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Showing content with the highest reputation on 04/04/21 in all areas

  1. I thought it might be good to have a dedicated thread containing all the links from the available digital releases from the Varese Sarabande releases. I want to thanks @JTWfan77for some of those links and of course Varese Sarabande. Feel free to tell me if I've missed some. John Williams scores: Heartbeeps by John Williams The Cowboys (The Deluxe Edition) by John Williams Jerry Goldsmith scores: Looney Tunes: Back in Action (The Deluxe Edition) by Jerry Goldsmith Air Force One (The Deluxe Edition) by Jerry Goldsmith U.S. Marshals (The Deluxe Edition) by Jerry Goldsmith Small Soldiers (The Deluxe Edition) by Jerry Goldsmith Gremlins 2: The New Batch (25th Anniversary Edition) by Jerry Goldsmith The Omen (The Deluxe Edition) by Jerry Goldsmith Damien: Omen II (The Deluxe Edition) by Jerry Goldsmith The Final Conflict (The Deluxe Edition) by Jerry Goldsmith The Haunting (The Deluxe Edition) by Jerry Goldsmith The Burbs (The Deluxe Edition) by Jerry Goldsmith Raggedy Man (Varèse Encore) by Jerry Goldsmith James Horner scores: Aliens (The Deluxe Edition) by James Horner Where the River Runs Black (Varèse Encore) by James Horner Alan Silvestri scores: Volcano (The Deluxe Edition) by Alan Silvestri Back to the Future part. III (25th Anniversary Edition) by Alan Silvestri James Newton Howard scores: Outbreak (The Deluxe Edition) by James Newton Howard Dreamcatcher (The Deluxe Edition) by James Newton Howard John Powell scores: How to Train Your Dragon (The Deluxe Edition) by John Powell Paycheck (The Deluxe Edition) by John Powell Michael Giacchiano scores: Star Trek (The Deluxe Edition) by Michael Giacchino Star Trek: Into Darkness (The Deluxe Edition) by Michael Giacchino Star Trek: Beyond (The Deluxe Edition) by Michael Giacchino Don Davis scores: The Matrix (The Deluxe Edition) by Don Davis The Matrix (The Complete Score) by Don Davis Other composers: Knowing (The Deluxe Edition) by Marco Beltrami Wild Wild West (The Deluxe Edition) by Elmer Bernstein seaQuest (The Deluxe Edition) by John Debney Babe (The Deluxe Edition) by Nigel Westlake The Running Man (The Deluxe Edition) by Harold Faltermeyer The Stand (The Deluxe Edition) by W.G. Snuffy Walden Village of the Damned (The Deluxe Edition) by John Carpenter & Dave Davies Dolores Clairborne (The Deluxe Edition) by Danny Elfman The Goonies (25th Anniversary Edition) by Dave Grusin Joe Versus the Volcano (The Big Woo Edition) by Georges Delerue North and South by Bill Conti The Right Stuff by Bill Conti Physical Release by Varese Sarabande: Rooster Cogburn (The Deluxe Edition) by Laurence Rosenthal
    3 points
  2. It is sad to miss out on further development of most of the pre-existing themes, but boy, do I like what we got instead! It's like TLW. I would have loved to have heard a sequel score that really built off of the first one's ideas, but I can hardly be mad about the new direction he did take. Incidentally, for anyone here who enjoys the films' production design, I've been working on a 3D model that explores the changing designs of Hogwarts. Feel free to check out my blog if you're interested: https://hogwarts4d.home.blog
    3 points
  3. I don't care, I'll still buy Goldsmith's Looney Tunes in my next order.
    3 points
  4. I'm really surprised so many people like the Junkie score. NOTHING stood out to me except for how knockoff the Godzilla "theme" sounded. If he was worried about the original theme not being appropriate for the times, why did he just write a more generic version of the same thing?
