Finally, there is the Fell-beast, the dragon-like creatures that carry the Nagul on their backs. The sound of trees being cut down, and the branches hitting the ground, became the iconic noise behind Treebeard’s stoic foot-steps. This was then overlaid with the sound of wood splintering. This was achieved by building a wooden box, through which the recording of the actor's voice was played, and as it ricocheted around blocks and tunnels within the box, it created a more wooden, raspy texture to the audio. One very important member of the Fangorn scene, the Ent known as Treebeard, was created by recording the dialogue of John Rhys-Davies who voiced him, and then making them sound more nature-infused. The most minute detail was observed, right down to the sound of Aragorn’s chain-mail.Īs for the Fangorn, the sound of the trees moving was a recording of a cow, set to a deeper register and slowed down. The unsheathing of swords can be heard, alongside the sound of clattering shields and explosions. The elves can be heard shooting their bows, for which the team actually went to an archery range and recorded the audio of the bows being unleashed, the arrows flying, and the thunking of the tail-shafts hitting their targets. He had them stomping and pounding their chests to create the intimidating onslaught of the march, and chanting a Mordorian speech in the ancient language of the evil Lord Sauron.ĭuring the battle scenes, foley played a big part in creating the background noise of armies battling. The only way that Peter Jackson could see to create the sheer volume and quantity of sound needed for the siege on Helms Deep, was to go to the local New Zealand cricket arena, and involve the rowdy crowd. During the Two Towers, the sounds had to stretch to include a greater volume of creatures at once, as the Uruk-hai army, more fierce than other orcs, and the trees of Fangorn Forest were incorporated into the trilogy.
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