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Holko last won the day on September 12

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. It's source music and can be heard in the Leaky Cauldron when Ron shows the picture of them in Egypt, then Arthur Weasley calls Harry aside to tell him about Sirius, it overlays the first part of Discussing Black. It may be longer then a minute in the film, but that could just be looped. 30+ seconds for sure, I think. I almost started to nitpick as a reflex that the percussion intro and overlay to the slowed down Cadogan is not actually on it, but then it's not Williams, is it? Cleverly chosen words you have!
  2. I revoke everything ever, this looks brilliant in colour:
  3. For the first dozen or so questions I had to keep checking the names, being confused who is supposed to be interviewing who!
  4. Nevermind, found it! Will post screens here when it downloads.
  5. That's what I'm dreading, chintzy 70s technicolor could ruin the whole thing and make it feel immensely dated.
  6. As I quoted above, Badham wanted to do it black-and-white, but the studio forced him to go big and loud Technicolor, so it's his way of getting back at them and approximating what he wanted in the first place. A bonus feature would be nice, but they'd have to include the whole film twice, possibly on two discs, and Badham would have to agree to it. Some colour restoration surfaced this year but I haven't been able to locate it yet.
  7. I thought it had been desaturated since the 1991 Laserdisc release. Quote from the Wiki:
  8. Part II - The Seduction The Dining Room, Disorder in the Asylum and First Kiss (6m1-6m3-6m4) Mina's father, Abraham Van Helsing arrives to investigate the circumstances of her death, but Lucy decides to pay a visit to the Count instead. During their dinner, unrest once again takes over the asylum - one mother claims a terribly transformed Mina killed her baby. Lucy and Dracula share their first kiss after the date goes well, while the next morning Abraham starts looking into nocturnal creatures. The Dining Room paints the ruinous abbey as a whimsical and charming place - even the jumpscare is a lightweight flourish. The Asylum introduces the second big motif of the score, linked with Van Helsing's investigation into vampirism, here used as an action ostinato as a vampiric Mina escapes the asylum after drinking from a baby. First Kiss gives a romantic and seductive readings of the Dracula theme. Dracula Meets Van Helsing (7m1) Abraham has suspicions about the nature of the attacks, and gives Lucy a silver cross to wear for safety. Dracula comes to visit Mina's grave in the twilight, but his horse feeling uneasy gives the professor an idea for a quick test for supernatural happenings. Swirling, menacing strings herald Dracula's arrival, then later we get another version of the Investigation motif as Van Helsing hears the horse neighing. Grave Trampling and Night Journeys (7m2-7m3) Van Helsing's plan works out better than he hoped as the horse completely destroys Mina's grave out of fear of its supernatural aura. Dracula visits Lucy in the night, who by now gives herself to him willingly. Grave Trampling presents an over-the-top full orchestral rendition of the Investigation motif, as the process reaches a milestone. Night Journeys supports the firm and impassioned actions portrayed onscreen. James Bond title sequence designer Maurice Binder's Love Scene changed a few times in the edit, in the final film the earlier version of 7m3 is used to underscore this strikingly shot and assembled sequence, while Night Journeys suggests it was longer at some point. The Love Scene (7m3) This alternate shows a fascinatingly different approach - while Night Journeys suggests almost and aggressiveness and forcefulness in its first half, this cue is more soft and romantic. Compare for example how both cues support Dracula picking Lucy up and putting her in bed, up until the Binder sequence starts, and the bloodsucking afterwards. Mina Impaled (8m3) Van Helsing finds Mina's coffin empty, a hole in it leading to an old mine tunnel. There he finds his undead daughter (in brilliantly disturbing makeup), and in the end makes the difficult choice of impaling her to put her at rest. A bat scares Abraham, once again bringing the bat sound, the cross getting lost in a puddle is underscored with distraught piano and unsettling strings, while Mina attacking his father and Jack is surprisingly tame until the cross gets out, then a Mickey Mouse stinger seemingly puts an end to the horrors. In the final film, the cue only fades in when we first see MIna's face, the first half is unused The final edit is also a bit shorter than the Varese cue, so I decided in this case to crossfade the two synced up halves in the middle section where it's practically unnoticeable instead of trying to find a place to insert a black screen into the picture. Van Helsing Confronts Dracula and Van Helsing's Solution (9m1-9m2) Abraham comes across the Count and gets more damning clues, proving with certianty he's the vampire. With Mina's body, he proves the existence of vampirism to his peers then takes drastic measures to ensure her eternal rest. Lucy escapes to warn Dracula of the events, but Jonathan, Jack and the professor stop her. Doing this video made me appreciate the Confrontation cue much, much more - Williams himself is known to go over the top on much less grand scenes, even within this same score, but for the most part it's more quiet, subtle and restrained - see breaking the mirror and the garlic's appearance! In the next cue we get another barrage of the Investigation motif. Tune in tomorrow for Part III!
  9. May be stretching the definition of "short", but... 1:55-2:30 The whole track is a masterwork of buildup, but somehow this segment really stands out for me - it could be the climactic moment anywhere else, but here it's just the indication that big things are about to happen. It's a pumping adrenaline rush just before the battle to get you hyped up. Then of course I could list the prayer to Crom right afterward as another favourite shorter section!
  10. I just feel a bit cheated. One of the best cues in the score is just a slowed down tracking of another cue over which a random music editor masterfully overlaid some random percussion. I'll never even have the chance to have it unless the iso score leaks.
  11. Then why doesn't it list have Cadogan listed as the missing 7m10? It's just so confusingly random. ANd of course Dufay Ensemble and Percussion.
  12. Sorry, it's still not completely clear to me. What constitutes Lupin's Departure (1:22)? In the film it's 10-20 seconds, was it really that heavily cut down? The slower version has a ton of additional percussion, was that editorially created, too? More importantly, what are the two cues in the cue list, 3m5-5A Bonding with Hippogriff and Sir Cadogan Again and 3m13 Sir Cadogan (for Dufay Ensemble & Percussion), what's the deal with those, was one not recorded?
  13. Wonder if 3m5a was scored for an unreleased Cadogan introduction scene or they just decided the knight ghosts would be scored with the same piece. The clumsy idiot is in the background a lot when they're looking for the Fat Lady! In the book he is first seen leading the kids to the Divination classroom, which would be precisely in the place The Courtyard and Sir Cadogan is in the new set, considering The Grim was moved back! Maybe they decided to nix the percussion between the writing and recording? Or they just used the wrong cue for the deleted scene? Does the new set even have 2 Sir Cadogan cues? Really, nobody listening paid as much attention?
  14. The cue list also has two titles with Cadogan in them.