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The music of The Lord of the Rings film series was composed, orchestrated, conducted and produced by Howard Shore. The scores are often considered to represent one of the greatest achievements in the history of film music^[1] in terms of length of the score, the size of the staged forces, the unusual instrumentation, the featured soloists, the multitude of musical styles and the number of recurring musical themes used.

Shore wrote many hours of music for The Lord of the Rings, effectively scoring the entire film length. Over 13 hours of the music (including various alternate takes) have been released across various formats. Shore conceived the score as operatic and antiquated-sounding. He made use of an immense ensemble including a large symphony orchestra (principally, the London Philharmonic Orchestra), multiple instrumental "bands", various choirs and vocal and instrumental soloists, requiring an ensemble ranging from 230 to 400 musicians.

Throughout the composition, Shore has woven over 100 identified leitmotifs (or over 160, when considering the music of the Hobbit films), which are interrelated and categorized into groups that correspond to the Middle-earth cultures to which they relate,^[2] forming one of the greatest and most intricate collections of themes in the history of cinema.

The score became the most successful of Shore's career, earning three Oscars, two Golden Globes, three Grammys, and several other nominations, and some of his themes (like the Shire theme) and songs earning great popularity. The score was the subject of a short documentary film called Howard Shore: An Introspective, and has even earned a dedicated research-based book by musicologist Doug Adams. The scores go on being performed by choirs and orchestras around the world as symphony pieces, concert suites and live to-projection concerts.

Overview[edit]

Shore was chosen by the filmmakers (who also looked into James Horner^[3]) when they found themselves temporarily-tracking parts of the assembled footage to pieces from his existing scores. The films were also temp-tracked sparsely with pieces from the scores to Braveheart^[4] and Last of the Mohicans. Shore visited the set and met with the filmmakers and various people involved in the production including conceptual designers Alan Lee and John Howe (who would contribute to his Symphony and Doug Adams' book on the score), actors Elijah Wood, Sean Astin and Andy Serkis, screenwriter Philippa Boyens (who became Shore's principal librettist for the score) and others, and saw assembled footage of all three films.

Howard Shore, composer of The Lord of the Rings series' film score

Shore agreed to take the project in early 2000. He envisioned the scores to all three films as a through-composed cycle, a grand opera told in three parts,^{[note 1]} involving a large network of leitmotivs, large choral and orchestral forces (including additional "bands" of instruments besides the main orchestra), frequent use of singing voices, both in choirs and through a wide ensemble of vocal soloists.

The score uses a neo-romantic, 19-century style and structure, derived from Shore's desire to have the music sound antiquated, but he nevertheless married it to modern and at times avant-garde techniques including atonal sections, unusual instrumental choices and orchestral set-ups, aleatoric writing, sprechstimme voices and syncopated rhythms, as well as borrowing from eastern scales, medieval styles of music, contemporary film music idioms for specific setpieces, classical idioms for some of the music of the Shire, new-age and contemporary idioms for the end-credits songs, etc. However, he insisted on staying away from electronic or synthesized music.

Shore orchestrated the music himself, and conducted all of the orchestral sessions and many of the choral and soloist sessions.^{[note 2]} In keeping with his operatic vision, Shore used the three scripts and the book itself to write themes even before having film reels to compose to. As a result, Shore spent nearly four years on the composition, compared to a period of 6–8 weeks per film, and a week or two of recording, as practiced by most film composers.^{[note 3]} For the recording process, which extended over four weeks per film, he composed the music in long suite-like pieces for the orchestra to go through during a day of playing, rather than short cues, lending greater cohesion to the music. Only a few minutes of finalized music were recorded each day to allow for input from director Peter Jackson and revisions to the music and performance^[5] Jackson gave Shore direction and had each theme played to him as a mock-up and by the orchestra before approving it. All of the music production (which overlapped with the films' editing process) was supervised by Jackson who often asked for significant changes to the music, which is unusual for film music.

Shore began his work on the music early during the production of The Fellowship of the Ring in late 2000 and recorded the first pieces of music (the Moria sequence^[6]) in spring of 2001 to a 40-minute teaser of the film, as the film was still being shot. The scored section also included a version of the Breaking of the Fellowship sequence, with an extended tin whistle solo, and a montage of footage from the following two films. The rest of the score was recorded in London during the editing of the film in post production, and took over 180 hours to record. Shore would later return to the finished film, recording additional music and revised takes for the extended DVD version in March 2002.

A similar pattern was followed for The Two Towers (which was scored at a faster pace than the other two) and The Return of the King (with Shore also, unusually, providing an original score with new themes for the trailer, as well) with the final sessions taking place in Watford on 20 March 2004. Shore wrote the music effectively for the entire film length.^{[note 4]} In the finished film, some of the music was dialled out while other parts were looped or tracked and re-tracked, so overall about 90% of the finished film contains music.

The music was performed primarily by the London Philharmonic Orchestra and three choirs: London Voices (for mixed and all-women choral parts), Wellington Maori-Samoan choir (for all-male choral passages in Fellowship of the Ring) and London Oratory School Schola boy choir. The New Zealand Symphony Orchestra contributed some of the early Moria music, written for an early edit of the film. A wide variety of instrumental and vocal soloists, including members of the films' cast, contributed to the scores as well. Each film calls for at least one soprano and/or alto soloist and one boy soloist.

The scores for The Fellowship of the Ring and The Return of the King won Academy Awards in 2002 and 2004, with The Two Towers not being nominated simply because of a rule of the Academy to not nominate sequel scores that reuse old themes,^[7] a rule that was undone specifically as to allow for the nomination of The Return of the King.^[8] The latter film also won an Oscar statuette for Best Original Song, as well as the Golden Globe for Best Original Score and Best Original Song. Shore's music for The Lord of the Rings has become the most successful composition of his career and one of the most popular motion picture scores in history. Along with his music of the Hobbit film series, the prequels to The Lord of the Rings, Shore wrote 21 hours of music.^[9]

Principal leitmotifs[edit]

Howard Shore's composition does not utilize motifs from other scores he had written previously, or from passages of existing film or stage music, with the exception of one intentional nod to Richard Wagner's ring cycle over the end-credits of the third film. Shore wrote a long series of interrelated leitmotifs that were used, developed, combined or fragmented throughout the three scores. The motifs are attached to places, cultures, characters, objects and occurrences, and are divided into sets and subsets of related themes.

Shore used his themes in defiance to the common practices of film music (and even some theatre works) by strictly applying them for narrative purposes, never resorting to using them purely to suggest mood, although several intriguing instances still exist in his work: he replaced the Realm of Gondor theme used for the passage of the Argonath with a statement of The History of the One Ring theme, the main theme of the trilogy, to denote the film coming to a close; and he used the so-called Ringwraith theme (which in fact applies more broadly to all the servants of Sauron^{[note 5]}) to the Orc armies of the prologue.^[10] Otherwise, the only instance of music outside of the narrative is done by means of tracked music, featuring the Moria motif being applied by the filmmakers to the Warg attack in the Two Towers instead of Shore's original intention.^{[note 6]}

Shore's use of the leitmotif is not only strict but also nuanced: rather than mimic the on-screen action, the themes are often used subtly to inform underlying dramatic connections.^{[note 7]} A good example is how Shore forms the first notes of the Fellowship theme over Sam joining Frodo, and expanding on it when Merry, Pippin and Strider join the group—all to hint at the gradual coming together of the Fellowship of the Ring and leading up to the full statement in the council of Elrond. There is even significance as to the order in which themes appear in a scene or to when a theme is absent.

The themes go through a series of variations of orchestration, tempo and harmony to denote changes to characters and the general progression of the plot. Again, the Fellowship theme gradually comes together before appearing in a string of full heroic statements as the whole company travels and struggles. After Gandalf's demise, however, the theme appears fragmented, the harmony is changed and the instrumentation is reduced leading up to a dirge-like statement over the death of Boromir. It is gradually remade during the next two films, leading up to a grand choral statement during the assault on the Black Gate.

Each film, and particularly the first one, starts with an overture: a series of statements of the principal themes of the feature, which extended from the opening credits till after the individual title of the film. The prologue to the first film, for instance, features the History of the One Ring theme, Lothlórien theme, The Mordor accompaniments, Sauron's theme, the Servants of Sauron theme, the Fall of Men, Aragorn's theme and the Shire theme and variations and at some point was to feature the second-age Gondor theme and the Power of Mordor as well. The main Lord of the Rings theme appears on the main title, while the main theme of each individual episode appears on the second title. Shore used the first film to introduce the principal themes, the second film to add more themes and develop the existing ones, and the third film to create conflict and crossovers between the existing themes and bring them to a resolution, creating in the process new themes for the Fourth Age. Also across the three scores, Shore changed the soundscape: incorporating more aleatoric devices and contrapuntal writing in The Two Towers, compared to The Fellowship of the Ring, and more extrovert writing for Return of the King.

All of these themes were compiled into a menu by musicologist Doug Adams, who worked with Shore on the documentation of the score. Doug identified^[2][11][12] about 90 motifs^{[note 8]} (some very brief, scarcely used and/or only subtly differentiated from others) in the three Complete Recordings, by far the largest catalogue of themes for a theatrical work. Furthermore, in creating The Hobbit scores Shore would not only add another 62 themes or more, but actually went on to reuse some isolated musical gestures from the Lord of the Rings scores, turning them into leitmotifs after-the-fact, adding up to over 100 leitmotifs used in the Lord of the Rings trilogy alone, and 160 when combined with motifs of The Hobbit. There are also leitmotifs which Shore only used in alternate forms of pieces from the soundtracks, and even several variations and diegetic pieces that can be added to this count, as well.

