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Richard Penna

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Richard Penna last won the day on October 23 2022

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About Richard Penna

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    Dance the night
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    Surrey, UK

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  1. I suspect the initial report that Shore was in talks to score the show didn't help in terms of expectation management. The moment it's suggested that he might be writing any actual score, the pitchforks were primed for when another composer is announced. I love Richards' interpretation, saccharine or not. Plenty of Shore's RotK material gets far too sugary for me when everything is wrapping up - I think they're all guilty of it.
  2. That's just bizarre. Could it therefore be as simple as Shore (and co) didn't like what Bear composed, as in they were as annoyed at some are here about the compositional differences?
  3. I'm not at all averse to discussing what might have happened as long as it resolves around attributable quotes or news, rather than one of the several fanboys we have around who just couldn't handle Shore not doing it, and were searching for the smallest bit of evidence of the showrunners having betrayed Shore and hoping for some weird comeuppance. (some very amusing cognitive bias going on with one or two people, given they were at the same time arguing that soundbites praising the score were in no way to be taken seriously) My personal suspicion is that perhaps Shore offered to do some more themes and maybe even write some of the score, but that the showrunners didn't like his demos. I just can't think of another reason why him and Doug Adams would be clearly so agitated by the situation. I think it might've been better to just ask Bear to do the main titles and avoid this sort of comparison from the beginning. Non music people like me respect the compositional differences but don't understand them enough to know why so many are annoyed.
  4. I find Bear's themes and scores in general a bit mixed and my current fandom of him is driven almost entirely by RoP and Outlander, with a little bit of TWD (although the album situation for that series is pretty much unacceptable). The theme from Da Vinci is really good though, and a handful of other tracks from that album were interesting. Most of his film work and horror material doesn't do a lot for me really. I'm probably never going to understand the love for Shore's main title piece It's a nice piece but just for my personal tastes it's overshadowed completely by Bear's themes and work overall. I probably wouldn't even have been that personally bothered if Shore had declined to allow it on the release (due to whatever crap went on that he doesn't want to talk about).
  5. Oh, agree completely. I mentioned them more as I was trying to highlight some specific appeal of having this specific release on CD, aside from obvious collector desires. Particularly as it's not like their US warehouse has a ton of the first two sitting unsold and they decided to reduce the pressing volume. Not entirely indicative but discogs has between 40-50 people currently wanting the first and second, and the lowest price is around £60. If they did more in the US store, no doubt they'd sell.
  6. That was quick! If I were advising Powell right now, I'd tell him to forget his end of April streaming date and just put this out digitally now. Such a dumb idea to begin with - there were easily enough fans who wanted it on CD for Varese to get their sales. I know this may be an unpopular rant with some but I just don't buy the idea that Varese needs an exclusive period for a product like this, and it feels very condescending that we're being asked to buy (and wait for) a CD and marvel at some fancy liners before we're allowed the convenience of digital.
  7. "Unfortunately, although the answer was indeed clear, simple, and straightforward, there is some difficulty in justifiably assigning to it the fourth of the epithets you applied to the statement, inasmuch as the precise correlation between the information you communicated and the facts, insofar as they can be determined and demonstrated, is such as to cause epistemological problems, of sufficient magnitude as to lay upon the logical and semantic resources of the English language a heavier burden than they can reasonably be expected to bear." "Epistemological? What are you talking about?" "You told a lie."
  8. "Actually, I don't think witches are witches at all, just women who don't fit in. Learned, creative, reluctant to accept the repressive social and economic restraints forced upon their sex." "Uh, Kate, the three learned and creative women we encountered on the heath had huge hooked noses, numerous enormous warts, cackled incessantly and wore pointy hats. Exactly what part of not being a witch are you getting at here?"
  9. They were still filming in the UK as of a few weeks ago because it was in the local news that Cruise was filming at Longcross Studios near the M25 (the big motorway car park circling London) but we had a massive planned weekend closure nearby the studio and some news outlets made a thing about Cruise possibly using his helicopter to get crew there (I'm slightly skeptical of that bit of the story - choppers are small and film crews are big).
  10. That's one Middle Earth release I wouldn't have much interest in, mainly as the SEs are reasonably comprehensive for those not massively familiar with the films. It would be nice to hear the film version of the eagles scene from the first one but I can't think of a single moment from the other two scores.
  11. No doubt there's alternate material - we know of one minor one which is a track later on in the series where he recorded Halbrand's theme iirc, with two solo instruments to avoid clashing with dialogue. However, given that with a different release mentality this box could easily have been a highlights release (with maybe half of each score), the fact that it has nearly everything heard in the show is more than good enough for me.
  12. I've made some estimates before and I reckon it's around 5 minutes of proper unreleased cues or prominent sections. No doubt there is a bit more than that when considering edits to shorten tensions/sustains/etc, but in terms of music that's creatively important I don't think there's much at all.
  13. I don't find myself drawn to the complete albums that often, but there are a few set pieces and moments that are abridged or not presented properly on the OST. Plus when you like a score as much as me (and many) you want the entire thing even if it doesn't get a huge amount of playtime. I really didn't want to pay £80 for a bunch of downloaded files so while this set is 30% or so more, it feels like what we get (all the music plus the OST and the book) makes it worth it, and those who just have the downloads don't feel left out with any content exclusive to this box.
  14. If they were the same price, why wouldn't they have one basket option and just give the signed copies to the first 200? I was looking for a change in price when switching between the two while I was out yesterday and got a bit confused.
  15. I wondered this too. A nice deluxe box for collector types, then a slimmed down 8-disc clamshell sort of thing, sans OST or book, with more units.
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