Helm’s Deep

Frodo and Gollum react to Sam’s Speech

On Screen: score entitled “Helm’s Deep”
Music Playing: martial version of Lothlórien Theme

Peter Jackson: It’s an instinct in battles to just pile music on top of that, to have this, this throbbing, percussive kind of music. Because it’s almost like the music has to compete with the sound effects in order to actually work, so you have these two things doing the same job, really. And so I worked very closely with Howard on plotting and planning a musical structure to the Helm’s Deep sequence.

On Screen: families in the crystal caves
Music Playing: quieter music plays

Howard Shore: Peter would say, “As the battle forms, let’s go to the smallest child.” And you realize that’s what the battle’s being fought about - the families. But it’s not the type of music that you would think that would be the big build-up to the big battle. It’s quite emotional.

Peter Jackson: It’s the juxtaposition of the music and the pictures. And I think that’s a lot more powerful.

On Screen: Elven Archers on wall
Music Playing: martial version of Lothlórien Theme resumes

Howard Shore: So, as the tide of battle shifts, from one group to another, you hear various thematic ideas take over in Helm’s Deep. So, when the Elf archers start the battle I used a thematic thread from Lothlórien, from Fellowship.

On Screen: Lothlórien Theme from FOTR

Howard Shore: But now it’s played in battle mode.

On Screen: martial version of Lothlórien Theme

Howard Shore: But as the Uruk-hai approach the wall and they dig in their ladders, the Uruk-hai theme, the Isengard music takes over.

On Screen: Isengard Theme

Howard Shore: So, there’s always this shifting of focus musically. And Helm’s Deep was specifically created with that concept in mind.

Peter’s notes tended to be really clear and direct: ‘I want this scene to start really quiet and subtle and then build. I want it to have this structure to it — we’re going somewhere with it.’ For instance, there’s a scene where the Uruk-hai are marching on Helm’s Deep, this fortress built up against a huge rock cliff, and they’re marching from afar, but there are so many of them that they set up this incredible rhythmic pulse as they’re marching. There were certain desires on the editorial team to have that really be big and be felt and have this huge pulsing mass coming at you. And [Peter] came back and said, ‘No, this needs to be subtle — so subtle that you feel the pulse, but you also hear the breath of the warriors waiting for this oncoming army.’ It was a really poetic way to take it, and also, since that scene progresses into absolute chaos and mayhem, it was a great way to start because you’ve got something to build with.

Paul Broucek: Howard is incredibly hands on in his whole approach because he not only composes the music but he also orchestrates and conducts.

On Screen: Howard Shore conducting orchestra playing Shire music

Peter Jackson: Directors work in very different ways with composers and I found, to my surprise, just how much manipulation and shaping you can actually do with the music track even if you’re in the studio recording it. It’s not locked off. It’s not, you know, set in concrete.

On Screen: conversation between Howard Shore and Peter Jackson re: scoring a scene

Howard Shore: To be able to work with Peter as a collaborative filmmaker is a fantastic bonus for me because you’re getting his input from the story telling aspect of it. You’re creating the imagery in it in music. So you’re both sort of working together to tell the story.

Peter Jackson: I totally believe that music ties in very closely with the emotion of the film and it’s very, very important. It’s just like directing the performance of an actor. So, for instance, Howard would play me something and I might say, “Can we please just make that more emotional? I didn’t quite feel it. I just want it to be a little bit more sad.” I talk in that sort of language. I don’t usually talk in musical terms.

Howard Shore: He would say, “Well, the Uruks would feel like this (gesturing).” It would be, “They need to feel a little stronger here.” I can work with Peter, now, to shape the performances.

Peter Jackson: It’s a very important part of the process for me to be part of.

On Screen: editing room discussion of a scene -- tweaking Sam’s speech in Osgiliath: