![]() His hobbits are really not fairy creatures except in the sense of existing in fairy tales they don’t possess any magical powers. The word “hobbit” itself appears to have been an old English word for a sort of fairy creature, but Tolkien doesn’t seem to have been aware of this. Bilbo Baggins starts out quite respectable and becomes much less so in the Shire after his epic adventure. They also have a clear notion of respectability that involves staying where you belong. The hobbits have their own society in the Shire, and tend to be fond of food, drink, and gossip. Looking largely like miniature humans with furry feet, they’re often more human than the actual humans in the books, who are often too busy being epic archetypes to take too much part in the simpler aspects of human life. I have to say that hobbits themselves are one of J.R.R. While I can’t understand why they’re making multiple movies based on one not-very-long book, I am looking forward to seeing them. I took up Lord of the Rings not long after that, but it was a few years before I read all three volumes. ![]() I do know I was eleven when I finished it, though. It took me a while to finish The Hobbit the first time, even though it’s pretty short I think I kept forgetting where I left off. Honestly, I think the annotations are a bit sparse. For anyone curious, it was the annotated edition with notes by Douglas Anderson. This kept him alive both on and off-screen, and gave the spoken voice a place to come from, as well as go to.I just finished re-reading The Hobbit in preparation for the upcoming movie. Those were things like alligator growls, but also some breaths and hisses that came from Benedict, and myself, vocoded with alligators that had hints of both human and alligator. Then it was time to add other elements between Smaug’s lines to tie it all together. So first I got all the dialog lines processed in place and what I determined to be believable. Making it sound large but natural and authentic was the trick. The most important part of that treatment was to take Benedict’s voice and make it sound like that was an actual dragon in the room speaking. And I’m not talking about the big action sequences, but rather the more subtle dialog scenes between Smaug and Bilbo. No pun intended, these bits really breathe life into the final result.įor me personally, Smaug, particularly in “The Desolation of Smaug” has been my favorite creature I’ve ever done. The larger elements are what gets the most attention, but breaths, lip smacks, and smaller expressive pieces can be the real threads that stitch a creature together. Other than vocalizations, what are some of the other sound components you consider when designing the sound of a creature? They may be quite short, but you might just find that signature sound in a place you weren’t looking for it. So when listening through sounds, it’s important to listen for parts that might stand out. From what I’ve been told, the defining bellow of the T-Rex roar came from a single baby elephant sound, that only happened once. ![]() I didn’t make either of these, but Chewbacca’s cry, and the T-Rex roar from Jurassic Park, really raised the bar when it comes to creatures. There have been creatures over the years that re-defined this. That central “voice” can be pretty elusive. What’s important to listen for in the source sounds? Well, the A Sound Effect Blog got us covered! They did a great (although small) interview with David about the subject. It’s hard to think about someone more qualified to talk about it. Of course! He is “only” the responsible for the creature sounds on the Lord of the Rings and the Hobbit trilogies. ![]() So, I think that every sound designer would like to hear some insights from David Farmer about creature sound design. Hello, long time, no see! But, we’re back!
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