Efnisskrá

ÖLL TÓNLISTIN ÚR MYNDINNI Í LIFANDI FLUTNINGI

The Lord of the Rings: The Return of the King

Óskarsverðlauna tónlistin eftir Howard Shore

Í lifandi flutningi við kvikmyndina epísku 

Með Sinfóníuhljómsveit Norðurlands og Söngsveitinni Fílharmóníu

Eldborg Harpa Reykjavík 11. og 12. ágúst

Dagskrá kvöldsins:

19:00 – Salur opnar
19:30 – Sýning hefst
21:00 – Hlé
21:20 – Sýning hefst aftur
23:10 – Endir

The Lord of the Rings: The Return of the King

Fyrri hluti:

Roots and Beginnings
Journey to the Cross-roads
Return to Edoras
The Chalice Passed
Gollum’s Villainy
The Palantír
The Grace of Undómiel
The Eyes of the White Tower
A Coronal of Silver and Gold
The Lighting of the Beacons
The Stairs of Cirith Ungol
Allegiance to Denethor
The Parting of Sam and Frodo
The Sacrifice of Faramir
Marshalling at Dunharrow
Andúril–Flame of the West
The Paths of the Dead

HLÉ

Seinni hluti:

The Siege of Gondor
Shelob’s Lair
Grond–The Hammer of the Underworld
Shelob the Great
The Tomb of the Stewards
The Battle of the Pelennor Fields
“A Far Green Country”
Shieldmaiden of Rohan
The Passing of Théoden
The Tower of Cirith Ungol
The Last Debate
The Mouth of Sauron
For Frodo
Mount Doom
The Crack of Doom
The Eagles
The Fellowship Reunited
The Journey to the Grey Havens
Stjórnandi
Maestro Shih-Hung Young

Hljómsveit
Sinfóníuhljómsveit Norðurlands

Kór
Söngsveitin Fílharmónía

Sópran
Kaitlyn Lusk Reddington

Einsöngvari barnakórs
Ólafur Þórarinsson

Starfsfólk Sinfóníuhljómsveitar Norðurlands
Þorvaldur Bjarni Þorvaldsson – Framkvæmdastjóri hljómsveitar
Þórhildur Gísladóttir – Umsjónamaður hljómsveitar
Þórunn Geirsdóttir – Umsjónamaður hljómsveitar
Egill Gunnarsson – Kórstjóri
Magnús Ragnarsson – Kórstjóri
Álfheiður Björgvinsdóttir- Kórstjóri barnakórs

Starfsfólk Senu Live
Ísleifur Birgir Þórhallsson – Framkvæmdastjóri
Hrannar Hafsteinsson – Framleiðslustjóri
Börkur Hrafn Birgisson – Verkefnastjóri
Jón Þór Eyþórsson – Verkefnastjóri
Anna Ásthildur Thorsteinsdóttir – Markaðsstjóri
Águst Glad – Akstur og gæsla
Bryndís Rán Birgisdóttir – Baksvið
Óttar Makuch – Akstur
Stefán Unnar Sigurjónsson – Akstur og baksvið

Framleiðendur
Columbia Artists Music, LLC:
Ronald A. Wilford – Stjórnarformaður og stofnandi
Jean-Jacques Cesbron – Forseti
Javier Manzana – Framkvæmdastjóri
Jeffrey Markowitz – Framleiðslustjóri
Kevin Lacy – Hljóð
Mike Schaperclaus – Aðstoðar stjórnandi

Howard Shore
Prince in New York Music Corporation
Jesse Pynigar and Tim Starnes – Auricle

Sinfóníuhljómsveit Norðurlands:

1.Fiðla

Hrafnhildur Atladóttir
Helga Þóra Björgvinsdóttir
Zbigniew Dubik
Bryndís Pálsdóttir
Justyna Bidler
Gunnhildur Daðadóttir
Ísak Ríkharðsson
Marcin Lazarz
Roland Hartwell
Agnes Gunnarsdóttir
Hrefna Berg Pétursdóttir
Kristín Þóra Haraldsdóttir
Sigríður Baldvinsdóttir
Aldís Bergsteinsdóttir

2.Fiðla

Margrét Þorsteinsdóttir
Kristján Matthíasson
Margrét Kristjánsdóttir
Sigurlaug Eðvaldsdóttir
Ólöf Þorvarðardóttir
Hlín Erlendsdóttir
Matthías Stefánsson
Pascal La Rosa
Íris Dögg Gísladóttir
Ragnheiður Ingunn Jóhannsdóttir
Kristín Björg Ragnarsdóttir
Marika Alavere