By comparison, John Williams' 18-hour composition to Star Wars features about fifty themes overall, and other film compositions (such as James Horner's Titanic) featuring but a handful, thereby making Shore's work on the Lord of the Rings films by far the most thematically-rich of any cinematic work, and when coupled with his work on The Hobbit trilogy, even rivals Wagner's Ring catalogue of leitmotifs, making it not only the most thematically complex film score but one of the most leitmotifically-nuanced works in the history of orchestral music.^{[note 9]}

The themes below are as they appear across the three films, sorted out into their thematic families. Many are provided with a clean audio example. The themes within each family share a soundscape and melodic and harmonic traits, but there are also connections between themes of different families to imply dramatic connections and lend cohesiveness to the score as a whole. Listed below are some 85 of the most clearly defined of those motifs:

First appearance in The Fellowship of the Ring[edit]

Themes for the One Ring

• "The History of the One Ring" or The Lord of the Rings theme: a minor-key string melody plays over the Lord of the Rings title card for all three films. Howard Shore has considered this theme, more so than the Shire or the Fellowship theme, as the "main theme" of the score, given that its basic pitches are the basis for all the themes in the score. The statement in the title card of Fellowship of the Ring, which features the signature introduction figure,^[13] is tracked over several moments in that score, including Frodo picking up the ring and Gandalf explaining its origin to Frodo, and eventually before Frodo's confrontation with Boromir. Otherwise, it mostly appears when the ring switches owners: from Sauron to Isildur, from Isildur to Smeagol, from Smeagol to Bilbo and from Bilbo to Frodo. This theme appears briefly in The Hobbit, woven into some of the early material, before appearing when Bilbo finds the ring, now starting in a major mode. It appears in its definitive form as the trilogy comes to a close.
• "The Seduction of the Ring": a slow, melancholic variation of the ring theme, sung by a boy choir. The associated lyrics first appear with a low men choir when Gandalf finds the account of Isildur. The first proper appearance (when Gandalf warns Frodo never to surrender to the Ring's temptation and put it on) is hummed by a boy choir, and later sung when Boromir is tempted.^{[note 10]} It returns for the seduction of Aragorn later in the film, and in the Two Towers for the seduction of Faramir, where it is also recapitulated over the end-credits. In Return of the King, it appears when Deagol finds the ring, now with the women doubling the boys; and later orchestrally with the Evil of the Ring theme (Sauron's theme) and the Barad Dur Descending Thirds motiv as Smeagol wrestles with Deagol. The Lord of the Rings Symphony features a formal presentation of theme with a monochord accompaniment. The theme's opening is the same as the opening of The Shire theme, but in minor mode, given that The Hobbits are the prime subject of the Ring's seduction and that The Hobbits are similarly tempted to return home throughout the journey. The figure also appears in the B-phrase of the Fellowship theme and in the "Drive of the Fellowship" ostinato.
• "Sauron": A more menacing variation, used more as a theme for Sauron (and—by proxy—for Mordor). It is usually played on muted brass and a Moroccan Rhaita, giving it an old, eastern flavor, while also maintaining its more aggressive and nasal sound. It is the basis for the Necromancer's theme (which often uses an oboe to mimic the rhaita) in The Hobbit, but also appears in its full form, on rhaita and even a pipe organ. This theme is also associated with The Evil nature of the Ring, itself; and with Mordor and Barad Dur.

Themes for Mordor

	This theme represents The Evil of the Ring, as well as Sauron and Mordor.
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The material for Mordor suggests the geographical location and antiquity of the land by use of the augmented second, a prominent interval of eastern scales; and prominently features the descending whole step, as opposed to the ascending half-step featured in the opening figure of the Fellowship theme. This material acts in direct contrast to the Shire material, as both thematic families are similarly constructed with multitude of principal themes, and of secondary motivs used as accompaniment figures, some of which (like the skip-beat accompaniments motivs of each thematic family) are even constructed similarly.

• "Mount Doom": A pair of alternating chords, derived from the opening harmonies of Gollum's theme. It first appears when Elrond recalls taking Isildur to the Crack of Doom, and returns only when the Hobbits are on the side of the Mountain, fighting Gollum, where it is sung by the full choir.
• "The Threat of Mordor":^{[note 11]} this, along with the accompaniment motivs, is one of several danger motivs associated with Mordor, but this acts as an ostinato rather than an accompaniment. By Return of the King, it becomes much more powerful, now ascending rather than descending and forms the basis to the Witch King's theme.^[14]
• "The Servants of Sauron":^{[note 12]} This theme is a combination of a choir singing the pitches of the Ring theme all stacked over each other, while the different Mordor accompaniments are combined underneath, and the Skip-Beat used as an ostinato. It is first heard in the Battle of the Last Alliance in the prologue, applied first to the Orc Armies and then to Sauron himself. Afterwards it is used almost (but not always) only with the Ringwraiths. It features most prominently in the first half of Fellowship of the Ring, as the wraiths menace the four Hobbits. It was originally supposed to appear when Frodo sees Barad Dur on Amon Hen, as well; In the Two Towers it returns when the winged wraith appears over the Dead Marshes. In The Hobbit, the harmonies permeate some of the Warg and Goblin material, and a statement of it was added to the confrontation between Azog and Thorin in An Unexpected Journey.
• "The Power of Mordor": This music was originally written to debut in the prologue (as featured in the original soundtrack release) before devolving into the Servants of Sauron theme for the duration of the film. In the finalized composition, it is only foreshadowed in the Council of Elrond before appearing in the Battle of Pelennor Fields as the wraiths swoop on Minas Tirith.
• The Footsteps of Doom (End-Cap): This theme consists of the first beats of the Servants of Sauron theme looped to signal impending doom. It is used as a cap to the Servants of Sauron theme used in the prologue, as Sauron arrives; and again in The Two Towers for the statement of that theme.

The Mordor themes are often underlined by one of these three motivs, which serve as accompaniment figures, although they also appear independently, as well:

• Barad Dur ostinato or "Descending Thirds" motiv:^{[note 13]} This is the background music to a lot of the more threatening Mordor material, especially Sauron's theme, but it also appears on its own: for instance, when Bilbo leaves the Ring behind in Bag End. It is the basis to the Dol Guldur theme and to Azog and Bolg's themes from The Hobbit.
• Sauron's Menace or Mordor Skip-Beat: This is a "chase" ostinato used with the Ringwraith theme, a flipside to the Hobbit Skip Beat. It has several variations, including a distinct two-pitch variant, used predominantly in the Flight to the Ford sequence. A devolved form of the motiv serves as the motiv for the threat of Dol Guldur in The Hobbit.^[15]
• The Mordor Outline: This is just a martial drumbeat, "more of a pattern than a motiv"^[16] due to the lack of harmonic variation. It is used in association with the forces of Sauron (like his armies at the Black Gate) and with forces allied with him, such as the Haradrim (it plays under the Mumakil sequence) and Saruman.

Themes for the Hobbits

	The theme for Frodo Baggins, a variation on the theme of the Hobbits, which features a series of hymn-like chords under the melody. The last chord in the sequence can be heard after each phrase of the melody ends.
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The Hobbit themes are very Celtic-sounding, scored for Celtic instruments namely fiddle and tin whistle. Their maturation through the story has them not only transform melodically and harmonically, but also make use of the orchestral relatives of the folk instruments with which they are originally played. The music is stepwise and calm, with old-world modal harmonies to evoke familiarity.

The basic tune appears as several distinct themes:

• Main Shire Theme or The Pensive theme:^{[note 14]} This is the main, reflective version of the shire theme. Two distinct phrases make up the unabridged theme: the main, A section which is used most often; and the leaping B-section,^{[note 15]} which is quoted infrequently, often apart from the A-phrase and in a different orchestration (namely, strings tutti). The theme often appears in strings or solo clarinet (which is particularly associated with Bilbo). There's also a spry variation for tin whistle, which quotes the A section of the tune, although the whistle also plays the B section of the theme as part of the suite written for Sir James Galway. The unabridged theme develops into The Shire Reborn theme. It is one of the main themes of the trilogy, and arguably the main theme of the series as a whole (including The Hobbit).
• "Hobbiton Theme" or Rural theme: heard only in Hobbiton, this is a more lively and Celtic version of the tune. It is played by a solo fiddle augmented with parts for various Celtic folk instruments, including strummed mandolin, guitar and Celtic harp figures; sustained drone chords for musette and bagpipe drones; dulcimer and celesta accompaniment, and a heartbeat-like pattern on bodhran drums, and a light orchestra playing the various Hobbit accompaniment figures underneath. This variation only quotes the A section of the Hobbits tune; The B section appears only once, played by Tin Whistle, when Gandalf learns that he is dubbed "a disturber of the peace."
• "Frodo's Theme or The Hymn theme": This theme is based on a series of hymn-like chords, that either play independently or underneath a slow version of the Shire theme. It serves mostly as a theme for Frodo Baggins. The chords themselves first begin to form when Bilbo tells of Hobbits fondness of "peace and quiet"^[17] and again when Gandalf and Bilbo talk about Frodo in Bag End,^[13] but only fully form when Bilbo has a quiet word with Frodo in the party. The first statement with the melody happens in the corn field. It is mostly used with the A-phrase of the Shire melody, with the B phrase only quoted for the first time in the ending scene of The Two Towers going forward. This theme also has a spry tin whistle variation, used in the Breaking of the Fellowship. Out of the unabridged version of this theme develops In Dreams, Bilbo's Song and Frodo's Song.
• "In Dreams": For the end-credits suite of Fellowship of the Ring, Shore combines the various Hobbit themes (most prominently, the hymn setting) and accompaniments, as well as elements of the Fellowship theme, into the song "In Dreams." The A-section of the main tune is used as the verse, and the B-section—as a chorus.