    2 points
  5. If multiple series are being produced, Art Directors, Scholars etc. are needed, not just for early development, but to guide ongoing and future productions. All this change is coming as a result of the studios getting cold feet over whatever they produced in the pilot eps. Make no mistake, Amazon is going full-on Game of Thrones/ Witcher on this and will try everything in their power to make this show sell to the same audiences who wanted nudity, gore, excessive violence and grim/dark fantasy so dark it's depressing to watch and everything Lord of the Rings will be twisted and contorted to fit this mould.
    2 points
  6. WRONG! I have done some further internet research on the matter and it turns out - much to my surprise - that twenty-first century dinosaurs do indeed have fur. Must go faster!
    2 points
  7. Found what appears to be the original cue titles in the SABAM repertoire:
    2 points
  8. I really enjoyed this vintage interview where JW talks about contemporary music and his ambitions for the Boston Pops. JW comes across very professorially and I found it really interesting at the start that he admired Seiji Ozawa's performance of Maxwell Davies Symphony (I can't tell which one it is but pretty sure it is his No. 1). I have a personal connection with Sir Peter Maxwell Davies. In the 1990's, I was a student and found out he was coming to San Francisco to conduct a world premiere of a work the SFO had commissioned. I sent him an email and to my surprise, he responded inviting me to come back stage during the rehearsal and watch him work with the orchestra. I had the entire concert hall to myself. After the rehearsal, Sir Peter, looked for me and invited me backstage to his dressing room. He was so warm and inviting, I was not just a no body, I wasn't even a composition student. But he was very interested in seeing what I had done and giving me advise. That encounter had a big impact on me as a student and I never forgot his generosity and encouragement tempered with wisdom ("it's a very difficult path you're on and if you can make a living doing something else, probably better to go that route"). I found it quite interesting that JW thought so highly of him regarding the Symphony No. 1 though it's so different from JW's own style - it's a loud, hour long, atonal symphony. I thought it was interesting to hear JW talk so much about contemporary music and his ideas plus his own works in context. At 8:31, he says "Last year I wrote an overture..." what work was this?
    1 point
  9. Indeed - I think that, ironically, they made the film less absorbing and emotional by trying to do Buck's emotions entirely using CG. That and the Alaskan wilderness, or lack of it. It's a completely artificial feeling film. Had they actually gone to... somewhere (doesn't necessarily have to be Alaska), and trained a real dog (like they did with Bart the Bear in The Edge), this could've been a good movie. As it stands, I think Powell's score is just about the only good thing about it.
    1 point
  10. Maybe because I immigrated to the US in the 90s and Star Wars was never part of my childhood, but I always felt like Star Wars movies are just above average popcorn flicks and not artistic masterpieces. They are basically just Marvel films by another name. Any decent director can do Star Wars.
    1 point
  11. Saw it yesterday. Love all of the monster fights, the way they behaved, their relationship, the subtle and not so subtle movements, the variety in the action, all of that was handled great. Don't entirely get the hate for Godzilla's role in the movie, it made perfect sense to me, even if it was kind of stupid and convoluted, he at least acts and thinks like Godzilla usually does in these movies so I was fine with it. All of the human stuff sucks as per usual (besides maybe Kong: Skull Island but I haven't seen that yet). Just a bunch of Roland Emmerich-type lazy, hacked together, predictable schlock, but unlike King of the Monsters, they don't actively detract from the monster fights, and the focus is (almost) never taken away unnecessarily. The sci-fi was weird, but KOTM already established the tech was advancing quickly so I got used to it. The music was generic as hell. Never noticed it except when they played the distorted Godzilla theme, which I'm glad was there because at least Junkie didn't try to make an original, forgettable Godzilla motif to replace the original brass one, but obviously it would have been much better with Bear McCreary's full remasters of the original themes, as well as his superior writing style. Overall the movie was a solid 6/10. Great fun, not overly obnoxious or irritating, but it would have been way better if there was an overall compelling storyline and musical score.
