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Holko last won the day on August 8

Holko had the most liked content!

About Holko

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    Master of Negativity / Professional Nitpicker
  • Birthday 03/03/1997

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  1. For some reason he had the proper credits in the Special Ed, but not the Director's Ed which the LTPs use. It is weird how this one just splices Contact right back then goes back to the recorded credits ending.
  2. Her training to be an assassin from the shadows and fighting with a staff paid off by leaping 20 meters and screaming like an idiot to give herself away at the last second? She didn't even have any connection to the Long Night story thread at all.
  3. What we see here is basically the end of the Dothraki.
  4. His overreaction to this (tracking over the Williams credits with kinda unfitting music to get rid of all traced of the song) was pretty wrong. How the hell did he even get to the point where he put the song in?
  5. So, to necro this thread without reading it through: I recently listened to the MM interview about Jurassic Park and he mentioned rights to specific arrangements of tracks - main example was Rescuing Sarah, which was edited down, so the OST holders had to revert the rights of this OST version back to the studio, so the studio could licence out the full cue, including both what was on the OST and what was not, to LLL. Since then I've been thinking having to do this legal bullcrap as little as possible could be the main reason why in expanded releases, sometimes obviously intended transitions are not restored, like in HP2 with Aragog/Spiders Attack (Aragog was a separate track on the OST - Lost World also has many intended transitions not replicated on the set), why names like Entry into the Great Hall and The Banquet have to be kept even if not representative of the contents, why somewhat strange arrangements like Buckbeak's Flight are kept (new rewritten opening take transitioning back into midway through the old opening which it was supposed to replace, instead of doing a "proper" new (film) and old (alternate) pair like with Quidditch, Third Year), possibly why Cadillac of the Skies doesn't have the 3-second harp run-up intro (still could have stuck it in front of the alternate, Mike, you're not gonna live this down!), maybe even why almost 100% worthless not-actually-alternate takes are kept on expanded releases just because they were on the OST - I suspect there's a lot of back-and-forth, deciding which ones are worth the trouble of wasting the time on or upsetting the OST holder by taking almost all the album away from them, in this digital age where renaming a track takes 2 seconds and replicating a transition might take 10 minutes to really finetune. Why I'm bringing it up in this thread is I'm curious if anyone knows what the status of the SW and Indy scores are now in this regard - is Disney Records close enough an entity to whoever owns the films now, who has the Indy OSTs, could it all impede on Mike's ability to keep the incredible flow of Phantom Menace or Temple of Doom without having to worry about what middle-of-a-multicue-setpiece bits JW decided to completely yank out of context 40-20 years ago?
  6. You're still in the phase of thinking this will all go somewhere.
  7. Farmers intentionally decided it's the best way for deforestation. It's all manmade. Bolsonaro says it's a conspiracy by NGOs.
  8. Surely at least until this set sells out and then some. Well, the same thing could be said about the movie trying to recapture the first one without any of the depth, so... perfect scoring?
  9. HTTYD 3 - after it came up. A few months after those initial listens, here's another go. I'm willing to take all the heat I deserve for this, and believe me that I'm saddest to say this, but to me it's still just a HTTYD-ey mush with most of the fun and awe sucked out of it. I don't really connect with most of the date or HW material and by the time it tries to recapture it all in Armada Battle, it's too little too late, and ends up being more copy-paste-ey but much less coherent and natural than Bewilderbeast. There is not one standout track that I can't get enough of, want to listen to over and over again until knowing it by heart, when it will become the main key to unlocking all the themes and nuggets in the rest of the score, whereas there were a dozen in the others, each. I'm just not feeling it. I'll probably put together a best bits medley to throw after HTTYD2, and that's it for me and this film/score.
  10. He uses the original undoctored version!
  11. Just wait until the mission beyond the wall.
  12. Relish that moment, she never does anything again.
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