Vióla

Guðrún Hrund Harðardóttir
Eyjólfur Bjarni Alfreðsson
Sarah Buckley
Kathryn Harrison
Jónína Auður Hilmarsdóttir
Ásdís Runólfsdóttir
Karl James Pestka
Vigdís Másdóttir
Eydis Úlfarsdóttir
Steina Kristín Ingólfsdóttir

Selló

Bryndís Halla Gylfadóttir
Guðný Jónasardóttir
Margrét Árnadóttir
Helga Björg Ágústdóttir
Ásdís Arnardóttir
Ólöf Sigursveinsdóttir
Inga Rós Ingólfsdóttir
Victoria Tarevskaia

Bassi

Gunnlaugur Stefánsson
Þórir Jóhannsson
Hávarður Tryggvason
Jacek Karwan
Páll Hannesson
Úlfar Ingi Haraldsson

Flauta

Martial Nardeau
Áshildur Haraldsdóttir
Anna Maria Tabaczynska

Klarínett

Ármann Helgason
Finn Schofield
Helga Arnardóttir

Fagott

Kristín Mjöll Jakobsdóttir
Hrafn Marinó Thorarensen
Snorri Heimisson

Óbó

Matthías B Nardeau
Gillian Haworth
Peter Tompkins

Horn

Stefán Bernharðsson
Joe Ognibene
Kjartan Ólafsson
Anna Sigurbjörnsdóttir
Emil Friðfinnson
Rakel Björt Helgadóttir

Básúna

Carlos Caro Aguilera
Steinn Völundur Halldórsson
David Bobroff

Túba

Helgi Svavarsson

Slagverk

Emil Þorri Emilsson
Einar Valur Scheving
Frank Aarnik
Soraya Nayyar
Ricardo Oliveira
Antonio Pierna García

Gítar

Ásgeir Ásgeirsson

Harpa

Elísabet Waage

Píanó

Kjartan Valdemarsson

Söngsveitin Fílharmonía:

Sópran

Agnes Jórunn Andrésdóttir
Anna Margrét Björnsdóttir
Arndís Anna K. Gunnarsdóttir
Ása Sjöfn Lórensdóttir
Ásrós Helga Guðmundsdóttir
Ásthildur Hanna Ólafsdóttir
Björg Lilja Jónsdóttir
Bryndís Jóhannesdóttir
Dagbjört Andrésdóttir
Dagný Björk Guðmundsdóttir
Edda Kentish
Elva Rakel Jónsdóttir
Hafdís Maria Matsdóttir
Harpa Hrund Berndsen
Helga Kolbrún Magnúsdóttir
Hlín Kristbergsdóttir
Hólmfríður Steinþórsdóttir
Kristjana Skúladóttir
Margrét Ásgeirsdóttir
Ragnhildur Jóhanna Júlíusdóttir
Rúna Vala Þorgrímsdóttir
Sigríður Björg Helgadóttir
Sigríður Rósa Snorradóttir
Sólrún Jónsdóttir
Sunna Sturludóttir
Vigdís Sigurðardóttir
Þorbjörg Sigfúsdóttir

Alt

Agnes Hlynsdóttir
Arna Kristín Sigfúsdóttir
Ásdís Ármannsdóttir
Ásthildur Erlingsdóttir
Bára Elíasdóttir
Guðlaug Kristjánsdóttir
Hildur Pétursdóttir
Hulda Helgadóttir
Hulda Hjartardóttir
Lea Pokorny
María Guðmundsdóttir
Pálína Sigurðardóttir
Ragna Bjarnadóttir
Sædís Harpa Stefánsdóttir
Sigríður Gisela Stefánsdóttir
Soffía Björg Smith
Steinunn Anna Sigurjónsdóttir
Telma Björg Kristinsdóttir
Una Strand Viðarsdóttir
Þóra Hermannsdóttir Passauer
Þóra Marteinsdóttir

Tenór

Arnór Bogason
Bjarki Ármannsson
Davíð Stefánsson
Gissur Þórhallsson
Guðmundur Alfreðsson
Guðmundur Gauti Kristjánsson
Gunnar Freyr Steinsson
Heimir Þór Kjartansson
Jónas Örn Helgason
Magnús Pétursson
Magnús Ragnarsson
Márus Björgvin Gunnarsson
Ólafur Guðmundsson
Orri Jónsson
Sigurður Þorkell Vignir Ómarsson
Þengill Ólafsson
Þorkell Máni Þorkelsson

