artwork, and was inspired
by Lee’s vision for certain locations and characters from the book. He rang Lee a year before
the filming process and expressed his interest in his artistic interpretations, and requested him
to work on the three films. Lee accepted the offer and artistically designed Bag End as well as
other aspects of the Shire. Steven D. Katz stated, ‘Many production illustrations are no more
than quick sketches, thumbnails or roughs, whatever is necessary to get an idea across
quickly during the early stages of production. (1991: 10). This is something Lee and Jackson
did together frequently in the three films to get a quick overview of how certain scenes would
look before shooting on set.
Doug Adams stated, ‘The shire reminds the audience that for all its spectacle and flourish,
Tolkien’s story is primarily about simple themes: friendship, loyalty, and the sanctity of
home.’ (2010: 22). Jackson analysed all these attributes and incorporated them into the visual
theme of the Shire, and also with the characters. The friendship was represented amongst all
the Hobbits at Bilbo’s party, and the loyalty was expressed by Frodo and Sam throughout the
three films. Grant Major (Art Director) who worked on all three films stated, ‘The style of the
Shire was first and foremost to be homely and familiar. It has some Englishness to it that I
think Tolkien would have liked us to use.’ (The Lord of the Rings: The Fellowship of the
Ring Extended Edition, 2002). Jackson wanted to create an image of a jolly English
countryside village, but also incorporated the Middle-Earth theme around it. You can see the
English rural theme in the rolling green landscape, the farming / agricultural lifestyle and the
social drinking culture amongst the Hobbits, which is shown throughout the LOTR trilogy.

19
So much time and money was put into the creation of the Shire, without Peter actually
having to be there for most of the time. This was possible due to Jackson’s close involvement
on most aspect of the pre-production and filming. Members of the pre-production teams
would report back to Jackson with pictures and videos to receive conformation that the
current progress was accurate and met his expectations. Some of the main characters from the
book reside in the Shire, for example, Frodo, Bilbo, Sam, Merry and Pippin. In order to
create a sense of who they are as a character, a great amount of detail had to be put into their
home “the Shire”. Putting extra detail into the location made a really strong connection with
the nature and personalities of each character. Major stated, ‘It was a very long and organic
process designing and building the Shire, but I’d like to think that Hobbiton needed that scale
of detail to work well.’ (The Lord of the Rings: The Fellowship of the Ring Extended
Edition, 2002). Major confirms that without the in-depth detail Hobbiton would have lacked
the authentic and realistic visual it needed in order to complement the detailed theme in
Tolkien’s books.
Sibley quoting Jackson, “Frodo is clearly the movie’s protagonist. We
wanted him to control movements, rather than share too much of it
around. In shooting the films we tended to place the weight of the
film onto Frodo’s shoulders because it seemed to us that, when we
were away from Frodo, we had somehow disengaged ourselves from
the driving force of the narrative.” (Sibley, 2006: 571).
The connection between the Shire and the image of the Hobbits was extremely important,
due to the main character of the trilogy being a Hobbit (Frodo). Weta workshop had a large

20
influence on the image of the Hobbits. Weta is a special effects and prop company based in
Miramar, New Zealand. They were responsible for the making of sets, costumes, armour,
weapons, creatures and miniatures in the LOTR trilogy. Ngila Dickson (Costume Design)
stated, ‘Everything about the Hobbits, descriptive-wise, was very country and I wanted to use
a lot of that 18th century design style, the little frock coats, the waistcoats, all of those things
that are really quite English.’ (The Lord of the Rings: The Two Towers, 2003). If you look at
the Hobbits as a collective, they all wear very similar clothing, as Dickson stated above they
all have little frock coats and waistcoats. The only difference is the choice of colour and
material worn by each character. For example Frodo wore velvet clothing; the reasoning
behind this is that it made him look younger, he was also the nephew of the wealthy Bilbo,
reflecting here in slightly finer clothing. It is little details like this that gives specific
connections to certain characters. Elijah Wood (Frodo) stated, “The clothing would be the
first thing I would put on that would begin my process into becoming a hobbit.” Not only do
the costumes give a visual connection to the viewer but they also help actors such as Elijah
wood get into character. Jackson wanted Frodo to initially look young, happy and naive, and
then gradually turn into a darker character as a result of handling the ring for so long. With
the exception of Frodo, throughout the films no matter the situation Jackson’s goal was to
maintain the rural tranquillity of the other Hobbits and the Shire. He made sure that the kind
hearted, polite and peaceful nature of the Hobbits didn’t go unnoticed.