Besides the variations of the basic tune, Shore crafts several accompaniment motivs that often play as a baseline to The Hobbiton theme. However, as the story progresses, elements of this baseline begin to appear independently of each other and of the Shire theme:

• Hobbit Expectation motiv or Hobbit Outline:^{[note 16]} Used when Frodo first encounters Gandalf, and again through the Hobbiton scenes. It occurs when Gandalf enters Bag End. Eventually, it evolves into the baseline of the developed Shire Theme, The Shire Reborn, at the end of the third film.
• Playful Hobbit motiv or Hobbit Two-Step: This motiv is limited to the Hobbiton scenes, both in The Lord of the Rings and The Hobbit. It becomes the basis for the material for Gandalf's Fireworks, which also recurs in The Hobbit.
• Secondary Playful motiv or Hobbit Skip-Beat: This motiv is often interspersed with the Two-Step figure. Dark variations of it start to appear later in the story: first when Bilbo frenetically searches The Ring (this variation returns to describe Bilbo's restlessness in The Hobbit's framework story), and co-mingles with The Mordor Skip-beat as Boromir assaults Frodo. The minor-mode variation of it becomes the Bree motiv.
• Hobbit Bafflement motiv or Hobbit End-Cap: A finale figure to the baseline and the Hobbiton Theme. This motiv returns, on its own, in the Two Towers where it is looped into an ostinato, forming The Hobbit Antics motiv. Both motivs return for Bilbo's fussy behaviour in The Hobbit.

Besides all of this material, Shore also introduces one other, independent theme for the Shire:

• "A Hobbit's Understanding":^{[note 17]} used when the Hobbits come to understand the hardships and struggles of their journey. It is used when Gandalf advises and encourages Frodo in Moria, and in a more grand setting throughout the Breaking of the Fellowship sequence and again when Sam encourages Frodo in Osgiliath in the following instalment. It is used in The Hobbit when Gandalf instills the notion of compassion in Bilbo.

Themes for Gollum

• "The Pity of Smeagol":^{[note 18]} a slow, gloomy piece which acts as a theme for Smeagol. It is first heard in the prologue when Smeagol discovers the Ring. It is closely related to the Hobbit music but also to the History of the One Ring and the Weakness Arpeggios. It is applied briefly to Bilbo as he adopts Gollum's manner of speaking towards the ring, and to Gandalf as he embarks on the hunt for Gollum.

Themes for The Elves

The Music of the Elves is sinuous (in line with the Arts Department's vision of the Elvish architecture), clear-toned and elegant, being scored for women voices, violins and chimes. It is however also ancient, exotic and at times closed off to the outside world, like the Elves, and is in those instances scored for eastern instruments and contains melodic intervals prevalent in Eastern music.

• Rivendell:^{[note 19]} a theme for female chorus, along with a signature arpeggio accompaniment, which is treated thematically, as well.^[18] While it is written to be very soothing, it becomes more saddened as Arwen leaves in The Two Towers, and when she returns to Rivendell in the last film. The arpeggios are the major variation of the Weakness arpeggios, signalling Elrond's weaknesses.
• "Arwen":^{[note 20]} This theme for female choir and soloist is used when Arwen makes a grand entrance. It is used when she appears before Frodo, before the attempts to revive him; and again, sung by Renee Fleming, when she appears at Aragorn's coronation.
• Lothlórien:^{[note 21]} a soft, ethereal chorus accompanied by cellos. It is written in an adapted form the Maqam Hijaz, so as to create a sense of antiquity and provide Lothlórien with a slightly unsettling effect. A more hard-edged, brass-driven version of the theme appears in the second film during the battle of Helm's Deep. In the process, the theme moves from the more alien Maqam mode to the Phrygian mode.
• "Elvish Pledge": This motiv is sung when the Doors of Durin are revealed, a memory of the pledge of the Elves of Eregion (who built the doors) to the Dwarves of Moria. It is reprised when Haldir joins the fight at Helms' Deep.

Themes for Isengard

	The Isengard theme (on brass) and the Orc theme (on Percussion).
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Whereas the Mordor material contrasts the Shire material, the related Isengard material contrasts the Fellowships' thematic material: The Isengard theme opens with a twisted variation of the "there and back again" shape that opens The Fellowship theme. The time signature of the Orc theme, 5/4, contrasts the 4/4 time signature of the Fellowship theme, the range of the brass instruments used is different, etcetra.

• "Isengard" theme": This theme was created to provide a sense of industrialism, and is scored for low brass and accompanied by the percussive Orc theme. Its opening reflects the opening of the Fellowship theme, showing the rivalry of Gandalf, leader of the Fellowship, and Saruman.
• "Five Beat Pattern": The accompaniment to the Isengard theme, also serving as the musical representation of the Orcs in general. It is played on anvils, Bell Plates and other metallic percussion instruments. The 5/4 time signature makes this theme feel off-kilter. Doug Adams lists this motiv twice, once for Isengard and once for Mordor, with the musical distinction that the Isengard 5-beat pattern accents the first and fourth beats, unlike the rest of the 5/4 music which applies to orcs more generally. Whether the two can be musically categorized as two separate leitmotives is subjective. Adams also lists the Cruelty of the Orcs twice (since it "realigns with Mordor" in the last film) and the Evil of the Ring (which doubles as Sauron's theme). This theme was also used as source music for the Orc Armies in the Pelennor Fields.
• "The Orc Crawl": A four-pitch motiv, derived from the end of the Isengard theme, for the Uruk-Hai band that hunts down the Fellowship, often sung by choir. It is also used when the three hunters chase said band in the Two Towers.

Themes for Nature

• "Nature's Reclamation" (commonly referred to by fans as the Nature theme^{[note 22]}): the theme was first heard while Gandalf was trapped in Isengard when a moth serving as a messenger for the Eagles arrived at the pinnacle of Orthanc; the moth and the Eagles represent nature here as well. The theme has a grander version in "The Two Towers" during the "Last March of the Ents". This statement was tracked into the parallel scenes in Helm's Deep to signal the sunrise as the Rohirrim charge. The theme is again used in a grand setting as the sun rises once more behind the Rohirrim before the battle of the Pelennor fields, and in several statements leading up to that.

Themes for the Dwarves

The Dwarvish music is raw, and based on parallel fifths rather than full chords. It is scored for all-male voices, often for very deep and rough voices at that, and for blaring brass. This contrasts it with the Elvish music, and also informs the perils of Moria.

• "Moria": An ascending, ominous danger motiv on brass and male choir. It is first suggested when Gandalf realizes they will have to go through the mines, and stated when the doors first opened in a non-threatening setting. The low male singing throughout the journey in the dark hint at the theme, but only as the company escapes the Balrog does it return fully, now in its more aggressive setting. A variation of It is used as the music for the opening credits of the Two Towers, which starts with a depiction of Gandalf's duel with the Balrog. It is also tracked into the beginning of the fight between the Rohirrim and Wargs, the theme used here almost "romantically", more for its mood than its thematic meaning.^{[note 23]} There is also a mock-up of an early variation of this theme in the Rarities. The embryonic form in the shape of droning voices appears occasionally in The Hobbit, as well, as a general theme for the Dwarves.
• "Dwarrowdelf":^{[note 24]} This theme is much more grand and emotional than the other Moria themes, but it is minor-moded and melancholic, representing the ruined grandeur of the Dwarves. Its grand statement is when the fellowship enter the 21st hall of Moria, again more quietly at Balin's Tomb and for the third time as the Battle of the Chamber of Mazarbul has subsided. The opening phrase of the theme is used as a motiv for the Dwarf company assembling in The Hobbit, first in Bag End and later at Beorn's House.
• "The Dark Places of the World": A danger motiv for the Moria sequences. It is associated with the deep chasms of Moria and used both when the Fellowship runs down the stairs and again when Gandalf and the Balrog fight in the chasm.

Themes for Gondor

The music of Gondor and the World of men and stately and brassy, but not necessarily triumphant, the music lamenting the decay of the mortal world. Only from the later half of the Two Towers and into Return of the King are the themes of the world of men presented in more heroic settings.

• "Realm of Gondor" theme: the basic version of this was established during the Council of Elrond in "The Fellowship of the Ring"; it is followed in The Two Towers with one pensive statement applied to Aragorn's heritage (tying him to Gondor) and two statement, including a very heroic one, tied to Faramir's memories of Boromir. It goes on to become the signature theme of Return of the King, earning grand statements over the riding of Gandalf up Minas Tirith and through the Lighting of the Beacons. It was originally going to feature more prominently in Fellowship of the Ring, including a statement over the crossing the Argonath, and a variation, The Numenore theme, used in early takes on the prologue. A third variation, which debuted in the trailer to Return of the King and later appears in the film itself, replaces the descending coda^{[note 25]} of the theme with a rising phrase taken from Aragorn's theme (and, by proxy, the Fellowship and White Rider themes), creating the Gondor in Ascension theme. There's also a mockup of an early, major-moded version of the ascension theme with a pan flute role.
• "Minas Tirith" theme:^{[note 26]} the basic version of this was established during a scene with Aragorn and Boromir in Lothlórien in "The Fellowship of the Ring". It reappears in the third film, related to Minas Tirith and the History of Gondor. In the third film, a variant of this theme also stands for Anduril.

