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Richard Penna

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Richard Penna last won the day on September 13 2015

Richard Penna had the most liked content!

About Richard Penna

  • Birthday 07/06/1985

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  1. Interesting: and: Cue raging arguments over who wrote what specific bit!
  2. In all seriousness, how do 6 composers work on a score and come up with... that? It's just half an hour of string ostinatos. I try to find the positives with Zimmer & co, but unless they basically recut the entire film with 5 minutes to go, it's hard to see where the work went.
  3. For cases where the accompanying songs are important to the story, I agree - one can make a nice album from songs and the odd bit of score where it fits. Back to the Future is the textbook example. But that's 100% conditional on the lion's share of the actual score (i.e., not 'interpretations' or re-recording) being available on a separate release. I can live with this one receiving zero marketing, or digital-only (pretty much a given now).
  4. I personally doubt that they would directly do that, mainly because their costs are going to vary so much between projects. I also fall into the camp that whatever they do, someone somewhere doesn't like it, and that $12 is going towards their next project which could turn out to be a grail.
  5. I love all of the Jurassic scores - it's one of very few franchises from which I'd buy all scores complete. (HTTYD the only other one coming to mind)
  6. As a fan of JNH's better stuff, you'd think I'd go for Cedars, but actually I go for Sand and Fog. I'd also put The Life Before Her Eyes as a sister score. I find Horner's meanderings strangely evocativein those two. Cedars I find a little depressing.
  7. Opposite opinion here - I prefer the FK score (and it's far better recorded) and I preferred the second movie too. I thought the first film was just really dumb.
  8. Don't know if anyone else here likes Dua Lipa (I'm a massive fan) but I came across this unexpected version of New Rules. I find it amazing that they don't release things like this. Original for reference:
  9. Williams waaaay overuses xylophone hits. I think they make a lot of his action not sound as menacing or serious as it could.
  10. I'd disagree too. I'm not sure my current setup even supports 3D - one of my monitors does, but I don't know about my PowerDVD version.
  11. Unlike US shows which I gather start airing long before filming is finished (more like an assembly line of episodes in the case of 24, Lost, etc) The BBC finish filming long before broadcast don't they, so the ideas and character movements are mostly set in stone long before they know the audience reaction. Hence I don't doubt for a moment that the Who showrunner must be one of the hardest jobs there is, and for that reason I fully appreciate the difficult job Chibnall had to do. We can only disagree with a lot of the creative decisions he made.
  12. You can create an effective score using a few synths (Social Network for example) but I see this thread as focusing on more orchestral based scores where unusual instruments are more conspicuous.
  13. That's really interesting, although I think he's confusing bits that the music editor cobbled together and genuine missing sequences. Although he's absolutely right in the assertion that those of us wanting the entire score are unusually aware of the music in the film. That perfectly describes my approach. Also, he talkes about 'I didn't feel like I left off anything important' and the only limit being what could fit on a CD.... the album is 53 minutes. Granted, the entire score is ~15 mins or so too long for a CD, but that's a confusing remark. I think there's defintiely an element of the composer being too close to their score at the time of writing it, to judge which bits will be most wanted on album, and certainly not being able to judge whether people will want the entire score.
  14. That's just how he talks I think - a combination of a heavy accent and speaking as fast as I do sometimes. That's the thing that occurred to me as well - working on it without consulting Doyle, although considering LLL and Intrada's good working relationship with composers, it seems unlikely to me that they would expand something as big as Potter without at least calling Doyle and asking for his input/blessing.
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