21
c. Isengard, Saruman and the Uruk-hai’s Dark Construction
Isengard is another one of the main locations in the trilogy and the one that best represents
the evil in Middle-Earth. In the pre-production for this particular theme, there was a
completely different approach in comparison to the creation of the Shire. Instead of using a
specific location for the filming process the landscapes and buildings within Isengard were
predominantly miniatures. A miniature is a small scale reproduction, in this case they were
used for landscape shots, and superimposed for the shots with dialogue. Sets were built to
accompany these miniatures to capture in greater detail scenes and shots that were inside the
buildings, and other various shots that wouldn’t have been achievable by using a miniature
alone.
Peter Jackson stated, ‘Miniatures are not sets; there are several ways
you can do it. You could use matte paintings, build them in a
computer or you can use models. I always tend to favour models,
because they’re interactive and user-friendly. The bigger the
miniature the more realistic it’s going to be.’ (The Lord of the Rings:
The Two Towers Extended Edition, 2003).
Jackson favoured using models, which like the characters costumes were made at Weta
workshop. Jackson would analyse the models for hours using a micro camera. During this
analytical process he would try and find shots that would work in the films, envisioning that
the models were life sized.

22
‘Scaled models are another visualization tool borrowed from the field
of architecture. Unlike storyboards or concept sketches, models are
used to visualise the three-dimensional space that the camera records
rather than the two-dimensional space that the audience will see on
the screen.’ –Steven D. Katz (1991: 18).
Jackson used countless numbers of miniatures throughout the trilogy. As Katz stated
above, the models allow the director to visualise scenes from a three-dimensional point of
view, as opposed to using storyboards and concept sketches that are two-dimensional. These
3D models were used at the very early stages of development. Jackson would look at the
miniatures whilst reading the script and try to envision where the characters would be
positioned once it came to the superimposing process. Katz stated, ‘No one on the set, from
the cinematographer to the prop master, can began work until the director makes two
decisions. Firstly, where the camera will be placed and second, how the actors will move in
front of the camera.’ (2004: 3). The director calls all the shots. Katz stated that no one on the
set can proceed to the filming process until the director is happy with the camera and actor’s
placement. It was very important for Jackson to analyse each miniature from every angle to
help him find best possible shots in advance of filming.
‘There is something special about using miniatures that Peter loved,
Peter wanted to use as many large miniatures as he possibly could.’
–Barrie Osbourne (Producer), (The Lord of the Rings: The Two
Towers Extended Edition, 2003).

23
Peter Jackson frequently stated that “The bigger the miniature the more realistic it’s going
to be.” Isengard was huge from the books description, a mile in diameter to be precise.
Jackson wanted to create a small scale reproduction with various miniatures that would
visually seem life sized once superimposed.
Richard Taylor stated, ‘The ring of Isengard was 60 feet in diameter.
Its 35th scale, if you multiply that, it’s almost a mile in diameter. It’s
representing something that’s absolutely enormous. With various
miniatures; you have to put the right things together to make it work.’
(The Lord of the Rings: The Two Towers Extended Edition, 2003).
While some of the miniatures were very large, others were applicable, only needed to be
small. The size requirement would be determined by the scene and the range and distance
perceived in the shot. Scale was a big deal to Jackson and the crew at Weta workshop. They
are perfectionists and everything had to be precise. The tower of Isengard (Orthanc) acted as
the centre piece of the circular landscape of Isengard and was the tallest miniature in this
particular location. Peter Jackson stated, ‘our miniatures where so big and so impressive they
stood up to a shot that was a minute long.’’ (The Lord of the Rings: The Two Towers
Extended Edition, 2003). Peter expressed that the models were so detailed that they could
keep them in focus on various scenes and maintain a life like visual. They were so good that
there was no risk of the miniatures compromising the authenticity of the scenes.
‘From the first reading of the screenplay, certain images will appear
to you. These might include a face, maybe a layout of the location or
even individual shots. In addition, as you become more visually

