Jump to content

Richard Penna

  • Posts

  • Joined

  • Last visited

  • Days Won


Richard Penna last won the day on October 23 2022

Richard Penna had the most liked content!

About Richard Penna

  • Birthday 07/06/1985


  • Title (custom text underneath your username)
    Dance the night
  • Location
    Surrey, UK

Recent Profile Visitors

25,083 profile views
  1. In all honesty they should've stopped after the first one because in terms of solid, original story ideas, none of the sequels have any. It's just more of the same... running away from various dinosaurs. TLW is a mess, far too talkative and with the ridiculous San Diego sequence. JP/// is better in my view, but still is basically just more people running from some flying dinosaurs. The first two World movies just added a glossy look and packed full of A-listers with a silly plot, and I've still never seen Dominion. Musically though what a goldmine. Williams' classic first two, Davis' first foray into adapting themes with some excellent action set pieces, and three varied Gia scores. Dominion is the only score of the six where I've heard some of the unreleased music that don't feel it's very essential. Hence why I don't get annoyed at more Jurassic movies. People who still like them will watch them and there it at least the potential for a good score.
  2. There are hints of the problematic parts in other modern (as in early 00s) Williams scores - MR, WotW but those are relatively small parts in scores that have much more variety for me. A.I. seems to have a lot more of that introspective character material. The For Always theme is a lovely melody, but its deluxe song treatment distracts me from its usage in the score and its long form statements feel less score-like as a result. It's a disappointing and annoying side effect of someone at WB deciding that the album needed to drop some score from an already short-ish album to fit on some more commercially appealing material. But for who who love this score, and there are many here - enjoy!
  3. A semi-reboot two years after Dominion came out does not point to a franchise where ideas are flowing well or consistently. But if it made a ton at the BO then they're just gonna keep pumping them out. But I look forward to a new Jurassic project for musical reasons. We're long past the point of a sacred franchise being ruined and angering fanboys.
  4. I saw the film way back in the early 00s and wasn't really taken by it tbh, so probably explains why the score doesn't do a whole lot for me. Certainly I can believe that there's an artificial feel to the music, given the story, but something about it has never clicked with me. Williams' version of Horner's extended melodramatic passages (such as Cybertronics) tend to tire very quickly for me.
  5. I wonder whether this points to something in their shipping software that doesn't make it easy, or maybe it would cause them faff if lots of people asked to do this. But as int'l shipping is so damn expensive, it's a large inconvenience. As for this release, I reflect back on when the faulty pressing was discovered, and considering the bonus disc already has a significant variety of extra material, the extra couple of tracks were never going to affect the listening experience as much as Williams probably thought it would. I think of the amount of time and money that could've been saved by Williams just okaying the reissue to have a slightly revised program. I never got this anyway, as I find it a very cold score somehow, and only two tracks from the OST really made a long-lasting impression on me (The Mecha World, Abandoned In The Woods). I also find myself oddly attracted to the Biker Hounds and Helicopter music.
  6. I was quite excited when it was first announced, as the first album feels curated, as in not having lots of short cues. However, it looks on reflection like the entire score as recorded is already a perfectly good listening experience - perhaps the shorter cues Horner left off could have gone in an 'extras' section. Species is more how I'd imagined this but I don't like that score as much. Maybe pick it up one day but not a priority for the moment.
  7. I was never going to see it in the first place, but that trailer hasn't made me want to see it more. Just a load of teenagers running around with some aliens on the loose. Hopefully Wallfisch's score will have something interesting and not just banging and crashing.
  8. I do enjoy the audio approach and I love Mike's tech talk and chatting generally about this process. The slight problem for me is that quite often with these scores I'm not overly interested in a deep analysis of the film. Hence with these podcasts, if I'm not very interested in the film (this, Sound of Music, Hook), then I tend to fast forward to the bit where Mike starts describing the music restoration and all that stuff. I actually appreciated that the Hook episode was split in two so I could listen attentively and excitedly to Mike's tech/creative talk, and not the other one that went on about the musical/film stuff. Hence in those cases, with the greatest of respect to the producers of this podcast... sometimes just answering someone's question feels to me an easier way. I subscribe to half a dozen podcasts on and off (not including this one) and rarely seem to find the right mental space to catch up on them.
  9. Does anyone work directly for Intrada except Roger and Jeff? I got the sense that anything techy/creative that Doug didn't do was contracted to someone else. And yes, if Disney is looking only at profit, there's no way they'll bother. Hopefully they either continue well beyond next year or perhaps Roger could work with LLL? Doesn't seem unreasonable to me to consider smaller mergers.
  10. Missed this due to being away. I hadn't realised the historical impact he has had on music releasing and producing. May he rest in peace.
  11. I'm still none the wiser as to what dramatic purpose Alfrid served, other than further complicating an already embellished story.
  12. Oh man, that's months for Ridley to remove half of it and hack the rest to pieces, and given HGW is very curative with his albums, I'll bet there will be an absolute ton of unreleased music.
  13. The top articles that come up in google on searching for "gladiator 2 soundtrack" are about the music choice. I thought those tracks worked horrendously - where are the days of the composer writing a custom cue? Does that Guardian writer know nothing about film scoring? (rhetorical question... she clearly does not) Thinking the music is from the score, and that it's by Zimmer. Oh dear. It looks like a Roman version of KoH, with a flooded coliseum looking like one of the smaller scale battles. Given it's out in November, I'd hope HGW is deep in writing, giving him months to work on it. And hey, what better time for an expansion of the first score to commemerate it!
  14. I got a bit lost as to what was going on, but being vastly less invested in the Hobbit vs LotR, its delays/shelving weren't bothering me as much. Does anyone actually have an informed consensus on what the issue is?
  15. I thought that initially, but I found that the 'noodling' was more restrained to some of the tension moments. Some of the more dramatic moments may not be to people's tastes, as they use some textures and percussion, but I like them. Overall I'd say it's an impressive effort for Debney - some of the better material I've heard from him - but it's not going to go down as a classic western like JNH's efforts for Costner. I half agree with Broxton - there's plenty to like in terms of themes (there are quite a few of them) and grand orchestral moments - it's mainly hampered by an overlong album. I think a 70-minute or so presentation was right for this score. The montage at the end is frustrating - the first half is right out of Zimmer's school of composing, but the second half launches into a really cool rendition of a theme that's actually barely used in the rest of the score.
  • Create New...

Important Information

By using this site, you agree to our Guidelines.