    1 point
  12. The best bits of the score are the Carpenter-like ones, but when it tries to go all "symphonic", using that term generously, the Junk demonstrates that kind of writing is way above his league.
    1 point
  13. 1 point
  14. Saw the movie over the weekend - this is undoubtedly one of the absolute greatest film scores ever composed.
    1 point
  15. My bad, I though it was VS as it was on their website My guess is that Air Force One shouldn't take too long. I think it's their latest deluxe edition release that hasn't been released digitally yet (at least if the chronology on their website is correct but I might be wrong on that one)
    1 point
  16. FYI Rooster Cogburn is Backlot (Universal) not V/S although the physical release was of course put out by V/S. Same as with Conti's The Big Fix: Apparently Spotify will be launching a lossless service soon. https://www.theregister.com/2021/02/23/spotify_lossless_audio/ Other V/S digital releases that were previously Club physical releases:
    1 point
  17. Indeed It's nice of Varese to do this so we can buy indidividual tracks if we want.
    1 point
  18. Great thread! Did not know they have so many digital releases. You forgot Back to the future part 3
    1 point
  19. Should add: Worst picture for Patty Jenkins Worst screenplay for Patty Jenkins Worst director for Patty Jenkins Worst actress for Gal Gadot Worst actor for Chris Pine Worst supporting actor for Pedro Pascal Worst combo for Gal Gadot & Her Ridiculous Powers Worst combo for Chris Pine & His Ability to Pilot a 1984's jet Worst combo for Kristen Wiig & Her Incapacity to Walk on Heels for Ten Minutes before she can thanks to WW super power Worst combo for Pedro Pascal & His Son he don't care about
    1 point
  20. The majority of it is new material. Feels somewhat closer to stuff like Da Vinci Code. This is one of the movements: Karol
    1 point
  21. Right on, Thor! Same with photographs and films.
    1 point
  22. SOUL Strange film. It started out very strong, if reminiscent of the wonderful INSIDE OUT. Then, they throw in that tired trope about body switching! Oy vey! Thankfully, it didn't last too long before returning to its metaphysical roots. And, boy was that a emotionally satisfying ending. I was in tears. If that comment doesn't earn at least a one year ban, I don't know what does! 😝
    1 point
  23. I don't know. A lot of it still feels a little too "Hollywood doing World Music" to give it even that much credit. There are some quieter moments that are nice, but overall, still seems like a major waste of an opportunity, artistically at least. I haven't heard the symphony though. Is it better? This, on the other hand, is quite excellent.
    1 point
  24. Y'know, in all seriousness, I actually can't remember exactly what was so bad. I think I was put off by the acting, for one? But it was a long time ago. (I was going to try to write some sort of satirically misogynistic thing, but whatever I say in jest, someone on the internet will have already said worse and meant it. Maybe even over in Other Topics.)
    1 point
  25. Jay

    2021 Razzies

    1 point
  26. 1 point
  27. Shh! The Gospel of John. It is one of those miraculous scores that manages to actually successfully combine ethnic instruments and vocals with the symphony orchestra and even 18 years later not sound dated at all. Kudos to Jeff Danna for his restraint and for finding that nice sweet spot where the score is not overbearing with its post-Gladiator clichés elements but also doesn't swamp us with Golden Age melodrama. Now this is how you do it. Classy. Karol
    1 point
  28. I like to think this is the dumbest superhero movie ever made... Just watch this, at least it should make you laugh about the script
    1 point
  29. It will most certainly be the OST. Karol
    1 point
  30. I’m not an economist, but my understanding is that a dollar available today is worth more than a dollar promised tomorrow. The people who buy soundtrack expansions probably skew older than the rest of the population and for sure the people for whom Indy and OT Star Wars form a strong nostalgic connection are older than the rest of the population. And with nostalgia running huge in this generally shitty era, a smart company should recognize there is no better time than now to sell older people things that reminds them of better days—things like these expanded soundtracks. Honestly, what the fuck is keeping these scores from being expanded? Spite? Total ignorance of the content they have stored in some stupid vault in Burbank or wherever? Indifference? If it’s not that, then what better time are they waiting for? Disney, if you’re reading this, pull the damn trigger already. The stars are aligned to get the job done right, and they ain’t staying aligned forever. Charge whatever you want for these—you know we will pay it. We’ll skip our fucking rent if we need to, but we’ll pay it, and if you don’t know that, you’re more clueless than we feared. Otherwise, we’re going to have to start a Twitter campaign or something to shame you into doing this, since it’s probably the only thing you’ll respond to.