24
experienced a series of shots combined with staging will announce
themselves. –Nicholas T. Proferes (2005: 88).
When Peter Jackson first read the screen play sections that were set in Isengard, he was
adamant about creating a dark industrial setting. Proferes stated above that certain images
appear to you on the first reading of the original source of the story or screenplay. From the
description of Isengard in the books it would only make sense to create a harsh unnatural
environment, a dirty industrial setting being perfect in capturing this. The visual theme of this
location complemented the theme of the characters. Saruman is the main protagonist in
Isengard and leader of the Uruk-hai army, (the big boss who commands the masses, but never
gets dirty himself). Jackson wanted Saruman to dress in white robes; in keeping with
Tolkien’s description of him. Saruman’s character once good and trusted, was found to have
turned evil in the Fellowship of the Ring. Christopher Lee (Saruman) states, ‘We’ve seen that,
you can draw parallels very easily between Adolph Hitler and Saruman in the power they
created with their voices, it was hypnotic.’ (The Lord of the Rings: The Two Towers
Extended Edition, 2003). Jackson also saw Saruman as a “Hitler” figure in the LOTR. This is
expressed particularly in the scene when he is addressing the Uruk-hai army from his tower.
This evil manipulative speech by Lee is reminiscent of Hitler’s style of speech.
The Uruk-hai is a stronger species of Orc, initially introduced in Isengard in The
Fellowship of the Ring. The Uruk-hai appears throughout the three films, shown in increasing
numbers in parts 2&3 of the trilogy. Most of the Uruk-hai were actors in prosthetic suits and
armour, opposed to a CGI alternative. It was Jackson’s insistence that the majority of the
Uruk-hai cast were actors in costume. The reason for this insistence was to ensure the real life
authentic structure when the action scenes were superimposed on the miniatures. John Howe

25
stated, ‘In order to make them all look different, it was important that there was
specialisations within that army, that differentiated certain Uruk-hai from others.’ (The Lord
of the Rings: The Return of the King Extended Edition, 2004). Due to the huge number of
Uruk-hai in the armies, Jackson and the crew at Weta workshop decided to create four corps
of Uruk-hai, each corps having a different style. Howe stated above that this was a method
that gave the Uruk-hai a variety of appearances. The four corps of the Uruk-hai are:
Berzerker; Swordsman; Pikesman and Sapper. Each of these corps had distinct differences.
These differences are visually expressed by their armour and weaponry. Daniel Falconer
(Weta Workshop Designer) stated, ‘We wanted to make it so you could look at clothing and
weaponry, and immediately identify that with certain themes within the films.’ (The Lord of
the Rings: The Two Towers Extended Edition, 2003). Lots of detail was put into the Uruk-hai
armies, with thousands of costumes and various designs of weaponry. Again the attention to
detail whilst working on the Uruk-hai was essential to achieve the intimidating and evil
visual, generated by the book and demanded in that particular theme.
Lots of the character development within this theme came as a result of Jackson’s
attention to detail, based on his thorough analysis of the books and his decisions with the
various production teams. In most cases he had the final say. So from a visual point of view,
Jackson’s overall control means he must take sole responsibility for the films failures, if you
didn’t like the interpretation or the film’s success if you liked his interpretation.

26
Composer: Howard Shore
a. The connection between character, location and music
‘The use of sound in films revolutionised the way movies were made.
Not only was there an amazing new dimension to the audience’s
experience, but the way a story was communicated had to be
completely rethought.’ –Richard Davis (2010: 13).
Howard Shore is a Canadian composer famous for his films scores. One of his most
renowned projects was his work on The Lord of the Rings trilogy, for which he won three
academy awards. Shore is highly regarded within the industry, but how are his techniques put
into effect? In this chapter the subject being addressed is how music can link and have a
connection with a certain character or location. Shore states that music is very much what you
see, so using the existing visuals from the three films was a vital guideline for Shore’s
creative process. Shore stated, ‘My process entailed studying the book, watching the films
and composing. It took over nearly four years to create in music an image of Tolkien’s
writing. (2011: 11). Not only did Shore use Peter Jackson’s visual perceptions to inspire his
compositional process, he also used the original source of the story, the books. Shore began
his work on The Fellowship of the Ring (the first film) in late 2000 and recorded the first
pieces of music in 2001. About 80% of each film was scored, totalling over 6 hours’ worth of
musical scores.

