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Richard Penna

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Everything posted by Richard Penna

  1. Richard Penna

    MISSION IMPOSSIBLE: FALLOUT (2018) - Film & Score

    I'm a strong believer that a composer shouldn't necessarily be to blame for a 'bad' score if it's posible that they were simply giving the director/producer what they asked for. But I then look for indications of how happy the composer was with what they eventually produced, and one of those indications is what they choose to release.
  2. Richard Penna

    Anyone else prefer Ghostbusters II to the original?

    #2 is better.
  3. Richard Penna

    MISSION IMPOSSIBLE: FALLOUT (2018) - Film & Score

    JNH is another one isn't he? I'm sure he had help on Kong, but I think he's also said to be a very fast writer. My personal viewpoint is that I don't particularly like the committee/co-composer methodology, but that's largely based on an ignorance of the realities of scoring and schedules. If it turns out that actually, most films' schedules simply don't allow for one composer to do all the work then that changes the argument. If the opposite is true, and composing by committee is often a choice, then again, different argument. My ultimate point is that I'd appreciate arguments being made in a more educational way rather than 'you're wrong because of this fact that everyone knows'. I would likely still have my view even if the former is the case but at least I can understand the practical reasoning while making my creative arguments.
  4. They're some of his more enjoyable ones, certainly. The main offender that comes to mind is A Beautiful Mind. It just goes on. Forever.
  5. Hymn is nice but it gets OTT towards the end with the choir. I used to like bits of the rest of the score such as Omaha Beach but I never connect with JW's long drawn out dramatic pieces (usually his finale tracks). That's not just a JW thing - I have the same issue with Horner's 10 minute tracks.
  6. Richard Penna

    Jerry Goldsmith THE MUMMY Intrada 2CD set!!!

    You're not alone. I don't get it either. Sand Storm is by miles my favourite "unreleased" cue.
  7. Richard Penna

    Alan Silvestri THE MUMMY RETURNS Intrada 2CD set!

    Watched the A Flying Boat section and while the sound doesn't have a very good stereo spread to begin with, the music sounds the same as it does on the boot - the OST certainly seems to sound better. Makes me imagine whether the OST was mastered really well, then whatever was done for the film and long term storage, at least for a number of cues, gave us the more muddy mix.
  8. Richard Penna

    Jerry Goldsmith THE MUMMY Intrada 2CD set!!!

    What a lively debate I just checked my ToD edit and I joined Out Of Fuel and Slalom together. It's far from a perfect transition but it feels 'right' to me as one goes storywise right into the other. I don't see why this needs to get so heated - no one's forcing you to listen to another's edit.
  9. Richard Penna

    Jerry Goldsmith THE MUMMY Intrada 2CD set!!!

    When I was condensing the smaller cues down a few weeks ago I tried rather a lot of ways of joining them together. To go Thor-like for a moment, I forgot about the film and just looked for the most musical way of joining them. It's not the same way Intrada chose, but I did my own assembly of the cues they did present standalone and it all works fine. Also, the purist in me wants clean openings/endings for some cues whereas I'm not bothered about others.
  10. Richard Penna

    Alan Silvestri THE MUMMY RETURNS Intrada 2CD set!

    Yeah realised that after I'd submitted
  11. Richard Penna

    Alan Silvestri THE MUMMY RETURNS Intrada 2CD set!