Bassi

Bjarki Rafn Andrésson
Björn Bjarnsteinsson
Björn Reynir Halldórsson
Brynjar Önnu- og Guðnason
Egill Gunnarsson
Greipur Garðarsson
Guðjón Emilsson
Gunnar Þorgilsson
Henry Þór Jónsson
Hilmar Adam Jóhannsson
Hrafnkell Orri Sigurðsson
Jóhannes Karl Karlsson
Óskar Ericsson
Páll Tómas Viðarsson
Pétur S. Gunnarsson
Tryggvi Helgason
Viðar Karl Ólafsson
Þórhallur Sigurðsson

Barnakór

Ágústa Eva Jónsdóttir
Ágústa Hrönn Árnadóttir
Ari Vilberg Jónasson
Áróra Egelund
Ásdís Erna Jóhannsdóttir
Áslaug Scheving Thorsteinsson
Aþena Helgadóttir
Elína Björk Ingudóttir
Elinor Vigdís Skúladóttir
Finna Birna Steinsson
Freyja Sól Stefánsdóttir
Guðrún Emma Þorláksdóttir
Guðrún Saga Guðmundsdóttir
Hanna Sædís Atladóttir
Harpa Rún Gunnarsdóttir
Hera Sjöfn
Hrafntinna Gísladóttir
Hrefna Karlsdóttir
Hrefna Vala Kristjánsdóttir
Ingibjörg Have Kaldal Þorbjarnardóttir
Jökla Sóley Dagsdóttir
Júlía Karlsdóttir
Karlotta Lúcía Elmarsdóttir
Klara rós bergmann
Kolbrá Jara þórðardóttir
Kolbrún Helga Friðriksdóttir
Kolbrún Lilja Pétursdóttir
Kolbrún Samsonardóttir
Lára Kristbjörg Þórarinsd.
Ljósbjörg Helga Daníelsdóttir
Lóa Arias
Margrét Dúna Guðmundsdóttir
Margrét Kristjánsdóttir
Matthildur Ylfa Steinsen
Mirra Magnúsdóttir
Móey Kröyer Kristjánsdóttir
Natalía Laufey Vilhjálmsdóttir
Olga Aletta Roux
Ólöf Amelía Einarsdóttir
Ragnheiður Helga Víkingsdóttir
Ragnheiður Jónasdóttir
Rakel Harðardóttir
Rannveig Perla Pétursdóttir
Saga Björgvinsdóttir
Saga Eir Weston
Sara Hlíðarsdóttir
Sigrún Jónasdóttir
Sigrún Ólafsdóttir
Snjólaug Anna Sindradóttir
Sunneva Kristín Guðjónsdóttir
Svava Dís Níelsdóttir
Urður Arnaldardóttir
Yasmin Ísold Rósa Rodrigues
Yasmin Sól Rodrigues Vigfúsdóttir
Ylfa Karen Guðbjörnsdóttir
Þorgerður Bryndís Blomsterberg
Þórhildur Elín Gunnarsdóttir

Days of the Ring

THE LORD OF THE RINGS: THE RETURN OF THE KING

The Lord of the Rings – Live to Projection invites audiences to experience J.R.R. Tolkien’s Middle-earth like never before. As ever, the author’s indelible tale conveys a nearly illimitable sense of wonder and detail. Peter Jackson’s timeless films transplant the story’s scope and thrills from the mind’s eye onto the silver screen. Now, Howard Shore’s music takes center stage to impart the heart and soul of this epic adventure.

Positioned beneath an immense projection screen, nearly 300 musicians will perform Shore’s three-hour score to The Lord of The Rings: The Return of the King carefully synchronized to the film. This unique performance allows the original 2003 score to bear the narrative weight, creating a wholly new and dramatic live concert experience.

The music of The Lord of the Rings is counted among film music’s most complex and comprehensive works. Howard Shore’s score is as rich and thoroughly realized as the story that inspired it. The complexity and grandeur of Middle-earth and the great War of the Ring are transmitted through the interlocking leitmotifs and grand vistas of Shore’s expressive writing.

-Doug Adams

Doug Adams is a Chicago-based musician and writer.
He is the author of The Music of the Lord of the Rings Films.