27
‘More so than just scoring the film I wanted the music to reflect
Tolkien. I wanted the music to bring the world of Middle-earth to
life.’ –Peter Jackson (The Lord of the Rings: The Fellowship of the
As the quotation above states Jackson wanted to reflect Tolkien’s work in the music; he
stressed this point to Shore in their first line of communication. Shore stated above that he
studied the book for inspiration, long before Jackson’s film scene visuals were available.
Shore analysed the characters and the location descriptions, from the words of Tolkien. He
then later tried to find suitable arrangements and instrumentation that would best represent
the descriptions in the books. Shore spent most of the early stages developing themes. For
example the Shire had a Scottish / Irish Celtic influence, in contrast to the Englishness
imagined by the film production teams. Various woodwind instruments, flutes and clarinets
were used to evoke the pleasant nature of the Hobbits.
There are many themes within the LOTR trilogy, over ninety leitmotif’s alone are
identified in the films, ‘The system of leitmotifs is when certain themes are associated with
certain characters, and played whenever they appeared on the screen.’ –Cavalcanti, A (1985:
100). Shore had many themes that had to be accurately developed in order to create a relevant
sound for each individual theme. Shore stated “It seemed like a hugely daunting task to do
the three films.” Peter Jackson’s constantly evolving visual structure made Shore’s
compositional process a more trying task than he first anticipated. However, once the themes
were developed, it became relatively easy to follow the scenes. Shore then had the task of
slowly refining the structure of these themes around Jackson’s visuals. Only after the visuals

28
were fully developed and ultimately edited into the final cut, could Shore make the final
arrangement. As such Shore’s original theme scores needed to be adaptable.
Paul Broucek stated, ‘Howard is incredibly hands-on as a composer
and his whole approach, because he not only composes the music but
he orchestrates and conducts.’ (The Lord of the Rings: The Two
Towers Extended Edition, 2003).
Broucek states above that Shore not only composes but orchestrates and conducts. This
total control approach to the music would appear to be the same as Jackson’s total control
approach to the visual. However as a result of the close collaboration throughout, Shore’s
arrangements were exactly what Jackson had hoped for. The majority of the music in the
LOTR films is orchestral and most of the music in the trilogy was performed by the London
Philharmonic Orchestra, with the addition of various choirs and individual vocalists. Shore
was the front man in most of the practices, conducting and leading the music at various
theatres. There were two main locations used for practice and final recordings, they were
Abbey Road which was primarily used for vocal recordings, and Watford Colosseum which
was used for the orchestras, both based in England.
Jackson stated, ‘Normally composers might work for six to eight
weeks, by the time first film was released Shore had been on the film
for nearly two years.’ (The Lord of the Rings: The Fellowship of the

29
This statement from Jackson emphasises the amount of work, creativity and depth that the
music needed in order to achieve a variety of scores that were relevant to characters,
locations, emotions and cultures in the trilogy. Shore had immersed himself to Tolkien’s
world very quickly, once he had agreed to do the films. With Shores passion for Tolkien’s
work, respect for Jackson’s filmmaking and his years of experience scoring film, Shore had
all the required skills to create a variety of musical scores for the LOTR trilogy.