    Nah, they sound the same on the boot. My money would be on a rushed last minute recording. Possibly with your suggestion that Silvestri knew they wouldn't make the album so didn't worry about how they sounded. Why the London cues vary in sound so much... who knows. All I can see is that most of it sounds really great, with a handful of cues dotted around sounding like the mix is all wrong.
  12. I watched the ceremony live when the BBC broadcast it. I don't remember when they lost the rights (Sky shows it now) but I haven't watched it live for at least 5 years. Although that also coincided with working with a film buff who preached a lot about seeing art house films and to an extent put me off critics and their views. Hence not really caring about what the academy thinks is 'best' any more. Now I basically just read the headlines and move on.
  13. Hey, they're trying to be more relevant....
  14. One of the better ideas I've read: https://news.avclub.com/1828229431 Another commenter talks about considering streaming-only films. Isn't there a rule that a film has to show on X number of cinema screens for X days before such a date to be eligible? (That's why The Post was rushed wasn't it) Very arbitrary and archaic rule.
  15. Yep, that's a large part of the problem - when a film getting awards attention essentially means that every critic has to rave about it and the filmmakers are not only filled with a partially deserved sense of purpose, but are also given a temporary platform to give a speech on whatever crowd-pleasing ideological message is trending. (I really don't like the oscars..)
  16. I stopped taking the oscars seriously probably when Santaollala started winning and I realised that the awards were based on association more than actual quality. And I stopped paying any attention to the film that win BP when Moonlight won. The reason being that I prefer to watch films that have a balance of opinions and also which don't just focus on excellence in one filmmaking aspect - usually the acting. I absolutely hate the pretentiousness and manufactured acclaim (by which I mean that everyone pretends that a particular film is really important and that the director/actor is flawless) of the oscars. I wondered last year whether they might resolve some of these problems by naming, say, 5 BPs. You would of course lose the cache of being 'the winner', but you'd get a variety of films being honoured, so you could quite comfortably award both the art-house character study and a fun popcorn movie for their respective qualities, and viewers/critics from all perspectives would 'win'. That could also reduce token voting for smaller categories, as there's a higher chance of the movie receiving an awards and the voters could *shudder* actually start voting on quality.... Interesting point, because how do you determine exactly when a film 'qualifies' to be considered for a prestigious award? I was reminded yesterday that The Martan was BP nominated, yet it's definitely a popcorn film, so you can't say that films of that style aren't good enough. What does a film need to have to be 'prestigious'? I would strongly argue that strong performances and a meaningful story, while important, should not be considered the only indicators. Waaay more to cinema than that.
  17. Richard Penna

    Oral Care

    Nah, I asked him about diet drinks and he said it was a 'con' (his word). It's the acid in my case.
  18. I think there's definitely room for crossover. I see that in 2016 Mad Max and The Martian were BP nominated. The latter is probably my definition of a popular film. In 2014 Gravity was up for it.
  19. Definitely. My very first reaction was that maybe this was an interesting idea. However I realised that once you start making a distinction between 'proper' films and popcorn films, you start sending all sorts of messages. What if some filmmakers were going for BP but won the popular one instead? You'd have them being all 'grateful' and the usual kiss-assery to the academy, while secretly feeling like they've been swept aside to make way for a 'real' film. It's reinforcing the very pretentious idea that to win a 'real' award, your film has to be serious and not 'popular', which is a viewpoint I hate. I watch all sorts of rubbish at the moment (lots of Netflix), which if considered on the strength of the writing and sheer entertainment value, would win more awards than the latest character study.
  20. Richard Penna

    Jerry Goldsmith THE MUMMY Intrada 2CD set!!!

    Are you trying to get the piano overlay on its own, or over the score cue? You can get the latter from the iso score. It took me a while to get used to the new mix, but once I did I made the following changes: - Edited a section of Tuareg Attack from the OST for the first shot of them approaching on horses. The racing strings to the left side are buried in the new mix. - Joined Regeneration, Alley Attack, and The Flies. - Got The Sand Volcano and End Credits cleanly separated by using the end of Volcano from the end of the suite. First half of the love theme from the suite, then switched to the OST for the brass part because (again) the beautiful string work on the left is more audible.
  21. Richard Penna


    Have you seen the first three seasons Thor? I would be quite surprising if you hadn't realised that the Cinnabon scenes are 'present day' (i.e. post BB)
  22. Meh, vaguely similar era (well, 6 years) with an OST that could use some proper expansion. I guess my point is that even a score that needs expanding and properly presenting, those sorts of units feel very high.
  23. I reckon if this were something like The Terminal, it *might* shift 3000 units. But something with only a few minutes of extra music and otherwise basically a reissue... I really doubt they're going to press all 4000 for this.
  24. Richard Penna

    Will we ever get Hobbit Complete Recordings?

    AUJ was fun but only just came together as a film for me. A lot of the action was unneeded, but I still enjoyed it. I thought DoS was doing rather well until the Smaug/chase sequence where the whole thing drags for about half an hour. I sat open-mouthed at the ending, and not in a good way. Bo5A I remember mostly as a collection of cameras flying around battle scenes. I don't even remember how it begins or ends. (except the Laketown bit which should've been at the end of DoS). I want to see Del Toro's version.