The Lord of the Rings: The Return of the King
The climactic chapter in Howard Shore’s music for The Lord of the Rings, The Return of the King gathers all that has come before and sets it charging relentlessly towards conclusion. Each character theme, each cultural style, every motif associated with the precepts of Tolkien’s work must reach the destination set before it in the previous two scores.

The Fellowship theme, after forming then breaking, must draw itself to a newfound level of heroic focus as the Company reaches Mount Doom. The Elves’ themes must bestow their final melodic gifts upon Middle-earth before receding into the West. Isengard’s metallic fury must meet its wrenching demise, but not before scraps of its rhythmic and melodic gestures migrate to Sauron’s domain and join with Mordor’s twisted themes, which are consolidating into their own terrible apotheosis.

Combating Mordor’s rise, the two kingdoms of Men summon their might—Rohan by aligning itself with Nature’s Reclamation, Gondor by calling upon the two grand themes established in The Fellowship of the Ring, the Realm of Gondor and Minas Tirith. These two lines, heretofore heard in isolated statements, are brought to the fore in The Return of the King, assuming lead roles in the breaking war.

And yet it is the Ring itself, that slim band of gold that has become the focal point for all Middle-earth, that undergoes the most profound and disturbing musical fusion. The Ring’s long journey to Mordor is nearing completion. Heeding its master’s call, the Ring has united its characteristics: Shore’s three principle Ring themes—History, Seduction and Evil—now impact each other directly, intertwining contrapuntally or pulling at melodic contours to form new lines, exposing the Ring at the dangerous height of its wicked promise.

In the end, Middle-earth survives the War of the Ring to enter its Fourth Age. Ushering in a new dawn of peace and unity, Shore grants the surviving cultures Fourth Age themes that maintain the aesthetics of each society, but which cultivate newly enlightened ideals. Men are granted respite; the Elves, peace; hobbits, wisdom—and the Ring is granted its just fate: destruction.

THE THEMES

THE FELLOWSHIP OF THE RING
The Fellowship of the Ring was broken at the end of the first film. The Two Towers found the members of the Fellowship scattered, but no less determined. Likewise, the Fellowship theme lacked the weight and heroism it once displayed, but it braved adversity unwaveringly. In The Return of the King, however, the Fellowship theme soars to new heights. At the story’s climax, the theme expands past the orchestral palette into the chorus which proudly sings, “Cyll e-Gorv, Le annon beth nín, Ú-erir aen han risto, Ú-erir aen han presto / Ringbearer, I give you my word, It cannot be broken. Nor turned aside . . .” as the Fellowship rushes the Black Gate.

THE SHIRE & THE HOBBITS
This theme is composed of basic and unadorned musical elements. The diatonic melody hints at a simple pentatonic scale while the harmonies present only a sensitive handful of chord changes. Because this tune is so simply and flexibly constructed, Shore is able to create several distinct variations out of the material. In The Return of the King, these variations are augmented by several distinct Heroic Settings of the Shire theme, which transform the gentle melody into a fanfare.

THE WORLD OF MEN: ROHAN
The Rohirrim’s love for their land is embedded in every turn of phrase present in their theme. The songful melody is equally at home in proclamatory brass or the intense, thoughtful strains of the Hardanger, a Norwegian fiddle. The Return of the King expands the theme, altering its intervals and modes and striking a more forceful profile as the Rohirrim ride to Gondor’s aid.

THE WORLD OF MEN: GONDOR
The Gondor music, which skirted the edges of Fellowship and The Two Towers, now comes to center stage as Mankind faces its greatest challenge. Two proud brass-dominated themes stand for Gondor in The Return of the King—the leaping Realm of Gondor theme and the more introspective Minas Tirith theme. The Realm of Gondor represents the kingdom’s might and pride, but it is the thoughtful Minas Tirith theme that will survive into the Fourth Age.

GOLLUM
Gollum’s Menace
The cimbalom, a distant relative of the dulcimer, represents Gollum’s heritage with twitchy chromatic figures. In The Two Towers this instrument represented but one aspect of Gollum’s split personality. In The Return of the King, however, Gollum has decided to kill the hobbits by leading them to Shelob, the giant spider. Thus, his villainous inclinations bared, this theme alone represents the character throughout most of The Return of the King.