Themes for the Fellowship

• "The Fellowship of the Ring" theme: a heroic, sweeping piece using principally brass, timpani and orchestra. It is heard in various versions during the first film (of which it is the signature or main theme), but after "The Bridge of Khazad-dûm," the last time that the entire Fellowship is together, it fractures and can only be heard infrequently and sparingly throughout the next two films until the remainder of The Fellowship charge the Black Gate "The Mouth of Sauron" and "For Frodo" where it is sung by the choir. This theme is colloquially known as the main theme of the Lord of the Rings trilogy. Along with The Shire theme, this is the most repeated theme in the series. Curiously, on the album, this theme is used once in conjunction with Haldir's archers as they join Aragorn's cause. Here the theme is extrapolated from its narrow meaning (which only encompasses the nine walkers) and is applied as a general idea of "fellowship" and friendship.
• "The Drive of the Fellowship": a little action ostinato derived from the Fellowship theme, which appears when the members of the Fellowship ready themselves to fight the Orcs in the Mines of Moria. It is also heard in Weathertop.
• "Strider": The embryonic form of Aragorn's theme, which only features the opening figure, starting with a perfect fourth. It is used during his introduction and in the battle of Weathertop. a variation of this piece, prefiguring Argorn's theme and the Fellowship's, is used in the prologue for Isildur.
• "The Heroics of Aragorn": The fuller, more heroic statements, especially in the third film, are labelled as "The Heroics of Aragorn." They also form the ascending coda of the Gondor in Ascension theme.

Themes for the Monsters of Middle Earth

• "The Cave Troll": This piece is only used in the battle of the Mazarbul is an association with the Cave Troll. It is cumbersome but also pitiful, just like the film's depiction of the Troll. It is the second in the string of monster pieces, but unlike the purely self-contained music of the Watcher in the Water, this piece also references the "Dark Places" motiv and is related to the Troll themes used in The Hobbit.
• "The Balrog": This theme, like the material for the Mumakil, is defined more by timbre and style of orchestration: rhythmic material based on open harmonies, underlying drumbeat, piercing brass over long male chorus phrases. However, there are actual recurring phrases, namely in a section from the opening of The Two Towers which is lifted from "The Bridge of Khazad Dum."

Themes for Middle Earth: The Ring Quest themes

• "The Journey There":^[19] This motiv is related to the Ring theme. It is used sparingly: once when Frodo and Sam roam the Shire, and once when Frodo realizes he has to leave the company after looking into Galadriel's mirror. It is used again when the company rows down the Anduin, and in the Third film when Frodo, Sam and Gollum walk to Mordor.
• "Dangerous Passes": This theme is used whenever the Ringbearer traverses dangerous and mountainous passes. It scores the Caradhras scenes (originally, it was designated as the "Caradhras theme"^[18]), but returns for the secret stairs in Return of the King, albeit being muted in the film.
• "Evil Times": Whenever the Quest of the Ring brings suffering to a character, this theme is used. It is applied to Gandalf sitting atop Orthanc in the Fellowship of the Ring. It gradually comes to encompass all instances of evils wrought during the War of the Ring, applied for instance to the suffering of the people of Rohan or of Faramir.
• "'Weakness motiv" (Weakness and Redemption): this Arpeggio signals weaknesses of the mind and temptation, and the overcoming of them. It is applied to Boromir's weakness for the Ring, and forms the basis of Gollum's theme, signalling his weakness as well. It is related to the Rivendell Arpeggios.

Themes for Middle Earth: "All Shall Come to Darkness" themes

• "Nameless Fear": This motiv appears when Galadriel speaks of a nameless fear and shortly afterwards when Frodo temps Gandalf with taking the Ring. It returns when Galadriel speaks to Elrond of the will of the Ring in the Two Towers.
• "The Fall of Men": This motiv is unique to the first film, being used once when Elendil dies and again when Boromir succumbs to the call of the ring.
• "A Noble End": This theme is about a death of noble sacrifice. It is used mostly for Boromir's death and revisited when other characters reflect on his death, but it is also applied to Theoden in the Return of the King.

Themes for Middle Earth: "Another Path" theme

• "Gandalf's Farewells":^{[note 27]} This music is sung by a solo voice immediately after Gandalf falls. It is also used when he eventually departs to Valinor. It is repeated in other occasions, although not necessarily with any direct connection to Gandalf's death, but perhaps in an opposite meaning, of meeting with Gandalf again: When Frodo and Sam lie on the slopes of the collapsed Mount Doom, Gandalf's Farewells is used, perhaps to show that the Hobbits are ready to meet again with Gandalf in death.

Themes recurring from The Hobbit and in Alternate forms of the Soundtrack

• From alternate forms of the soundtrack: The Realm of Numenore.
• From The Hobbit: Bilbo's Birthday, Map of the Lonely Mountain, Smoke Rings, Flaming Red Hair (diegetic), Gandalf's Fireworks, Bree, Elvish Medicine, Mithril Vest, Durin's Folk, Galadriel's Powers.

First appearance in The Two Towers[edit]

Returning

The History of the One Ring, Seduction of the Ring, Sauron, The Shire, Frodo/Hymn variant, Hobbit Outline, Hobbit End-Cap, A Hobbit's Understanding, Pity of Smeagol, The Servants of Sauron, Threat of Mordor, Descending Thirds, Mordor Skip-Beat, Footsteps of Doom, Servants of Sauron, Isengard, Uruk Hai, Orc Crawl, the Realm of Gondor, Fellowship, Strider, Heroics of Aragorn, Rivendell, Lothlorien, Elvish Pledge, Diminishment of the Elves, Evil Times, Weakness Motiv, Nameless Fear, The Balrog, Moria, The Dark Places of the World, Nature's Reclamation.

Themes for One Ring

• "The Fate of the Ring": This theme is the embryonic form of the music for the destruction of the ring, which is essentially the Ring's theme switched to major mode, which transforms the contour of the theme. It is used in this embryonic form once, when Gandalf tells Aragorn that the ring remains hidden from Sauron and Saruman.

Themes for Mordor

• The Way to Mordor: Shore crafts this truncated variant of the Threat of Mordor to denote proximity to Mordor and the roads leading to it. It is used for Frodo and Sam's journey to Mordor in the Two Towers, and in the Osgiliath skirmish in the Return of the King.

Themes for the Hobbits

• "Playful Hobbit theme": This distinct, playful variation of the unabridged Hobbit tune is used in the scenes with Merry and Pippin. A variation of it scores the early Smeagol and Deagol scenes of Return of the King.
• Adams also labels a separate "Lullaby setting" of the Shire A-theme that occurs once, but states elsewhere^[20] that it is "based so closely on the original Shire theme (as it should be) that it can't really be called a brand new motiv."
• "The Hobbit Antics":^{[note 28]} Merry and Pippin's antics from Fangorn going forward are scored with this motiv, which essentially loops the Hobbit end-cap motiv into an ostinato. A twisted variation of it appears twice when Frodo scrambles in Shelob's lair.

Themes for Gollum

• "Gollum's Menace":^{[note 29]} This is the theme of the Gollum or "Stinker" side. It features the cimbalom which at once gives it the feeling of the Hobbit music (which utilizes the related cimbalom) and yet gives it a jittery feeling that mimics Gollum's motions.
• "Gollum's Song": The melody for the end-credits song of the film, which begins instrumentally over the end of the film itself, is drawn from the harmonies of Smeagol's theme.

Themes for the Elves

• "Evenstar": the main love theme of Aragorn and Arwen. It is much more moody than Aniron, since the shadow of mortality hovers over the love of Aragorn and Arwen.

Themes for Isengard

• "The Cruelty of the Orcs": This is a descending, dissonant motiv on brass. It is used mostly for the Wargs and the war machines of the Orcs and continues in the Return of the King.
• "The Uruk-Hai in Battle": For the army at Helm's Deep, Shore uses a related motiv unique to Isengard. It is used for the gunpowder explosives set under the outer wall and again for the crowbalistas of the Uruk Hai.
• "Grima Wormtongue": Grima's theme is alienated from the Rohan themes, and rather aligned with the Isengard theme. It is a collection of low notes on brass and deep woodwinds.

Themes for Nature

• "Gandalf the White in Nature": This theme appears when Gandalf the White is revealed before Aragorn, and when Aragorn remembers his words at sunrise in Helm's Deep, although that was replaced in the film with Nature's Reclamation.
• "The Ent theme":^{[note 30]} This theme is scored for low, woody sounds like log drums, bassoon and cellos. It is plodding and slow, but also hefty, like the Ents.
• "Treebeard's Stride": This is more of a theme for Treebeard himself and the forest named after him. It is used when Aragorn first looks into the forest, and again for scenes with Treebeard.
• "Small Stones": This motiv is more active and related to the Shire themes. It is used, sung by choir, when Gandalf comments of the coming of Merry and Pippin to Fangorn, and again when they encourage the Ents to action.

