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The Official La-La Land Records Thread


robthehand

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16 hours ago, BloodBoal said:

 

This!

 

Anyway, I don't see much of a point of repeating material already found on an album elsewhere, just because it underscored an important scene in the film so "it should be there". Not only is it a waste of CD space, but the reasoning behind their inclusion just doesn't make much sense to me. Because it "fills narrative holes", so to speak? It's done in an artificial way. Not interested.

Plus, I'm sure even if a composer participated himself in the selection of the tracked music, he would be against its inclusion on complete release (since, given the chance, I'm sure the composer would have preferred writing a new piece of music instead of simply reusing one). A cue is written specifically for a scene: the composer wrote it with that scene in mind, he wrote it in a such a way that it would match the emotion found within that scene, and that it would musically convey the narrative of that scene. Put that cue in another context, and you rob it of its meaning.

 

All this to say: no, tracked music doesn't belong on complete releases!

Quite. I agree. Verily I say. Indeed.

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OK, I really understand all your points, but hear me out. This might just be personal opinion or empty reaching for justification, so feel free to call bullshit on all this.

 

If we look at a complete film score presentation as a narrative experience in the context of its movie (which I don't see why we wouldn't for complete releases, why would we want them to be complete and chronological then?), I think Chamber really suffers from the exclusion of some of those cues. 

 

I'll first have a look at the complete score as actually recorded. Take the Three Note Loop. In this movie it has been demoted to a general mystery motif. It builds throughout the score, its final appearance is Hagrid being revealed as the culprit by Tom. This feels cheap, to have the major mystery theme build up to a fakeout and never be heard again when the mystery itself continues.

 

The main revelation and turning point of the movie is Voldemort being revealed to have been behind everything. Therefore, we don't hear his theme for the majority of the score, and we don't hear it in this presentation at all. We lose a crucial plot point and link to the previous score and film. 

 

The final action setpiece in the movie has 3 climaxes: the henchman's death (ending of Dueling the Dragon), the villain's death (Riddle's Demise), and the triumphant escape/return (Fawkes heals Harry), so it's minor climax-major climax-minor climax. By excluding the middle one, we only get two minor climaxes back to back, making the first one seem more important than it was written to be, and thus weaker, and making the second one much less catharctic.

 

Now, if we include the cues The Opening Sink, I Am Lord Voldemort, and Riddle's Demise, we get a much more satisfying experience. The Three Note Loop is present for the two major mystery payoffs of finding the Chamber and the main culprit. The latter of these also transforms into Voldy's motif, tying them together again, and of course finally presenting it in this score. Riddle's Demise includes it again, and restores the climax structure so it has an actual payoff which the third and minor climax can resolve.

 

These are not even last-minute choices, since the cue list calls for them to be tracked. The only unclear thing is why these weren't rerecorded with minor adjustments, like so many other cues in this score. (Although the Opening SInk seems weird to me - it possibly includes a new overlay for the 3 Note Loop.)

 

Any thoughts on it like this? I know some of you will say I take it too close with the movie, but with a complete presentation I really can't separate them, and I'm not even sure one should.

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Just now, Woj said:

And you're absolutely sure of that? 

 

I think you've just uncovered that Obi-Wan was always a secret Sith.

 

If "only a Sith deals in absolutes" and Obi-Wan intends that statement as one of absolute truth then.... gasp!

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On 15.9.2017 at 4:04 PM, Holko said:

Yes, but with Chamber, the composer intended those big cues to be tracked.

CoS will have a few narrative gaps, since the tracked music won't be included on the complete score. Unlike the JP Collection the left space is needed for alternates and source music.

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I hope any expanded HP2 release contains tracked music. After all, wouldn't it slightly broaden the general public's interest in COS's case? If you remove tracked music, there really are big holes in the score, story-wise. Myrtle's Tale just doesn't work for me if it doesn't contain that three note loop material and Tom Riddle needs to die too. And as has been pointed out already, JW wanted that music to be tracked.

 

PS: Lots of people seem to assume such expanded releases are coming in the very near future. Dare I hope too?

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Nobody knows anything.  We're only hoping.

Just now, Holko said:

At this point, the HP scores coming very very soon is just an inside joke based on far-fetched overexplanations of very wide statements. But they're definitely coming this Black Friday!

 

Yep.  Well, except that last part.

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12 hours ago, Orgasm[+]Donor. said:

I do have a question for the LLL guy, how do you select the alternates you put in your editions: for instance in the Waterworld CD you have several alt, is that all there is or do you select the best of the alternates?

I'm pretty sure nobody from LLL is on these forums.

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18 hours ago, Orgasm[+]Donor. said:

I do have a question for the LLL guy, how do you select the alternates you put in your editions: for instance in the Waterworld CD you have several alt, is that all there is or do you select the best of the alternates?

 

I'm the LLL guy.  We only pick alternates if they have really cool electric guitar riffs.  I'm currently boiling a big pot of hot dogs and will include one wiener with every copy of E.T. ordered from the LLL store.  Have a great day!

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Quote

Here are LLL's release dates for the next 15 months

:)

2017:

SEPTEMBER    26

OCTOBER    10

OCTOBER    13

OCTOBER    24

NOVEMBER    7

NOVEMBER    28


2018:    

JANUARY    9

JANUARY    23

FEBRUARY    6

FEBRUARY    20

MARCH    6

MARCH    20

APRIL    3

APRIL    17

May 1

MAY    15

MAY    29

JUNE    12

JUNE    26

JULY    10

JULY    24

AUGUST    7

AUGUST    21

SEPTEMBER    4

SEPTEMBER    18

OCTOBER    2

OCTOBER    16

OCTOBER    30

NOVEMBER    13

NOVEMBER    27

 

 

http://filmscoremonthly.com/board/posts.cfm?threadID=118900&forumID=1&archive=0&pageID=11&r=567#bottom

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  • 2 weeks later...
3 hours ago, Orgasm[+]Donor. said:

I dont know if someone has an answer to this one but why has LLL not released beverly hills cop 3? I dont remember the movie maybe there was nothing new in it.

 

There was. It had the best variations on the Axel F theme actually.

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On 9/30/2017 at 0:03 PM, Orgasm[+]Donor. said:

I dont know if someone has an answer to this one but why has LLL not released beverly hills cop 3? I dont remember the movie maybe there was nothing new in it.

 

MV's words:

 

Quote

One of our goals when we first started working with paramount was to release Harold's scores to the BHC films. Perhaps, one day, we'll get around to doing the 3rd one. 

In the meantime, enjoy (and purchase), these two incredible scores!

MV

 

http://filmscoremonthly.com/board/posts.cfm?forumID=1&pageID=6&threadID=117627&archive=0

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