SHELOB
Shore’s music for Shelob is an orchestral tour de force, as well as the densest and most psychologically unsettling writing in the score. Though a recurring (and appropriately arachnidan) eight-note motif treads through the writing, it is the heavy web of orchestral counterpoint that makes Shelob so unique. Her music is written and orchestrated to undermine any sort of stability—a constant swarm of activity, tripping forwards and backwards unpredictably.

MORDOR
Mordor is morbid, threatening and sinister—this music favors low strings and the deepest registers of brass, fused to create a thick fog of overtones. Mixed choruses erupt into primal rhythms with abnormally close-spaced harmonies for a towering, ritualistic effect.

Mordor/Sauron (The Evil of the Ring)

The primary motif for Barad-dûr and Sauron is identical to the One Ring’s Evil theme. (The three are practically interchangeable story elements.) Shore uses this theme to portray the Ring’s “character,” but it also represents its effect upon the world.

NATURE’S RECLAMATION
The Nature music spends most of its existence resisting outward manifestations of emotion. It is rarely angry or vengeful. It is, instead, ethereal and restrained—resolute, perhaps, but as a musical balm for the imbalances in Middle-earth. But as the Orc themes infect the musical landscape of Middle-earth, Nature’s Reclamation is spurred to action. In The Return of the King, this theme aligns itself with Rohan as they ride to Gondor. In the end, however, it returns to Nature itself upon the arrival of the great Eagles.

THE ONE RING
The One Ring is the story’s most proactive element. It has three distinct themes to represent its multidimensional nature.

The History of the Ring
In each film, this theme is first heard as “The Lord of the Rings” text appears, and reappears whenever the One Ring changes hands or marks significant progress in its journey. In The Two Towers The History of the Ring intertwines with Gollum’s Pity theme to illustrate his besetting obsession with the Ring. But in The Return of the King, the History theme begins to intertwine with the Evil of the Ring as the Ring projects its legacy as a threat. Sauron’s hand may again claim the Ring. . .

The Seduction of the Ring
This theme, set in pure, clean choral tones and punctuated by rumbling bass drum strokes, represents the One Ring’s overwhelming allure.

The Evil of the Ring (Mordor/Sauron)
The third theme for the One Ring is an impervious snarl, limited to only four or five pitches, and unwavering in its focus. As with the other ancient powers of Middle-earth, Shore treats this theme to Eastern-tinted harmonic inflections suggesting a past age.

The Destruction of the Ring
The music for the destruction of the Ring and the collapse of Sauron’s domain represents the collision of the History, Seduction and Evil themes for the Ring, intertwining bits of each tune into a meditation on all the Ring has stood for and all that has been reconciled upon Sauron’s destruction. The Ring’s fall and Sauron’s withering complete the journey, vindicating the heroes’ plight and all suffering they have endured.

Original text copyright © 2007, 2010 by Doug Adams

Additional information available in The Lord of the Rings: The Return of the King – The Complete Recordings on Reprise Records, in the book The Music of the Lord of the Rings Films by Doug Adams, and online at http://www.musicoflotr.com/

Howard Shore, Composer
Howard Shore is one of today’s premier composers whose music is performed in concert halls around the world by the most prestigious orchestras and is heard in cinemas across the globe.

Shore’s musical interpretation of J.R.R. Tolkien’s imaginative world of The Lord of the Rings and The Hobbit, as portrayed in the films directed by Peter Jackson, have enthralled people of all generations for years. This work stands as his most acclaimed composition to date awarding him with three Academy Awards, four Grammy Awards, two Golden Globes as well as numerous critic’s and festival awards.

He is an Officier de l’ordre des Arts et des Lettres de la France and has also been recognized by Canada with the Governor General’s Performing Arts Award. The National Board of Review of Motion Pictures honored Howard Shore with an award for Career Achievement for Music Composition and the City of Vienna bestowed him with the Max Steiner Award. Shore has received numerous other awards for his career achievements.

Perhaps most notable from his early career, Shore was one of the creators of Saturday Night Live and served as musical director from 1975 – 1980. At the same time he began collaborating with David Cronenberg and has since scored 15 of the director’s films, including The Fly, Crash, and Naked Lunch. He was awarded Canadian Screen Awards for Maps to the Stars for score and Cosmopolis for both score and song. His original scores to A Dangerous Method, Eastern Promisesand Dead Ringers were each honoured with a Genie Award. Shore continues to distinguish himself with a wide range of projects, from Martin Scorsese’s Hugo, The Departed, The Aviator (for which he won his third Golden Globe Award) and Gangs of New York to Ed Wood, Se7en, The Silence of the Lambs, Philadelphia, Mrs. Doubtfire and his most recent score for Tom McCarthy’s Academy Award-winning Film Spotlight.