Themes for Rohan

• "The Rohan Fanfare":^{[note 31]} featuring the hardanger fiddle. This is the signature theme of the Two Towers, playing over the corresponding title. It utilizes brass, violas and the Hardanger fiddle. At its most grand, at the charge of the Pelennor fields, it is played by a brass section twice the size usually deployed in the score.
• The Riders of Rohan: This short motiv, an embryonic form of the Rohan fanfare, is used for Éomer when he leads his rogue band of riders. It is used in the fight with the Uruk Hai and when the riders surround Aragorn, Gimli and Legolas.
• Éowyn's theme:^{[note 32]} using open fifth intervals (lacking the third of the chord—this means that the chords cannot be defined as major or minor) which is common for the music of Gondor, implying Eowyn's eventual connection to Faramir. It is used when we first see her, again when she stands before Edoras. A slow variation of it is played before Theodred's Dirge, and it eventually plays in a very triumphant setting when she rides off to battle.
• Eowyn and Theoden:^{[note 33]} This theme has a more developed B-section. It is used when Eowyn sees Theoden healed and makes a series of moody appearances before being used very heroically when Eowyn dispatches the Witch King.
• Eowyn and Aragorn: This theme starts like Eowyn and Theoden but has a different ending. The ending only first appears in Helm's Deep when Eowyn shouts at Aragorn, and earns its last statement on a double fiddle when Aragorn leaves her to go to the paths of the Dead.

Themes for the Fellowship

• "The White Rider and the Fellowship":^{[note 34]} a waltz-time, sweeping, full-orchestra crescendo with heavy strings that represents Gandalf the White. It is used over wide shots of him riding Shadowfax.
• "The Fellowship in Rohan": When the Fellowship and the Riders first meet, their themes begin to mingle. This forms a new motiv that only matures in the battle of Helm's Deep, appearing heroically when Gimli leaps on the Uruk Hai to save Aragorn.

First appearance in The Return of the King[edit]

Returning

• Shire, Hobbiton, Frodo, Hobbit Outline, Two-Step, Skip-Beat, End-cap, Antics, Gollum's Menace, Smeagol's Pity, Fellowship, White Rider, Strider, Aragorn's Heroics, Dwarf End cap, The History of the One Ring, Seduction of the Ring, Fate of the Ring, Sauron, Mount Doom, Threat of Mordor, Footsteps of Doom, Mordor Outline, Skip-Beat, Descending Thirds, Way to Mordor, Servants of Sauron, Power of Mordor, Isengard, Orc theme, Cruelty of the Orcs, Lothlorien, Rivendell, Arwen, Evenstar, Evil Times, Weakness Motiv, Journey There, Dangerous Passes, Gandalf's Farewells, Mumakil, Gondor (in Decline), Minas Tirith, Rohan, Eowyn, Eowyn and Theoden, Eowyn and Aragorn.
• Recurring in "The Hobbit" and in alternate forms of the Soundtrack: The Forces of the Enemy, Legolas' Heroic Feats, Minas Morgul, The Eagles, Breath of Life.

Themes for The One Ring

• "The Destruction of the Ring" (Fourth Age theme^{[note 35]}): This theme shifts the ring themes into a major mode. It celebrates not only the destruction of the Ring but also that of Mordor and the ushering of the Fourth Age and its new soundscape.

Themes for Mordor

• "The Witch King of Angmar" (Fourth Age theme): After Saruman dies, his theme is extrapolated and used in conjunction with the Threat of Mordor in retrogrades to form the theme for the Witch King. This is one of the Fourth Age themes of Mordor, showcasing the possibility of Mordor's triumph.
• The Orcs of Mordor theme: Adams lists this theme twice: once for the Witch-King and once for the Orc Armies he leads. The most distinct variation of the theme, which is used in conjunction with the Orcs, is a heavily devolved form, which appears with the five-beat pattern as the armies of Mordor march on the Black Gate, well after the demise of the Witch King.

Themes for The Shire

• "Meriadoc the Warrior": A hybrid of the Shire theme, the Fellowship theme and the Rohan fanfare.
• "Heroic Shire Theme": This heroic setting of the Shire theme's A section, interjected with brass fanfares, is applied strictly to Sam, as he races to save Frodo from the Orcs of Cirith Ungol. Adams mentions "several" heroic statements, which perhaps refer to the choral setting of "The Argument" used on Mount Doom.
• "The Shire Reborn" (Fourth Age theme^{[note 36]}): This is the Fourth Age Shire theme, used as Sam and Rosie go home and the film closes. It is accompanied by a Fourth Age variant of the Shire Outline figure.
• "Bilbo's Song" (Fourth Age theme): This is an encore theme that Howard Shore wrote specifically for the end of the fan credits of the Extended Edition of Return of the King. It is the final development of the Shire themes. In The Hobbit, this theme is quoted briefly as Bilbo returns to Bag End.

Themes for the Elves

• "Arwen's Song" (Fourth Age theme): Sung by Liv Tyler. It was originally slated for the moment when Arwen has a vision of Eldarion (which in and of itself was originally slated for the Two Towers), but was bumped for a variation of the Evenstar theme, and ended up being used in the Houses of Healing scene.

Themes for the Dwarves

• "The Dwarf End-Cap": To cap off the Dwarf themes in the final film, Howard Shore scored Gimli and his antics with a motiv constructed like the Hobbit End-Cap, but more in the vein of the Dwarvish music.

Themes for Gondor

• "The Realm of Gondor in Ascension" (Fourth Age theme): This theme replaces the descending coda of the Realm of Gondor theme with an ascending phrase derived from Aragorn's theme (and, by extension, Gandalf's White Rider theme). It is used when Gandalf and Pippin ride up the city of Minas Tirith, again after Legolas, Gimli and Aragorn join the Battle of the Pelennor fields, and finally at Aragorn's Coronation. There's also a version of this theme in the trailer.
• "The Stewards of Gondor" (Faramir and Denethor): This theme is usually heard on a pan flute. It is used when Faramir argues with his father as to retaking Osgiliath, and again when he marches down Minas Tirith to fulfill his father's will on the matter.
• "Battlefield Heroism": Used for the Heroism of the soldiers of Gondor and, by extension, to the heroism of Pippin (a soldier of Gondor) as he rescues Faramir from the fires. In The Hobbit, Shore quotes this motiv and applies it to the world of men in general, by applying it to the people of Laketown.
• "Gondor Reborn" (Fourth Age theme^{[note 37]}): A Fourth-Age theme, based on the Minas Tirith theme. It was also used in the fall of Barad Dur (and in the finale of the first Hobbit film) as a more general "good triumphs over evil" musical idea.

Themes for the Monsters of Middle Earth

• "Shelob's theme": For Shelob, Howard Shore crafted music that is more in the style of horror film scores, making her feel alien to the texture of the overarching score while also conveying her terror and gait.

Themes for Middle Earth

• "The Paths of the Dead" ("All Shall Come to Darkness" theme): This theme is scored for low voices and Tibetan Gongs, giving it an ethereal feeling. It is hinted when the apparition of the King of the Dead first appears, and again during Aragorn's dream of Arwen before the Paths of the Dead sequence where it figures prominently.
• "The Return Journey" (Fourth Age "Ring Quest" theme): Whereas the Journey There is based on the Ring theme, The Return Journey is based on the Shire theme.
• "The Grey Havens" theme (Fourth Age "Another Path" theme): featured in "Into the West" by Annie Lennox. It is only foreshadowed two times: first when Gandalf describes the vision of Valinor to Pippin, and again triumphantly when Sam lifts Frodo up Mount Doom.

Reprised Themes from "The Hobbit"[edit]

In The Hobbit film trilogy soundtracks, aside from adding well over 70 new leitmotives to the Middle Earth catalogue, Howard Shore chose to reprise and vary pieces of music that did not initially have thematic significance in the Lord of the Rings, thereby turning them into themes. Since some of these motivs are only short, singular quotes, or a subtle variation on an existing motiv, their status as leitmotives is debatable and they are only listed as possible motivs.

Themes for the Dwarves

• "Durin's folk": The early Moria sequences in The Fellowship of the Ring were scored with a droning male choir, based on the Moria theme. This piece was reprised in the Prologue to An Unexpected Journey, thereby turning it into a theme for the Dwarves.^[21]
• "The Map of the Lonely Mountain": This melody is heard in "The Fellowship of the Ring" when Gandalf takes a gander at the Map of the Lonely Mountain at Bag-End. It appears several times in The Hobbit, and is connected to The House of Durin theme from The Hobbit.^[22]

Themes for the Shire

• "Smoke rings": A short variant of the Shire theme, used for Bilbo and Gandalf puffing Smoke Rings from their pipes, was reused for a similar shot at the Beginning of "The Hobbit: An Unexpected Journey", with a harmonic hint towards The History of the Ring theme.^[23]
• "Bree": A dark, minor-mode variation on the Hobbit Skip-Beat, used as the Hobbits enter the town of Bree in "The Fellowship of the Ring" was reused for shots of Thorin walking in Bree in the prologue to The Desolation of Smaug.^[24]
• "Gandalf's fireworks": In "The Fellowship of the Ring", Gandalf's fireworks, set up by Merry and Pippin, were scored with a tune based on the Hobbit Accompaniment figures. That piece was used twice in The Hobbit to illustrate Bilbo's memories of Gandalf. A menacing variant of it was used over the opening credits to The Desolation of Smaug, connection the firework (which was fashioned in the likeness of Smaug) and the titular dragon.^[25]
• "Mithril vest": An oboe line that scored Bilbo giving the Mithril Vest to Frodo was used for Thorin giving it to Bilbo.^[26]
• "Bilbo's birthday party Preparations": In the Fellowship of the Ring, as the banner for Bilbo's Birthday Party is erected, a statement of the Hobbiton theme ends with a "fiddle fanfare". Shore re-used that piece to score Bilbo opening up replies to his Birthday invitations in the beginning of The Hobbit.^[27]
• Hobbit Mischief: Some of the playful music that accompanies Merry and Pippin in the cornfield is used when Bilbo is running out of his home.^[28]

Themes for the Elves

• "Elvish medicine": this was heard in the Fellowship of the Ring, right after Arwen's theme, when Frodo succumbed to the effect of the Morgul Blade. It was reused in The Hobbit for Tauriel healing Kili.^[29]
• "Legolas' heroic feats": a swirling-string piece used for Legolas taking down a Mumakil from The Return of the King was reused for his scenes in Laketown.^[30]
• "Galadriel's powers": When Galadriel appears in wrath and banishes Sauron, Shore quotes a collection of brass chords that he used for Galadriel in "The Mirror of Galadriel" from the Fellowship of the Ring.^[31]

Themes for Mordor

• "The Forces of the Enemy": A variation on Sauron's theme, played over Descending Thirds accompaniment, was reused for Sauron's appearance to Gandalf and again in "the Guardians of the Three" from the Battle of the Five Armies.^[32]
• Minas Morgul: In both versions of the "High Fells" piece, a short musical figure from "A Coronal of Gold and Silver" appears, standing for the abode of the Ringwraiths.^[33]

Theme for Nature

• "The Eagles": Both of Shore's compositions for the Eagle rescue (the album and the finished film) are informed by "The Eagles" in Return of the King. The former, in particular, quotes the melody of "the Eagles" briefly.