30
b. The music of the Shire and the Hobbits
The Shire was one of the first themes Shore worked on in the trilogy. The Shire being one
of the first locations featured in The Fellowship of the Ring. It would have been the first
visual that Shore would have adapted to, due to his initial vision coming from the description
in the books. There are a variety of themes amongst the Hobbits, but the Shire as a location,
maintains the same peaceful and melodic theme. The Shire isn’t featured in all three films, it
is seen at the beginning of the first film and the end of the third film, which is a huge gap
once you take into consideration the trilogy is nearly 10 hours long. There are multiple
Hobbits who make an appearance in all three films, who go through a series of emotions, for
example, contented happiness in the Shire, desperation and fear on their journey, periods of
joy and sadness at various points through the trilogy and in the case of Frodo’s possession by
the ring. In order to evoke the transitional changes in the Hobbits emotions, noticeable subtle
changes in the music had to be created in order to maintain a relevant connection to the
Hobbits, and their changing situation.
‘Jackson and Walsh were very clear that they wanted a collaborator
who would invest the time and develop themes.’ –Barrie Osborne
(The Lord of the Rings: The Fellowship of the Ring Extended
Edition, 2002).
Shore carefully planned out a series of themes within this theme, which would not only
make the viewer aware that a Hobbit is on screen, but also make a musical connection to the
current status of that character. Shore named the initial theme for The Shire and the Hobbits
(The Rural Setting). This theme expresses the contented whimsical life of a Hobbit. Shore

31
stated, “I wanted to feel like the Hobbits were playing the music, so it has that quality.”
(Adams, 2010: 26). Shore wanted to achieve an authentic sound that complemented the
culture of the Hobbits. The instrumentation in this particular setting consisted of a sprightly
musical palette, including folk instruments such as the bodhrán and solo whistle. Adams
stated, ‘The Rural Setting transforms the Shire into a sprightly, Celtic-influenced pleasant
melody, the simple joy of Hobbiton in musical form.’ (2010: 26). At the beginning of the film
the evil that was about to endure was unheard of, there was nothing but peace and happiness
in the Shire, and a care free aura amongst the characters. Shore reflected this sense of security
in the music and complimented the carefree nature that the Hobbits express visually.
Only once the Hobbits ventured outside the confines of the Shire and the characters were
exposed to the dangers of the task ahead, was it time for the Shore to make significant
changes to the music. Adams stated, ‘The Shire settings become more complicated as the
story foists the Hobbits into the greater world of Middle-earth, the melodic line seldom strays
far from its roots.’ (2010: 27). At the end of The Fellowship of the Ring, characters separated,
leaving Shore with two separate Hobbit story lines, the story of Frodo and Sam, and the story
of Merry and Pippin.
In The Two Towers, the second film in the trilogy, Merry and Pippin find themselves in
Fangorn Forest. Although Fangorn has a similar peaceful nature to the Shire, it has a
completely different visual and a unclear sense of danger. As a result of the change in visual,
the Shires familiar musical material pushed into slightly new directions. Shore analysed the
location of Fangorn from the books description and later from Jackson’s visual perspective,
and came to the conclusion that Fangorn needed a suitable peaceful musical arrangement. He
would later fuse certain elements of the Shires instrumentation alongside it. Shore tended to

32
fuse themes within themes. This technique is used by adapting the Shire’s musical sequence
to suite the instrumentation and visuals of the other themes. Jackson stated, ‘Shore was
brilliant at working, developing themes and continuing to develop them from film to film.’
(The Lord of the Rings: The Return of the King Extended Edition, 2004). Shore incorporated
the gentlest and most soothing qualities of the Shires music. He included the familiar whistle
and clarinet from the Shire theme and played them alongside the musical theme of Fangorn.
By selecting these particular instruments and playing the familiar sequence typically
associated with the Shire in a different location, complemented the connection with the
Hobbits in the scene and emphasizes their adaptation to the new environment. Out of the
entire Shire incorporated themes this one has the least energy, but creates a sense of
reassurance that is unique amongst Shore’s extensive catalogue of scores.
Frodo is an interesting character and as stated previously is the protagonist of the whole
trilogy. The leitmotif associated with Frodo has a more interesting transition in comparison to
that of other characters. Frodo, as the ring bearer is exposed to the rings potent power that
manipulates psychologically, whoever possesses it. Despite Frodo having a great resilience to
its power, it still had a noticeable effect on his personality. This was reflected in Shore’s
music. Shore used another theme from the films to express the possession taking a hold of the
character of Frodo, and he named this theme (The Seduction of the Ring).
‘The theme of the seduction of the ring is punctuated by rumbling
bass drum strokes, which represents the One Ring’s overwhelming
allure. The melody drifts through D minor scale fragments to evoke
the distant, elusive incantation, which expresses the benign purity that
the ring promises its victims.’ –Shore (2010: 17).

