Richard Penna

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Everything posted by Richard Penna

  1. John Williams: Unpopular Opinions

    I would be surprised, but I've only got 4 Star Wars tracks, so I empathize. There's too much music out there to waste time trying to get into music you don't 'get'. To be blunt, I don't give a shit how 'essential' a score is. I've got between 20 and 30 mins each from Raiders, ToD and Skull, and an hour from LC.
  2. Ready Player One - Alan Silvestri

    I think modern CGI has something to do with not having to prove anything. 20 years ago when JP was a revolution, the CGI had to be 'perfect' because that was what drew audiences - it was new. Now CGI is everywhere, I think it doesn't really matter to the success of the film if it's a bit rough around the edges here and there.. (not my theory BTW, I read it somewhere, just don't remember where)
  3. 2017 IFMCA Nominations and WINNERS

    I just started playing the End Credits and the melody instantly reminds me of Yared's Cold Mountain. Cue of the year? Seriously? I've never felt so out of touch with what everyone else thinks is 'good' Little has inspired me this year.
  4. 2017 IFMCA Nominations and WINNERS

    I can't for the life of me understand the love for Phantom Thread. Feels the definition of 'serious music' == awards. Meh.
  5. Well if there's better sound quality, is there something prominent about it that will sound better? Or is is more subtle than that?
  6. Probably a bit less that. The bits I'm aware of: - Opening - something's wrong/different about the voice solo near the start - pre-credits/finale cue - the transition into the Unwilling alternate is slightly different in the film - The cue tracked from another score/album during Jack's death. The differences make it feel to me like someone with the sessions recreated the film mix for the projection preparation, and didn't quite get some of the edits right. If the leak were taken from the actual stem, surely they'd only be fiddling with layers, not edits?
  7. Awesome Score - Awful Movie

    Errr... right. Yeah I think you need to take this thread a little less seriously Trent. --- Having listened recently to JNH's The Last Airbender and bits of Lady in the Water and The Happening, I'd apply this criteria to everything he's done with M.Night since LitW. They're all superb scores to pretty bad films.
  8. The Doctor Who Thread.....

    Broadchurch is a very different show. I wouldn't expect Chibnall to bring the same sensibilities to Who. One thing I disliked about Gold's approach was that a lot of the action music, or at least upbeat 'crucial plot point' music tended to have a song-like structure (like you could put lyrics to it), often with a drum kit, like they were trying to appeal to a younger crowd. It sounded overly cheesy to me a lot of the time. Having said that, there's an overwhelming volume of really good thematic, interesting music in his 10 years. Few other composers can claim this body of work. Now where the hell are the series 9 and 10 releases? (well, we know 9 is coming 'soon')
  9. The white stuff (snow)

    Nice location but shitty weather. I've hated snow since I started working. It was almost warm here over the weekend but it's about to get cold again, possibly with some snow. Sod off, winter!
  10. The Doctor Who Thread.....

    I hope it's not Ben Foster. His scores for the latter Torchwood era were just completely by-the-numbers and didn't feel to me to be offering anything special. Just competent scoring, but nothing more. Whoever it is needs a really good range and will need to be able to write a lot of themes.
  11. I don't know - he's certainly not modest in that interview, but most of his concerns seemed to stem from Cameron's time pressures and not appreciating that a composer needs a locked picture to write to. Maybe his comment about 'find a composer better suited' was a bit arrogant, but to an extent it's reasonable for him to challenge the producers when they're asking things of him that others in the composing profession would consider unrealistic. The bit about Cameron loving his score to Braveheart - that's definitely a Horner 'thing'. He also talked about considering himself to have done 'such a good job' on The Perfect Storm on Schweiger's interview years back.
  12. The Official Intrada Thread

    Yeah, The Mummy is high on my list of millennium-era scores that I can't quite believe haven't been expanded yet. Along with Gladiator and Air Force One. (not quite millennium era, but how the hell has this not come out yet?)
  13. That would only cause more confusion. I'm sure you remember the Indy box press release incident...
  14. Yeah, Doug confirmed that thinking last year in one of the other LotR threads. 2006/2007 must've been a point where digital music was taking off. I bought my first one probably around 2008.
  15. I'm a bit surprised they're doing another run with the same packaging. I remember Doug pointing out that the complexity of the box meant that repressing was a different beast to just repressing your regular soundtrack. Someone, somewhere has decided it's worth it.
  16. Why? What's the difference between all those advanced/dolby formats?
  17. I guess that if musically this is identical, then there's no reason for most of us (who have the original) to get this. It's purely for those who missed it first time. Even if they've actually corrected the edits, I'm still not sure I'd go for it.
  18. Balfe? Wow. Polar opposite reaction to Powell's Solo assignment. Couldn't be less excited about a Balfe score.
  19. I think Signs comes pretty close. Maybe one cue doesn't quite feel needed, but in a 55 minute score, that's pretty good. I didn't think the OST has any major edits? For me it was the missing opening music and an imbalance away from some of the interesting melodic material. Plus, what on earth is The Shed... doing closing the album? It's like Howard wanted to end the album on the 'creatures' and not the characters. I wonder if it's coincidence that as M.Night's movies got worse, my desire for unreleased music has plummeted. I added two cues to Lady, and nothing to The Happening or The Last Airbender.
  20. Woah. That may explain why LLL's opening lacks the 'rumble' when the title card disappears and we see the craft descending.
  21. Yep. I'd say Young is a somewhat lesser extent, but he certainly likes doing it with his expansions. Zimmer is more extreme than JW - so many of his OSTs are more suites than just joining a few cues or the odd microedit. The Village's OST arrangement makes as much sense as The Terminal. A very out-of-character album from Howard. I wouldn't say Signs is particularly arranged for listening. It's missing some minor cues but it's otherwise chronological. Same goes for Lady
  22. RIP Jóhann Jóhannsson (1969-2018)

    Exactly - you don't need an 'excuse' for personal/health matters. You only need to do that for more awkward situations, i.e. the studio wants Zimmer. It took me a few moments to process his name in the thread title and realise who it was. Not a composer I followed, but still very sad to lose a composer at the start of their prime
  23. Yeah I skimmed through the film on netflix last night, and while it was mostly an observation of Cameron's mutilation of the score, I noticed the finale cue not only had that woodwind bit, but also used the Unable to Stay bagpipe-less alternate. The frustration continues with expanded sets that don't give any clues or materials for even quite pivotal scenes where the original cue wasn't used.
  24. The Bear McCreary Thread

    Outlander Season 3 is on spotify (in the UK at least). Two new Bear scores in just a few days. Pretty cool! Although it's barely taken me any time to listen to the Scotland half of this release. Even with the amount of tracking, this is a pretty paltry release. What is it with McCreary's most popular shows having the least amount of score released? By that logic, you could make any old shitty sci-fi film and call it 'Jurassic Park: <insert cool name>' because you own the brand and you can. Doesn't mean that the branding the audience sees has anything to do with the film - I find it a rather dishonest marketing strategy. In this case, I guess Netflix must be hoping that the name will entice people to watch it, faster than word spreads that it's rubbish and has nothing to do with the original.
  25. I think Lane is better, but yes, the 'Ava' theme is really beautiful.