    1 point
  31. Geez, how could I not have seen that!
    1 point
  32. New (I guess) interview with legendary sound designer and film editor Ben Burtt, mostly focused on music and the differences of mixing music in the old days vs. today. He mentions JW several times. https://mediasoundhamburg.de/en/of-vaders-and-raiders Interesting stuff!
    1 point
  33. He has the Zimmer bullshitting down to a tee. That lazy hack took the Godzilla fanfare, changed a few notes, flattened the meter, and called it a day. Presumably to get back to finishing his Mount Everest sized Justice League turd. Hot flash for him: the entire score consists of a ridiculously large brass section.
    1 point
  34. You're very welcome! And thanks for answering those, I'm really looking forward to see what you have in store going forward. Good luck!
    1 point
  35. My heart skipped. Can't wait for the full album version of OOTP, and for whatever you have in store for us! Great, great work! Same here, unfortunately. They could probably only record their fully original themes (which would be really cool nonetheless!)
    1 point
  36. The score just received another award, now of the Society of Composers and Lyricists. http://moviemusicuk.us/2021/03/03/scl-award-winners-2020/ Resznor, Ross and Baptiste can celebrate: the Academy Award is already theirs.
    1 point
  37. 1 point
  38. Soul just won the Golden Globe for best score!
    1 point
  39. There, he said it quite openly, he's possibly interested. So if the showrunners don't even speak to Shore about it and just go in another direction, basically fuck this show. I'm really fearful of a Djawadi style approach with this.
    1 point
  40. Soul Instantly one of my favorite Pixar films. Loved the ethereal afterlife depicted, and Reznor/Ross’ score matched perfectly alongside the jazz pieces.
    1 point
  41. A bit, yes. As with other petimeter corrections, "google this" comments and things like "how can you NOT have noticed this?" or some such variation thereof - giving me the impression that I'm the dumbest person who ever walked the face of the earth - but I've come to ignore this kind of stuff over the years.
    1 point
  42. They wanted a white composer for the white people? Am I the only one who finds Jay's "wow" reaction to this (and other posts) to be on the rude side?
    1 point
  43. Because they wanted an authentic ghost composer to score those sections
    1 point
  44. I’m absolutely certain that mission number one for the music was to find an actual black jazz musician to write the music for the group of black jazz musicians in the film. It’s respectful and authentic and it helps Pixar avoid a certain type of social media backlash. The bigger question for me is, why didn’t they let that composer score the whole film?
    1 point
  45. I don't get that at all (i.e. Doug Adams' previous Twitter post). Those types of comparisons come from people who seem ignorant of synthwave music and the type of ambient electronica that R&R does. This score is closer to MID90s in style and tone, i.e. a more open and extrovert version of their trademark industrial, contemporary sound. Less bass, more treble, but not at all related to 80s synth music or videogame music. It's the lack of melody that makes it so appropriate in this case. All the passion and drive -- the "jazzing", as they say in the movie -- is on earth. The afterlife is not yet defined. The soul is not yet ready. So the beautiful, repetitive electronic textures create that space. Even when they use analogue stuff, it never sounds dated or alluding to previous styles, like synth/retrowave does. Btw, if you haven't heard MID90s yet - their only previous work that can be compared to this, really -- check it out on Spotify:
    1 point
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