Richard Penna

Actually that's a good point - the Doctor's mantra in all the shows I've seen is to resolve conflicts by diplomacy; killing or injuring an alien/antagonist being only a last resort. In Smith's first episode he just warns the big eye thing that earth is protected and to just leave. The problem is when that's pointed out and people get upset for some reason.

The point where they stop killing villains, or only by a severe ticking off the Doctor, is the point where I'll start to ask questions.

Tbh if a bit of interference from The Mouse regarding non lethal sonic and a fully-abled villain is what it takes to get a show that gets more funding, so be it. None of these things are actually problems in that there's no effect on the story or the entertainment value of the show. I really enjoyed all of the new episodes so far and hadn't even noticed the new sonic until it was pointed out here. It's not a big deal.

Since day one I overwhelmingly preferred Remembrances to the main SL theme which is far too solemn and depressing for me. JNH's Defiance is marginally more listenable (I liked it more at the time) but both fall into that category of war scores that just aren't that enjoyable to listen to. Important subject matter doesn't have any bearing on whether I should enjoy a score.

This - RTD should make whatever changes he wants to do and reinvent as necessary. This goes back to the wheelchair-free Davros thing - just do it and let the result speak for itself.

These are fair comments on the original and it surprises me that Intrada wouldn't be able to obtain some sort of digital version of the original poster. I think subjectivity is very important here, in terms of preferences between archival and newer looks, and retaining the original elements. Of course, it's entirely possible that Doug is trying to do everything, doesn't know photoshopping and considers what he's putting out as good enough - and there are fair suggestions for improvements to be made if he's blatantly lacking in basic image skills and judgements. All the things you mentioned and implemented look good. But if perhaps their tastes are just different to Titus's (who tends to reimagine covers a lot), and they decided to retain the slightly washed out look and not fix the dirt... well I've got a bit of a thing with assuming laziness in the very first instance instead of engaging in discussion over why things were done, or not done. I think the fonts used for Dragon 2 and 3 are bad choices but I don't think the designer lazy or incompetent - we all choose and prefer different creative options.

May be a good thing Herrmann's not around to approve an expansion. He'd probably put a program together and shout or burst into tears of general frustration at the mere suggestion of changing something. If you've heard the extended interview with him from the 70s, the idea that he's working for a director who might have an opinion on his music seems completely foreign to him. I don't think he'd get a scoring job nowadays.

I might be alone but I've come to the conclusion that I don't like the new Jurassic covers at all. Not enough colour for one thing, but also he went for a grainy, papery look which just looks very odd to me. I thought the covers from the box were absolutely fine - a slightly tidied and updated version of the original. At the risk of provoking angry villagers further, I also don't like the expanded Potter covers for several reasons (the border, the font) but it's the music that's important. I also agree with Roger that if there is a well known poster or imagery associated with the film, that should be used for a score, OST or otherwise. There have been occasions where LLL has gone in a totally different direction and it works, but I don't agree with changing things just for the sake of there being a different cover. The cleaned up Shrunk cover is a nice alternative - certainly more vibrant, although I'm not sure I agree with the revised text - Horner's credit looks a bit strange to me being highlighted the same way as the title. Having said that, there could be a case that the muted colours of the original lend it a more classic look, and the colours are a tad more natural to me - I like certain aspects of Intrada's one and I like certain aspects of crumbs' version.

I'd hoped that cue would contain something notable and I agree, it's a good one. I get particularly drawn to the theme at 1:49 and of course the minor key alpha statement to close the track. I'm a bit surprised Powell didn't feel the inclination to put this on the original album - even if he had put it somewhere non-chrono.

This is a score where I'd be casually interested in noting the stylistic differences between the scores, i,e. checking out the samples. I can't remember all the circumstances around the rejection, but iirc Hitchcock wanted a more modern 'pop' score and Herrmann disagreed and just wrote what he wanted to, and found out the hard way that film scoring needs collaboration.

I'm far more vested in whether Gold is going to bother releasing anything from this series. I've been hoping for a specials release, timed (if they must) to start with the new series in a bit.

The artist on Spotify is actually Bulgarian Symphony Orchestra Sif.309. Someone somewhere could've done with some help providing the details, clearly. I listened to some bits of this when it came out and it didn't really do a whole lot for me, but sometimes you have to be in the mood for these things.

E-mail Intrada asking for your free copy (stating your case for why you should get one), then share Roger's reply with us - which I'm sure you will have no issue doing unless his response is to point out that you are wrong....

Turns out that when Horner made his album and removed those cues, I just added them back in to the original Intrada program. Hence the only actual new content I'd get from this new set are the 'extras' bits. I'd really hoped there would be more additional material, in the vein of the Species set. I might hold fire and wait to see what else emerges from Intrada in the next few months.

My 17 year old self couldn't possibly have been less interested in seeing this - my Dad asked if I wanted to go see it for my birthday. I stand by my reaction to this day. From a technical sense I'm sure it's great - effects, visuals, design, etc. I still remain of the opinion though that Williams' score, while completely functional, is an extremely uninspired effort outside of a handful of sequences. It's just so boring.