33
There are many themes based on the ring in the film, but the seduction of the ring is
consistently played throughout the trilogy. Shore wanted to make the sinister and seductive
power of the ring translate using music. Without this music, the nature of the rings power
wouldn’t have been as clear, Kassabian states, ‘At times people will identify with the music,
drawing from it the emotions they can’t acknowledge from the visual alone.’ (2001:16). It
was clear to Shore that this particular theme had to somehow reflect on Frodo’s changing
personality. Shore cleverly took subtle hints of the seduction of the ring theme and embedded
them in pleasant Shire music. The Shire theme was slowly fading away from Frodo towards
the end of the first film. It was from this point that the seduction of the ring became clearer
and clearer as the story progressed, Shore used an effective phasing out technique
accompanied by a fading in effect, to clearly structure and achieve a piece of music that best
represents Frodo’s transition in personalities.
With the exception of Frodo, despite the level of intricacy in the Hobbit theme the music
remains affectionate, which is an element Jackson maintained from a visual perspective.
Shore’s initial Shire and rural theme was just the basis for the Hobbits natural outlook. By
using his creative ingenuity he was able to adapt this original themed score to all the
changing locations, objects and mood of the four Hobbits.

34
c. The music of Isengard, Saruman and the Uruk-hai
The theme of Isengard was composed for the first and second film, and also makes a
small appearance in the third film. Shore stated, ‘Isengard took the theme of the Industrial
age, and is written in five-four time, to evoke this unusual and unresolved sound.’ (2010: 92).
Visually it is a harsh dirty landscape with menace and danger. Shore wrote this particular
theme in five-four time, which he believed would evoke the feeling of the Isengard culture
being “Off kilter” (not aligned or balanced), unnatural and out of step with the positive and
good themes in the films. Shore believed that the five-four rhythm, with its unusual beat
would give this part of the film an unresolved effect. (The Lord of the Rings: The Fellowship
of the Ring Extended Edition, 2002). Isengard’s industrial instrumentation is represented by
the sounds of metal-hammered percussion and weighty low brass.
The character of Saruman has an identifiable leitmotif that complements the thematic
score of Isengard as a location. This however changes very quickly, as he only appears good
in the early stages of the first film. As soon as the dark evolving instrumentation builds into
to the character of Saruman, his music transition from good to evil develops some clarity that
the viewer instantly acknowledges. This musical transition helped to emphasize the evil
character that is portrayed throughout the remainder of the first film and the entire second
film. Shore used a variety of instruments to evoke the transition of Saruman’s character. He
initially used the dusky instruments such as wood logs and bass marimba (wooden natural
elements). He later added choir tones and contrabass clarinet cackles that gave the theme a
rhythmic feel, as opposed to the initial bleak instrumentation. Adams states, “The score
continues to grow in orchestral weight and prominence.” Shore finally included brass chords
that rise ominously, which represented the threatening and evil nature that Saruman had

35
developed. This theme was prominent throughout The Two Towers (the second film). Like
the Shire theme, Shore embedded this score alongside similar themes in the trilogy, for
example, Mordor and Sauron. By incorporating Saruman’s leitmotif amongst these scores it
creates a connection as to where his allegiances lie.
Brown stated, ‘The early film-makers had no desire to allow external
annoyances to compete for attention with their visual product: music
was their panacea for encouraging audience empathy.’ (1994: 13).
In the LOTR, there are lots of sound effects amongst the scores, particularly in the battle
scenes involving the Uruk-hai theme. Shore wanted to ensure that the sound effects didn’t
overpower the scores, and also that the scores don’t overpower the sound effects. He wanted
to achieve a perfect balance in the overall sound.
‘It’s almost as if the music has to compete with the sound effects in
order to work, so you have these two things doing the same job. I
worked closely with Shore on plotting and planning a musical
structure to themed sequences.’ –Jackson (The Lord of the Rings: The
Two Towers Extended Edition, 2003).
Jackson himself took this issue into consideration and worked closely with shore to ensure
that all the audio in each scene were similar levels. As a result of setting all the audio levels
accurately, it ensured that all the elements of the overall sound didn’t go unheard.

