 After much deliberation, it was decided to do away with a prologue  as it would have been so overstuffed with information. It was only  after production had wrapped and Peter Jackson (I) (qv) had flown  to London to start working on the scoring of the film did he get an  instruction from New Line, the films backers. Which said there had  to be a prologue. So, while Howard Shore (qv) was recording the  music track, Jackson and his editor John Gilbert (IX) (qv) would  be huddled in a corner with an Avid machine, compiling the footage  that he had originally dispensed with.