Themes of The Hobbit[edit]

In The Hobbit, Howard Shore added about 65 new themes which are a part of the greater catalogue of themes for the Middle Earth film franchise. The themes are part of the existing thematic families for Dwarves, Hobbits, Elves, Middle Earth, Nature and the Forces of Evil and the World of Men, and are as follows:

Unconfirmed and incidental motivs[edit]

The themes above have been identified by musicologist Doug Adams, namely in his Liner Notes and The Music of the Lord of the Rings Films book, based on the intentions of Howard Shore as presented in The Complete Recordings. However, there are other motivs in the score, in three forms: themes that don't recur in the films or The Complete Recordings but do recur in alternate forms of the soundtracks like the original soundtrack or rarities; motivs that are distinctive variants or components of existing themes, and other recurring gestures which aren't leitmotives, but are nevertheless important to the narrative aspect of the score; and pieces of music (mostly diegetic music and musical sound effects) that were not written by Shore but are nevertheless used in conjunction with his score and reappear thematically. The validity with which these motivs are identified as themes varies.

Motivs in the original soundtracks, fan-credits, rarities and symphony[edit]

Some of these motivs went unused in the film (and The Complete Recordings), but appeared several times over the course of the original soundtrack release (which are not covered by the book) or the rarities archives as well as The Lord of the Ring Symphony or the fan-credits of the extended editions. These appear below:

Theme for Gondor

• "Numenor theme": The rarities introduced an uncut early variation of the prologue, featuring an aforementioned second-age variant of the Gondor theme, that has an ending distinct from both the "Ascension" and "Decline" codas.^[34] In drafts of the music of the Lord of the Rings films, this theme was listed in the opening menu as an "unused theme."

Theme for the Shire

• "Frodo's Song": A flute variation on Frodo's theme. A fragment of it is quoted over the end-credits before "Into the West" but there is also a longer version used under the "In Discussion" track on the Rarities Archive.

Themes for Middle Earth

Themes for the Fellowship

While the evil might of the Dark Lord Sauron swarmed out to conquer all Middle-earth, Frodo and Sam struggled deep into Mordor, seat of Sauron's power. To defeat the Dark Lord, the accursed Ring of Power had to be destroyed in the fires of Mount Doom. But the way was impossibly hard, and Frodo was weakening. Weighed down by the compulsion of the Ring, he began finally to despair.

THE AWESOME CONCLUSION OF J.R.R. TOLKIEN'S THE LORD OF THE RINGS, BELOVED BY MILLIONS OF READERS AROUND THE WORLD.

John Ronald Reuel Tolkien was born on January 3, 1892, in Bloemfontein, South Africa. After serving in World War I, he embarked upon a distinguished academic career and was recognized as one of the finest philologists in the world. He was a professor of Anglo-Saxon at Oxford, a fellow of Pembroke College, and a fellow of Merton College until his retirement in 1959. He is, however, beloved throughout the world as the creator of Middle-earth and author of such classic works as The Hobbit and The Lord of the Rings. He died on September 2, 1973, at the age of eighty-one.

The Lord of the Rings is a film series of three epicfantasyadventure films directed by Peter Jackson, based on the novel written by J. R. R. Tolkien. The films are subtitled The Fellowship of the Ring (2001), The Two Towers (2002) and The Return of the King (2003). Produced and distributed by New Line Cinema with the co-production of WingNut Films, it is an international venture between New Zealand and the United States. The films feature an ensemble cast including Elijah Wood, Ian McKellen, Liv Tyler, Viggo Mortensen, Sean Astin, Cate Blanchett, John Rhys-Davies, Christopher Lee, Billy Boyd, Dominic Monaghan, Orlando Bloom, Hugo Weaving, Andy Serkis and Sean Bean.

Set in the fictional world of Middle-earth, the films follow the hobbitFrodo Baggins as he and the Fellowship embark on a quest to destroy the One Ring, to ensure the destruction of its maker, the Dark Lord Sauron. The Fellowship eventually splits up and Frodo continues the quest with his loyal companion Sam and the treacherous Gollum. Meanwhile, Aragorn, heir in exile to the throne of Gondor, along with Legolas, Gimli, Boromir, Merry, Pippin and the wizardGandalf, unite to rally the Free Peoples of Middle-earth in the War of the Ring in order to aid Frodo by distracting Sauron's attention.

The three films were shot simultaneously and entirely in Jackson's native New Zealand from 11 October 1999 until 22 December 2000, with pick-up shots done from 2001 to 2004. It was one of the biggest and most ambitious film projects ever undertaken, with a budget of $281 million. The first film in the series premiered at the Odeon Leicester Square in London on 10 December 2001; the second film premiered at the Ziegfeld Theatre in New York City on 5 December 2002; the third film premiered at the Embassy Theatre in Wellington on 1 December 2003. An extended edition of each film was released on home video a year after its theatrical release.

The Lord of the Rings is widely regarded as one of the greatest and most influential film series ever made. It was a major financial success and is among the highest-grossing film series of all time with $2.981 billion in worldwide receipts. Each film was critically acclaimed and heavily awarded, the series winning 17 out of its 30 Academy Award nominations.

Films[edit]

The Fellowship of the Ring[edit]

In the Second Age of Middle-earth, the lords of Elves, Dwarves, and Men are given Rings of Power. Unbeknownst to them, the Dark Lord Sauron forges the One Ring in Mount Doom, instilling into it a great part of his power, in order to dominate the other Rings so he might conquer Middle-earth. A final alliance of Men and Elves battles Sauron's forces in Mordor. Isildur of Gondor severs Sauron's finger and the Ring with it, thereby destroying his physical form. With Sauron's first defeat, the Third Age of Middle-earth begins. The Ring's influence corrupts Isildur, who takes it for himself. Isildur is later killed by Orcs and the Ring is lost in a river for 2,500 years until it is found by Gollum, who owns it for five centuries. The Ring is then found by a hobbit named Bilbo Baggins, who is unaware of its history.

Sixty years later, Bilbo celebrates his 111th birthday in the Shire, reuniting with his old friend, the wizard Gandalf the Grey. Bilbo reveals that he intends to leave the Shire for one last adventure, and he leaves his inheritance, including the Ring, to his nephew Frodo. Gandalf investigates the Ring, discovers its true nature, and learns that Gollum was captured and tortured by Sauron's Orcs, revealing two words during his interrogation: "Shire" and "Baggins." Gandalf returns and warns Frodo to leave the Shire. As Frodo departs with his friend, gardener Samwise Gamgee, Gandalf rides to Isengard to meet with the wizard Saruman, but learns that he has joined forces with Sauron, who has dispatched his nine undead Nazgûl servants to find Frodo.

Frodo and Sam are joined by fellow hobbits Merry and Pippin, and they evade the Nazgûl before arriving in Bree, where they are meant to meet Gandalf. However, Gandalf never arrives, having been taken prisoner by Saruman. The hobbits are then aided by a Ranger named Strider, who promises to escort them to Rivendell; however, they are ambushed by the Nazgûl on Weathertop, and their leader, the Witch-King, stabs Frodo with a Morgul blade. Arwen, an elf and Strider's betrothed, locates Aragorn and rescues Frodo, summoning flood-waters that sweep the Nazgûl away. She takes him to Rivendell, where he is healed by the elves. Frodo meets with Gandalf, who escaped Isengard with help from Gwaihir the Great Eagle by asking for him with a moth. That night, Strider reunites with Arwen, and they confirm their love for each other. Arwen's father, Lord Elrond, holds a council that decides the Ring must be destroyed in the fires of Mount Doom. Frodo volunteers to take the Ring, accompanied by Gandalf, Sam, Merry, Pippin, Elf Legolas, Dwarf Gimli, Boromir of Gondor, and Strider, who is revealed to be Aragorn, Isildur's heir and the rightful King of Gondor. Collectively, they are known as the Fellowship Of The Ring. Bilbo, now living in Rivendell, gives Frodo his sword, Sting.

The Fellowship of the Ring sets off over the mountain Caradhras, intending to use the pass of Caradhras, but Saruman summons a storm that forces them to travel through the Mines of Moria. After finding all of the Dwarves of Moria have been slain, the Fellowship is attacked by Orcs and a cave troll. They hold them off but are confronted by Durin's Bane, a Balrog residing within the mines. Gandalf casts the Balrog into a vast chasm, after shouting "YOU SHALL NOT PASS", but it drags him down into the darkness. The devastated Fellowship reaches Lothlórien, ruled by the Elf-queen Galadriel and her husband Celeborn. Galadriel privately informs Frodo that only he can complete the quest and that one of his friends in the Fellowship will try to take the Ring. Meanwhile, Saruman creates an army of Uruk-hai in Isengard to track down and kill the Fellowship.

