Jump to content
rpvee

The Quick Question Thread

Recommended Posts

Where exactly is this music in the War Horse OST (0:54 complete with the modulation at 1:17 or is that an edit from another track)?  This is probably a bunch of edits throughout the score.

 

Share this post


Link to post
Share on other sites
18 minutes ago, Fal said:

The Reunion and Plowing I think...?

 

That's it at 3:32 of Plowing.  Cheers.  Such a beautiful score falling somewhere between the JW Americana of Superman "Leaving Home" and the anglophile Jane Eyre.  FYI - they aren't the exact same.  The tempi don't line up so perhaps an alternate take in the trailer.  The Plowing track is slower but the same music.

Share this post


Link to post
Share on other sites
On 09/05/2018 at 7:44 AM, Fal said:

She watched the Princess Bride.

 

Inconceivable!

 

 

 

On 09/05/2018 at 7:29 AM, Margo Channing said:

Why does Belloq send the natives chasing after Indy? If they killed him, he can't go find artifacts for lazy Belloq anymore...

 

He had what he came for - the fertility idol. Killing Indy was just a bit of sport for the Hovitos.

Belloq wasn't lazy, he was just digging in the wrong place.

Anyway, his - and everyone else's - fate was sealed, the moment they looked into the Ark.

Share this post


Link to post
Share on other sites

In the 40 years of home cinema, companies and studios surely learnt about the phenomenon usually called "PAL speedup". By the time we got to DVDs, how the hell didn't they figure out that they could counteract this by producing a slightly slowed down copy (not a big deal in digital, I think) so the PAL speedup would only restore the creators' original intentions instead of distorting it? I know LotR, for example, did fix the audio pitch somehow, but how and why did the practice not become standard?

Share this post


Link to post
Share on other sites

You can resample the audio to a different frequency while preserving the speed, to correct the pitch of the score while still adhering to PAL speedup for a PAL release (I have no idea how exactly this works technically, and how much sound quality is affected).

 

But you can't change the *speed*, not without creating serious frame rate issues, i.e. jerky playback. NTSC 3:2 pulldown does something a bit like this by transferring 24fps film sources to NTSC half fields of different lengths (alternating between 3 and 2 half fields per frame), producing noticeably jerky effects (especially noticeable in slow horizontal pans) compared to the smoother PAL transfers.

 

Aside from the increased resolution, 24fps support was one of the major improvements of the Blu-ray format.

Share this post


Link to post
Share on other sites

I would go with the LLL set of the Blue Max and Quartet version of Papillon but alas they are both sold out.

 

I think the Tadlow re-recording of The Blue Max is excellent as well. I think they captured the spirit and energy of Goldsmith's original very well.

Share this post


Link to post
Share on other sites

I recently discovered a marvelous version of Carol of the Bells on the Holiday Pops album by Keith Lockhart and the Boston Pops. The credits claim it was arranged by Alexander Courage. I really, really love this rendition and would like to know if Courage arranged more carols, but for now Wikipedia isn't helping.

Share this post


Link to post
Share on other sites

King Solomon's Mines?

On 5/18/2018 at 12:20 PM, bollemanneke said:

I recently discovered a marvelous version of Carol of the Bells on the Holiday Pops album by Keith Lockhart and the Boston Pops. The credits claim it was arranged by Alexander Courage. I really, really love this rendition and would like to know if Courage arranged more carols, but for now Wikipedia isn't helping.

Courage did a few of the arrangements of the stuff on JW's Christmas albums IIRC

Share this post


Link to post
Share on other sites
On 3.6.2018 at 7:33 AM, kaseykockroach said:

Any post-70's scores that don't use them? I only recall The Edge, and maybe Poltergeist.

The Edge has synth strings, similar to those in Hollow Man.

 

I think Night Crossing and The Boys from Brazil are completely without synth.

 

Alien, Poltergeist, First Knight, The Russia House, Rudy, Forever Young and The Mummy are almost entirely without synth.

Share this post


Link to post
Share on other sites
12 minutes ago, Brundlefly said:

The Edge has synth strings, similar to those in Hollow Man.

Where? To me the entire score sounds purely acoustic and orchestral.

Share this post


Link to post
Share on other sites

Stirba - Werewolf Bitch has that creeping dolly shot to the bathtub with no scares and for absolutely no reason.

Share this post


Link to post
Share on other sites
57 minutes ago, kaseykockroach said:

Why is it showers appear more often in horror movies than bathtubs? The only bathtub scene I can think in a horror film is Nightmare on Elm Street.

 

Watch SHIVERS, and THE CHANGELING.

Share this post


Link to post
Share on other sites
3 hours ago, kaseykockroach said:

Why is it showers appear more often in horror movies than bathtubs? The only bathtub scene I can think in a horror film is Nightmare on Elm Street.

 

Check out Gabrielle Anwar in Body Snatchers...

 

:blush:

Share this post


Link to post
Share on other sites
On 10/06/2018 at 7:47 AM, kaseykockroach said:

Why is it showers appear more often in horror movies than bathtubs? The only bathtub scene I can think in a horror film is Nightmare on Elm Street.

 

Although it's not a horror film, PANIC ROOM has a "unique" bath scene.

Share this post


Link to post
Share on other sites

What could be described as the differences between Paul J. Smith and Oliver Wallace?

I know they don't sound exactly the same, but as someone who practically has their animated film/short scores ingrained into my head forever, I've never been certain how to tell the two composers' styles apart, especially since they collaborated at least once (Cinderella). I've never been able to find much in-depth info on either one.

Share this post


Link to post
Share on other sites

Why is it so hard for non-specialty labels to inform us about disc runtime and track lenghts in at least one of the multiple tracklists they include?

Share this post


Link to post
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now

×