Other recent works include the piano concerto Ruin and Memory for Lang Lang (2010), the song cycle A Palace Upon the Ruins featuring mezzo-soprano Jennifer Johnson Cano (2014), a cello concerto Mythic Gardens featuring Sophie Shao(2012), and Fanfare for the Wanamaker Organ in Philadelphia (2008).

His opera, The Fly (2008), which premiered at the Théâtre du Châtelet in Paris and at Los Angeles Opera, recently completed a successful run in Germany at Theatre Trier.

Fran Walsh, Lyricist
In 2004, Fran Walsh was awarded Academy Awards for Best Adapted Screenplay, Best Original Song, and Best Picture for The Lord of the Rings: The Return of the King. For her work co-writing The Lord of the Rings: The Fellowship of the Ring, Walsh was nominated for an Oscar, a British Academy of Film and Television Arts award and Writers Guild of America Screen Award, and (along with Peter Jackson, Barrie Osborne and Tim Sanders) won the AFI Film Award. Walsh first garnered an Academy Award nomination for Best Screenplay for the feature Heavenly Creatures, which she co-wrote with her collaborator Peter Jackson. Walsh, who has a background in music, began her writing career soon after leaving Victoria University where she majored in English Literature.
Philippa Boyens, Writer
Since being named by Variety in their list of Ten Writers to Watch in 2000, Philippa Boyens, who made her debut as a screenwriter with The Lord of the Rings trilogy, has won an Academy Award for Best Adapted Screenplay for The Lord of the Rings: The Return of the King and was previously nominated for an Oscar, a British Academy of Film and Television Arts Award and a Writers Guild of America Award, among others. Boyens worked in theatre as a playwright, teacher, producer and editor. Boyens moved to film via a stint as Director of the New Zealand Writers Guild. Her love of J.R.R. Tolkien’s work brought her to this project, having been a fan since she was eleven years old.

Peter Jackson, Director
Jackson has made cinema history in making The Lord of the Rings film trilogy, comprising nine hours of a continuous cinema that can be enjoyed by audiences worldwide. The films have become a phenomenon cross culturally around the world, not only embracing the respect of established Tolkien fans and scholars, but introducing young audience to Tolkien’s classic novels. He was awarded three Academy Awards for Best Director, Best Picture and Best Adapted Screenplay for The Lord of the Rings: The Return of the King.

Publishing Rights Credits:
All Compositions by Howard Shore (ASCAP) Except:
“Into the West” by Fran Walsh, Howard Shore and Annie Lennox
“The Green Dragon” Music by Janet Roddick, David Donaldson, Stephen Roche and David Long; Lyrics by Fran Walsh and Philippa Boyens
“The Edge of Night” Vocal Melody by Billy Boyd
“Aragorn’s Coronation” Vocal Melody by Viggo Mortensen
Choral Text by J.R.R. Tolkien, Philippa Boyens and Fran Walsh.

Published by New Line Tunes (ASCAP) © 2003. All Rights Reserved.
Except: “Twilight and Shadow Song,” “The Grace of Undómiel Song,” “Borne From the Darkness Song,” “The Destruction of the Ring Song,” “The Eagles Song,” “Queen Arwen Song,” “Twilight and Shadow Song, Pt. 2” Co-Published by New Line Tunes (ASCAP) and South Fifth Avenue Publishing (ASCAP). “Into the West” Co-Published by South Fifth Avenue Publishing (ASCAP), New Line Tunes (ASCAP) and La Lennoxa Ltd (BMG)

The Lord of the Rings, The Return of the King and the name of the characters, events, items and places therein are trademarks of The Saul Zaentz Company d/b/a Tolkien Enterprises under license to New Line Productions, Inc. All Rights Reserved.

Thanks to: Peter Jackson, Fran Walsh, Philippa Boyens, J.R.R. Tolkien, Ronald Wilford, Jean-Jacques Cesbron, New Line Cinema, Paul Broucek, Lori Silfen, Elizabeth Cotnoir, Alan Frey, Ludwig Wicki, Pirmin Zängerle, Doug Adams, James Sizemore, Amy Baer, Jeffrey Markowitz, Javier Manzana.