36
The musical theme of the Uruk-hai is basically the Saruman theme on steroids. The reason
Shore used this particular approach is due to the huge amount of Uruk-hai in Saruman’s
army, it also evokes the lifeless / killing machine image that the Uruk-hai portray.
‘The instrumentation for the Uruk-hai consisted of Horns,
Trombones, and Tuba to engrave the Isengard theme deeper and
deeper into the score, which once again pushes the tempo forward to
reflect the Uruk-hai’s rabid determination.’ –Shore (Adams, 2010:
191).
Shore’s choice of instrumentation perfectly captivates the Uruk-hai’s uncontrollable rage
and bloodlust. The Horns, Trombones and Tubas used in this score intensify the overall
sound and the theme of Isengard. It accompanies the location and creates a musical
connection. Shore’s main intention in this theme was to create a score that would accompany
Jackson’s evil, intimidating and dark visual theme of the Uruk-hai.
Adams stated, ‘Howard Shore’s thematic approach to the LOTR
illuminates Middle-earth from an anthropological viewpoint. Each of
the principal cultures in Tolkien’s world is accorded a unique musical
style that speaks to its innate nature.’ (2010: 11).

37
Integrated Conclusion
Peter Jackson
Having researched Jackson’s style of approach and working preferences to this project
along with his central position within his production teams, we can see how the first stage
was to set about defining how best to overcome the complexities of transposing such a large
book with such in-depth written detail, into a film. Clearly at a very early stage the large
content of the books determined to Jackson and his team that this would need to be a Trilogy.
In Jackson’s determination to be accurate with his interpretation, he involved scholars,
specific to Tolkien’s works and other professionals who were already passionate about the
story, to guide his vision.
Together with his assistant producers they agreed on the need to film the story with what
they termed a progressive timeline, which would require the removal of significant number of
side stories from the book, in an attempt to keep the story “Moving Forward”. When you
consider the potential for such side plots, (which don’t have any specific time link to the
journey) to break the flow and confuse the story, you can begin to appreciate why so much of
the book needed to be overlooked and effectively disregarded. Jackson and his team having
decided to focus on this progressive timeline, determined that the best way to achieve this
was to emphasise the main themes of the book, set to the main events of the book. For me
this has created a representation of the story that could be followed not only by people who
have read the book, but also by people who have not.

38
The size of the project, clearly one of the largest in cinema history, is reflected by the time
that the project took to complete, and the final cost incurred. The success at the Box-Office
along with the merchandise sales makes this one of the all-time financial successes in film
history. All three films were nominated at the Oscars, with the third in the trilogy winning
“Best Picture”, “Best Director” and “Best Adapted Screenplay”.
Howard Shore
Shore was selected by Jackson and his production team’s, as their first and preferred
composer for the films music. They liked his broad range of styles already evident in his film
score portfolio. Shore was very impressed with the attention to detail shown at the very early
stages. On the basis that Jackson wanted someone who would commit in a highly
collaborative manner, over an extended period, convinced Shore to commit to the project.
Shore quickly immersed himself into the world of Tolkien, studying the books, artistic
sketches, storyboards, sets and most importantly Peter Jackson’s vision. Shore then set about
finding music to fit the visual themes that Jackson and his team had already selected. This
proved to be a crucial and necessary foundation, as Shore would ultimately have to blend the
music themes from scene to scene.
Shore proves he is particularly good at evolving these themes, some of which evolve
throughout the three films. The music in many films can be very subtle and not really noticed
by the viewer. In this action adventure, Shore’s scores are very much part of the overall
impact for the viewer, even in the quieter scenes. It is important to note that Shore’s music

