Richard Penna

I've been listening to Dark Phoenix more recently. But yes, I can now hear the ostinatos from MoS. It's got some memorability, just not very original.

That's actually not bad. Although it sounds exactly the same as Dark Phoenix.

The film and the songtrack cash cows, yes. But the score? I find it hard to believe it's got a massive appeal outside our community.

That too.

If you're going by awards, the Saturn awards are a better bet than the oscars IMO. The oscars are mostly limited to stuff the academy thinks it's fashionable to nominate whereas the Saturns include the fun popcorn stuff that everyone secretly prefers. In fact I noticed that my favourite Elfman, Sleepy Hollow won in 1999. Good call. The oscars that year are basically a list of the most respected films.

Yep, almost all of what the various composers did is out there. But in the film it's a mess, so there are some little bits here and there that still aren't available.

I think the two 'classic' action pieces from the trilogy are Khazad-dum and the Shelob material. The orchestration in the latter is crazy, although I do think the presentation is better on the OST, as it feels tighter.

A quick skim through the film suggests it's not a very long score. It's got that late 80s style of almost all the dialogue scenes being unscored, and really only a handful of sections stand out amongst the rest. The key sections for me are essentially the Vigo material and the whole final sequence. I don't connect with Bernstein's score to the first film, so I'm glad Edelman got the job. Despite his work being almost entirely (or entirely) synth, it doesn't seem to matter somehow. Wonder why this isn't being handled by a speciality label?

No, one series per book.

Potter should have been done as a TV miniseries - say 6 hours. That's enough time to allow for lots of sub-plot, and works with the episodic nature of the story.

On flicking through the film on Netflix, there's a bit of music in the end credits from somewhere in the final musem sequence, but microedited, and crossfaded with the last song.

Finally! That's awesome I'll have to get hold of the film at some point and remind myself, but there are many parts, particularly during the final scenes in the museum, which always stuck out at me.

It seemed to be a running theme for series 12 that 10 minutes at the end was perpetually reserved for a Chibnall lecture. I was very tired of it by the end.

I wondered what 'new arrangements of some of Howard’s classic, genre-defying scores' might mean. A fancy way of describing some re-recordings? It's probably too much to hope it might mean expansions.

This. Also, DVDs are catering for the mass crowd. Stuff like stunt or VFX breakdowns are 'cool', but a 30 minute interview with the composer probably isn't to the masses.