The Fellowship travels by river to Parth Galen. Frodo wanders off and is confronted by Boromir, who tries to take the Ring as Lady Galadriel had predicted. The Fellowship is then ambushed by the Uruk-hai. Merry and Pippin are taken captive, and Boromir is mortally wounded by the Uruk chieftain, Lurtz. Aragorn arrives, slays Lurtz, and watches Boromir die. Afraid of the Ring corrupting his friends, Frodo decides to travel to Mordor alone, but then reconsiders by allowing Sam to come after hearing his promise from Gandalf. Aragorn, Legolas, and Gimli decide to rescue Merry and Pippin after finding them missing.

The Two Towers[edit]

Awakening from a dream of Gandalf fighting the Balrog in Moria, Frodo Baggins and Samwise Gamgee find themselves lost in the Emyn Muil near Mordor and discover they are being tracked by Gollum, a former bearer of the One Ring. Capturing Gollum, Frodo takes pity and allows him to guide them, reminding Sam that they will need Gollum's help to infiltrate Mordor.

Aragorn, Legolas, and Gimli pursue a band of Uruk-hai to save their companions Merry and Pippin, entering the kingdom of Rohan. The Uruk-hai are ambushed by a group of Rohirrim, allowing the Hobbits to escape into Fangorn Forest. Meeting Aragorn's group, the Rohirrim’s leader Éomer explains that he and his men have been exiled by Rohan's king, Théoden, who is under the control of Saruman and his servant Gríma Wormtongue. Éomer believes Merry and Pippin were killed during the raid, but leaves the group two horses. Searching for the Hobbits in Fangorn, Aragorn's group encounters Gandalf, who reveals that after his fight against the Balrog he was resurrected as Gandalf the White to help save Middle-earth.

Gandalf leads the trio to Rohan's capital, Edoras, where Gandalf frees Théoden from Saruman's control. Aragorn stops Théoden from executing Wormtongue, who flees. Learning of Saruman's plans to destroy Rohan with his Uruk-hai army, Théoden evacuates his citizens to the fortress of Helm's Deep. Gandalf departs to find Éomer and his followers, hoping they will fight for their restored king. Aragorn befriends Théoden's niece, Éowyn, who becomes infatuated with him. When the refugees travelling to Helm's Deep are attacked by Saruman’s Warg-riding Orcs, Aragorn falls from a cliff and is presumed dead. He is revealed to have survived and rides to Helm's Deep, witnessing Saruman's army marching to the fortress.

In Rivendell, Arwen is told by her father Elrond that Aragorn will not return. He reminds her that if she remains in Middle-earth, she will outlive Aragorn by thousands of years, and she reluctantly departs for Valinor. Elrond is contacted by Galadriel of Lothlórien, who convinces him that the elves should honor their alliance to men, and they dispatch an army of elves to Helm's Deep.

In Fangorn, Merry and Pippin meet Treebeard, an Ent. Convincing Treebeard that they are allies, they are brought to an Ent Council, where the Ents decide not to take part in the coming war. Pippin asks Treebeard to take them in the direction of Isengard, where they witness the deforestation caused by Saruman’s war effort. Enraged, Treebeard and the Ents overwhelm Isengard, trapping Saruman in his tower.

Aragorn arrives at Helm's Deep and reveals that Saruman's army is close and Théoden must prepare for battle, despite the overwhelming Uruk-hai numbers. The army of Elves from Lothlórien arrives, as does Saruman's army, and a night battle ensues. The Uruk-hai breach the outer wall with explosives and kill the elves' commander, Haldir. The defenders retreat into the keep, where Aragorn convinces Théoden to meet the Uruk-hai in one last charge. At dawn, as the defenders are overwhelmed, Gandalf and Éomer arrive with the Rohirrim, winning the battle. The surviving Uruk-hai flee into Fangorn Forest and are killed by the Ents. Gandalf warns that Sauron will retaliate.

Gollum leads Frodo and Sam through the Dead Marshes to the Black Gate, but recommends they enter Mordor by another route. Frodo and Sam are captured by Rangers of Ithilien led by Faramir, brother of the late Boromir. Frodo helps Faramir catch Gollum to save him from being killed by the Rangers. Learning of the One Ring, Faramir takes his captives to Gondor to bring the ring to his father Denethor. Passing through the besieged Gondorian city of Osgiliath, Frodo tries to explain to Faramir the true nature of the ring, and Sam explains that Boromir was driven mad by its power. A Nazgûl nearly captures Frodo, who falls under the ring's power and momentarily attacks Sam, who reminds him that they are fighting for the good still left in Middle-earth. Impressed by Frodo's resolve, Faramir releases them. Gollum decides to betray Frodo and reclaim the Ring by leading the group to "Her" upon arriving at Cirith Ungol.

The Return of the King[edit]

Two Hobbits, Sméagol and Déagol, are fishing when Déagol discovers the One Ring in the river. Sméagol is ensnared by the Ring, and kills his friend for it. He retreats into the Misty Mountains as the Ring twists his body and mind, until he becomes the creature Gollum.

Centuries later, during the War of the Ring, Gandalf leads Aragorn, Legolas, Gimli, and King Théoden to Isengard, where they reunite with Merry and Pippin. Gandalf retrieves the defeated Saruman's palantír. Pippin later looks into the seeing-stone and is seen by Sauron. From Pippin's description of his visions, Gandalf surmises that Sauron will attack Gondor's capital Minas Tirith. He rides there to warn Gondor's steward Denethor, taking Pippin with him.

Gollum leads Frodo Baggins and Samwise Gamgee to Minas Morgul, where they watch the Witch-king of Angmar, leader of the nine Nazgûl, lead an army of Orcs towards Gondor. The hobbits begin climbing a stair carved in the cliff face that leads to a secret tunnel into Mordor, unaware that Gollum plans to kill them and take the Ring. The Witch-king and his forces strike and overwhelm Osgiliath, forcing Faramir and his garrison to retreat to Minas Tirith.

Gollum disposes of the Hobbits' food, blaming Sam. Believing that Sam desires the Ring, Frodo tells him to go home before he and Gollum continue to the tunnel leading to Mordor. Gollum tricks him into venturing into the lair of the giant spider Shelob. Frodo narrowly escapes and confronts Gollum, telling him that he must destroy the Ring for both their sakes. Gollum attacks Frodo but falls down a chasm. Frodo continues on, but Shelob discovers, paralyses, and binds him. Sam returns and injures Shelob, driving her away, but then hides as Orcs appear and take Frodo with them. The Orcs then fight over ownership of Frodo's mithril vest, allowing Sam to escape with Frodo and continue their journey.

As King Théoden gathers the Rohirrim army, Aragorn learns from Elrond that Arwen is dying, having refused to leave Middle Earth to be with Aragorn after seeing a vision of their future son. Arwen convinced a reluctant Elrond to order the shards of King Elendil's sword, Narsil, be reforged into Andúril so that Aragorn can reclaim his birthright and gain reinforcements from the ghostly Dead Men of Dunharrow. Joined by Legolas and Gimli, Aragorn travels to the Dead Men's lair, pledging to release them from Isildur's undead curse should they come to Gondor's aid.

Faramir is gravely wounded after a futile effort to recapture Osgiliath; believing his son to be dead, Denethor falls into madness. Gandalf is left to defend the city against the Orc army, led by Gothmog. As Gothmog's army forces its way into the city, Denethor attempts to kill himself and Faramir on a pyre. Pippin alerts Gandalf and they save Faramir, but a burning Denethor leaps to his death from the top of Minas Tirith just before Théoden and his nephew, Éomer, arrive with the Rohirrim. During the ensuing battle, they are overwhelmed by the Oliphaunt-riding Haradrim, while the Witch-King mortally wounds Théoden. Though Théoden's niece Éowyn kills the Witch-king with Merry's help, Théoden dies. Aragorn arrives with the Army of the Dead, who overcome Sauron's forces and win the battle; Aragorn then frees the Dead Men from their curse.

Aragorn decides to march upon the Black Gate as a distraction so Frodo and Sam can reach Mount Doom. Aragorn's army draws out Sauron's remaining forces and empties Mordor, allowing Frodo and Sam to reach the volcano, but Gollum attacks them just as they reach Mount Doom. As Frodo stands on the ledge over the volcanic fire, he succumbs to the Ring and claims it as his own, putting it on his finger. Gollum finds the invisible Frodo and attacks him, biting his finger off to reclaim the Ring. Frodo attacks Gollum in an attempt to reclaim the Ring, and in the ensuing struggle they both fall off the ledge. Gollum falls into the lava with the Ring and dies. Frodo clings to the side of the ledge and is rescued by Sam as the Ring disintegrates in the lava. As Frodo and Sam escape, Sauron is defeated—along with his Orcs and Nazgûl—as Mordor crumbles.

Gandalf flies in with eagles to rescue the Hobbits, who awaken in Minas Tirith and are reunited with the surviving Fellowship. Aragorn is crowned King of Gondor and takes Arwen as his queen. The Hobbits return home to the Shire, where Sam marries Rosie Cotton. A few years later, Frodo departs Middle-earth for the Undying Lands with his uncle Bilbo, Gandalf, and the Elves. He leaves Sam the Red Book of Westmarch, which details their adventures. Sam returns to the Shire, where he embraces Rosie and their children. The last words of both the book and the film are the same - "Well, I'm back."