39
spans 80% of the films duration, making this possibly the biggest compositional collaboration
in film history.
Not having a natural inclination to orchestral music myself, I must note my respect and
amazement at the vast range and beauty within Shores compositions. With my lack of
orchestral knowledge aside, winning two “Best Original Score” Oscars for The Fellowship of
the Ring and The Return of the King, (the first and third films in the trilogy). With an
additional Oscar for best original song titled “Into the West,” also form for the third film in
the trilogy, justifies Jackson’s faith in Shore.
Collaboration between Jackson and Shore
‘To be able to work with Jackson as a collaborative filmmaker is a
fantastic bonus for me, because you’re getting his input from the
storytelling aspects of it, you’re creating the imagery in the music, so
you’re both working together to tell the story.’ –Shore (The Lord of
the Rings: The Two Towers Extended Edition, 2003).
Based on Shore’s comment above, Jackson’s approach clearly suited Shore’s
compositional approach on this project, while Shore’s compositional approach also suited
Jackson’s visual interpretations. The projects global award winning triumphs clearly state this
was a successful collaboration.

40
Alphabetical Bibliography
 Adams, D (2010). The Music of the Lord of the Rings Films. 2nd ed. New York:
Carpentier. p22.
 Bordwell, D (1991). Making Meaning: Inference and Rhetoric in the Interpretation of
Cinema. London: Harvard University Press.
 Brown, R (1994). Overtones and Undertones: Reading Film Music. Los Angeles:
University of California Press. p13.
 Cavalcanti, A. (1985). Sound in Films. In: Elisabeth Weis and John Belton Theory
and Practice: Film Sound. 3rd ed. New York: Columbia University Press. p100-101.
 Davis, R (2010). Complete Guide to Film Scoring: The Art and Business of Writing
Music for Movies and TV. 2nd ed. Boston: Berklee Press. p13.
 Eisler, H & Adorno, T (1994). Composing for the Films. 2nd ed. New York: Oxford
University Press. p5.
 Grant, K (1999). The New Zealand Films of Peter Jackson. London: Kakapo Books.
 Hauser, F (2003). Notes on Directing. 2nd Ed. New York: Walker Publishing.
 Jones, D & Smith, K (2005). Middle-Earth Meets New-Zealand: Authenticity and
Location in the Making of The Lord of the Rings. Journal of Management Studies. 1
(NA), p927.
 Kalinak, K (2010). Film Music: a very short introduction. New York: Oxford
University Press.
 Kassabian, A (2001). Hearing film: tracking identifications in contemporary
Hollywood film music. New York: Routledge. P16.
 Katz, S (1991). Film Directing: Shot by Shot, Visualizing from Concept to Screen.
Michigan: Michael Wiese Productions. p5.

41
 Katz, S (2004). Film Directing: Cinematic Motion. 2nd ed. USA: Michael Wiese
Productions. p3-4.
 Lehman, S (2013). Directors: From Stage to Screen and Back Again. Bristol:
Intellect.
 Neumeyer, D (2014). The Oxford Handbook of Film Music Studies. 3rd Ed. New
York: Oxford University Press.
 Proferes, N (2005). Film Directing Fundamentals: See Your Film Before Shooting.
2nd ed. Burlington: Elsevier. p88.
 Reich, R (2003). Notes on Directing. 2nd Ed. New York: Walker Publishing.
 Shore, H. (2011). Howard Shore A Composer's Dream. Available:
https://www.youtube.com/watch?v=NONDCA_dmHA. Last accessed 3rd Nov 2014.
 Sibley, B (2006). Peter Jackson: A Film-maker's Journey. New York: Harper Collins
Entertainment. p571.
 Sibley, B (2002). The Lord of the Rings: The Making of the Movie Trilogy. USA:
Harper Collins. p115.
 Smith, R (2002). The Life and Music of Brendan Herrmann. London: University of
California Press.
Filmography
 The Lord of the Rings: The Fellowship of the Ring Extended Edition [DVD]. PETER
JACKSON dir. New Zealand: New Line Cinema.
 The Lord of the Rings: The Two Towers Extended Edition [DVD]. PETER JACKSON
dir. New Zealand: New Line Cinema.
 The Lord of the Rings: The Return of the Ring Extended Edition [DVD]. PETER
JACKSON dir. New Zealand: New Line Cinema.

Dissertation

Recommended

Recommended

More Related Content

Viewers also liked

Viewers also liked (14)

Similar to Dissertation

Similar to Dissertation (20)

Dissertation