Cast and crew[edit]

Casting[edit]

Jackson began abstract discussions on casting during the development of the scripts with Miramax.^[1] Jackson, Walsh and Boyens compiled a casting wishlist, which included Cate Blanchett for Galadriel and Ian Holm for Bilbo.^[2] Jackson considered Sir Nigel Hawthorne for Gandalf, but the actor was suffering from pancreatic cancer.^[3] Wondering whether Patrick Stewart would be right for the part, Philippa Boyens drew a tape of him performing opposite Ian McKellen, only to suggest the latter to Jackson.^[4] McKellen became Jackson's first choice for Gandalf.^[5]Christopher Lee sent Jackson a photograph of him in a wizard's costume, wanting to play Gandalf,^[6] but Jackson decided he would be a perfect Saruman, instead.

Miramax wanted a recognisable name for Gandalf, and suggested Max von Sydow or Paul Scofield and, wanting an American star, even mentioned Morgan Freeman.^[1][7] When New Line took over, they suggested Christopher Plummer or Sean Connery for the part (both declined),^[8] and put a veto against Richard Harris when his name came up. When von Sydow inquired for the part later, his agent told him they were looking for an English actor.^[9]

While casting, Jackson looked for backup options for the various parts, including Lucy Lawless and Nicole Kidman for Galadriel; Anthony Hopkins or Sylvester McCoy (eventually recast as Radagast) for Bilbo; Paul Scofield, Jeremy Irons, Malcolm McDowell or Tim Curry for Saruman.^[3] For Gandalf, they looked into Tom Baker, Tom Wilkinson, Sam Neil, Bernard Hill (who was instead cast as Theoden)^[4] and Peter O'Toole,^[10] and into several older actors who auditioned for other parts like Patrick McGoohan and Anthony Hopkins.

Miramax and Jackson discussed Sir Daniel Day-Lewis for Aragorn, starting "fanciful internet speculation"^[8] that Day-Lewis was approached for the part numerous times, although Jackson eventually inquired about him. Jackson cast Stuart Townsend, whom the studio deemed too young. After shooting began, Jackson agreed and decided to recast the role. They approached Viggo Mortensen, but also spoke to Russell Crowe (who auditioned for Boromir previously), as a backup choice.^[11]

Patrick McGoohan, their first choice for Denethor, proved "quite grumpy"^[12] when they met, and they instead looked into Donald Sutherland and John Rhys-Davies, and ultimately cast John Noble. Davies was recast as Gimli, instead of Billy Connolly (later cast as Dain), Robert Trebor and Timothy Spall. In conversations with Miramax, Liam Neeson's name came up^[1] for Boromir, but he declined. Daniel Craig auditioned. New Line suggested Nicolas Cage, but the filmmakers declined^[8] and cast Sean Bean.

Cast[edit]

The following is a list of cast members who voiced or portrayed characters appearing in the extended version of the films.^[13][14][15]

Crew[edit]

Development[edit]

Previous attempts[edit]

Previous attempts to film Tolkien's works were made by William Snyder, Peter Shaffer and John Boorman. These attempts resulted in a couple of unproduced scripts, concept art and an animated short. Other filmmakers and producers to have had an interest in adapting Tolkien are said to include Walt Disney, Al Brodax, Forrest Ackerman, Denis O'Dell (who considered Richard Lester to direct, but instead approached David Lean, Stanley Kubrick and Michelangelo Antonioni) and George Lucas. The rights to adapt Tolkien's works passed through the hands of several studios, having been briefly leased to Rembrandt Films before being sold perpetually to United Artists. In 1976, UA passed the rights to The Lord of the Rings (and a part of the rights to The Hobbit) to Fantasy Films.

In 1977, an animated adaptation of The Hobbit was produced as a TV special by Rankin and Bass (followed in 1980 by a TV animated adaptation of The Return of the King), and in 1978 Ralph Bakshi made an animated feature of the first half of The Lord of the Rings. While profitable, the film didn't make enough money to automatically warrant the sequel which would close the story, and an argument with producer Saul Zaentz led Bakshi to abandon the project. Several Tolkien-esque fantasy films were produced at the time, as well, including Boorman's Excalibur and George Lucas' production of Willow.

At the time that Bakshi's film aired, a teenager Peter Jackson hadn't read the book, but "heard the name",^[16] and went to see the film: "I liked the early part – it had some quaint sequences in Hobbiton, a creepy encounter with the Black Rider on the road, and a few quite good battle scenes – but then, about half way through, the storytelling became very disjointed and disorientating and I really didn't understand what was going on. However, what it did do was to make me want to read the book – if only to find out what happened!"^[17] Jackson bought a tie-in paperback edition. He later read The Hobbit and The Silmarillion, and listened to the 1981 BBC radio adaptation. Assuming someone will one day adapt it to a live-action film, Jackson read on some previous attempts to bring the piece to the screen.^[18] He hadn't watched the Rankin and Bass TV Specials.^[19][20]

Pitch to Miramax[edit]

In 1995, while completing post-production on The Frighteners, Jackson and Fran Walsh discussed making an original fantasy film, but couldn't think of a scenario that wasn't Tolkien-esque, and eventually decided to look up the film rights. They went to Harvey Weinstein from Miramax, who got the rights from Saul Zaentz. Jackson knew it would take multiple films to do Tolkien justice,^[21][22] but initially pitched a single trilogy: one film based on The Hobbit and, if that would prove successful, two Lord of the Rings films shot back-to-back.^[18] Jackson began rereading The Hobbit, looking at illustrations and commissioning concept art from the book, but the rights eventually proved unattainable, having been split between Zaentz and United Artists. Harvey tried to buy the studio's share of the rights, but was unsuccessful.

With the Hobbit postponed for a later prequel, Jackson proceeded with making two or more^[22]Lord of the Rings films: "We pitched the idea of three films and Miramax didn't really want to take that risk, but we agreed on two."^[21] He began writing the scripts with Walsh and Stephen Sinclair, storyboard with Christian Rivers and discussing casting ideas with the Weinsteins. Meanwhile Weta Digital began software development for the digital effects required,^[21] and WETA Workshop were producing props and concept art. Sinclair later dropped from the project, but Jackson felt that some of his contributions survived into the finished scripts, particularly the middle film, The Two Towers, for which he is credited.

Move to New Line[edit]

However, as the scripts took shape, it became clear that the budget required would exceed Miramax's capabilities. The Weinsteins suggested cutting the project to one film.^[21] Jackson inquired whether it could be around four-hours in duration, but Miramax insisted on two hours, suggesting major cuts to the story, which Jackson refused. Harvey Weinstein threatened to replace Jackson with screenwriter Hossein Amini and directors John Madden or Quentin Tarantino. Jackson believes this was an empty threat to get him to concede to making a one-film version himself.^[23]

Harvey eventually relented to putting the project on a turnaround, but the onerous conditions were meant to prevent the project from being taken up by another studio.^[23] Jackson got an audience with New Line CEO Robert Shaye, who accepted the project, but requested that it be expanded into a trilogy. Final Cut rights were shared contractually between Jackson and Bob Shaye, but there was never any interference in Jackson's cut.

Production[edit]

Jackson began storyboarding and screenwriting the series with Christian Rivers, Fran Walsh and Philippa Boyens in 1997 and assigned his crew to begin designing Middle-earth at the same time.^[24] Jackson, Walsh, and Boyens did not write each film to correspond exactly to its respective book, opting instead to write a three-part adaptation with some sequences missing, some sequences created from scratch, and some sequences moved from one area to another regardless of its placement in the books. To allow the story to be clearer for viewers, Jackson takes a more chronological approach to the story than did Tolkien. During shooting, the screenplays continued to evolve, in part due to contributions from cast members looking to further explore their characters.^[25]

Earlier versions of the script included additional characters like Fatty Bolger, Glorfindel, Elladan, Elrohir, Erkenbrand, Imrahil and Forlong.^[26] At one point, Jackson even considered reintroducing Tom Bombadil in a cameo.^[27] Gimli was going to swear throughout the films, and Arwen would join the Fellowship in Rohan and share a nude scene with Aragorn in the pools of the Glittering Caves.^[28]

Jackson hired long-time collaborator Richard Taylor to lead Weta Workshop on five major design elements: armour, weapons, prosthetic makeup, creatures, and miniatures. At New Line's request, animation supervisor Jim Rygiel replaced Weta Digital's Mark Stetson. In November 1997, famed Tolkien illustrators Alan Lee and John Howe joined the project;^[25] most of the imagery in the films is based on their various illustrations,^[29] but Jackson also relied on the work of Ted Nasmith, who later had to turn down an offer to join Alan and John. Jackson wanted realistic designs in the style of historical epics rather than fantasy films, citing Braveheart as an inspiration:^{[30][31][32][33][34]}

"It might be clearer if I described it as an historical film. Something very different to Dark Crystal or Labyrinth. Imagine something like Braveheart, but with a little of the visual magic of Legend. [...]It should have the historical authority of Braveheart, rather than the meaningless fantasy mumbo-jumbo of Willow.^[35]

Production designerGrant Major was charged with the task of converting Lee and Howe's designs into architecture, creating models of the sets, while Dan Hennah worked as art director, scouting locations and organizing the building of sets. Ngilla Dickson collaborated with Richard Taylor on producing costumes, while Peter King and Peter Owen designed makeup and hair. Most of these crew members (and others) returned to work on The Hobbit.

Jackson and cinematographer Andrew Lesnie considered shooting in large-format like 65 mm film^[35][36]