Richard Penna

It's absolutely possible that a movie comes along where the director wants a type of score that appeals to a lot of people, has the right material, hires a composer who has the right inspiration, and where the movie does well to an extent where it gets noticed. The score from such a collaboration could easily enter the realm of 'great' scores - despite all the generic rubbish composed these days. However, to argue that there is, or will ever be, such a thing as the 'best film score of all time', I think is idealistic rubbish, pursued by someone who wants to think that their favouri

Fun movie, fun score - bought it almost immediately after.

My interest in scores really has no correlation with how often a speciality release comes out that I want to buy. Apart from perhaps relistening to franchise scores if something related is expanded. I've been buying so much other stuff lately (not just scores) that when an expansion of interest comes along, it's more of a welcome distraction than anything else. While a lot of what is released these days is rather forgettable, I still get excited when I find there's a release for a show or movie that's even conceptually interesting to me. I said in another thread that

The Land Race and County Galway, June 1892 are my main takeaways. And yes, the former is an astounding cue.

Many of JNH's action/thriller scores - Salt, Bourne Legacy, and the last two Hunger Games scores. Slight pattern there - I didn't like any of those movies. (well, Mockingjay pt 1 was fun, but not 2) Oh yeah, this too. I've aways said that I respect Schindler's List if you see it as a serious concert work, but you're not going to find me listening to it. Far and Away has a few good parts.

The UK opened up to 45-49s today, so people in my age group (mid 30s) are anticipating that perhaps by late May/early June our time will come.

Part of me is merely curious about whether a score has a release, even if I don't like the score. I find it interesting to see what gets a release and what doesn't.

With many score releases (and general music releases) being digital-only now, I'm finding I deliberate far less over whether to buy something when I either discover a new album, or see a film and like what I hear. As long as I can listen through it on Spotify and find something engaging about it. Certainly, before I stream a film, I look into whether there's a score release and where I could potentially buy a download. In that sense, to some extent a digital OST concept album sort of becomes a collectible from the film. Filmmusicreporter.com is becoming a resource I che

We can all look forward to the Jungle Chase sequel with half of the cue edited out. It's a bit wrong that we leap to such thoughts when faced with a brand new JW score, but he brings it upon himself.

Cool news Plus they've saved whoever Mangold might have chosen, from perpetual bashing.

Isn't Sirius' theme more of a motif? I struggle a bit to see a full concert piece coming out of that.

I'd forgotten how short the OST was - I felt it was missing cool moments like the 'jump' program scene and the karate scene. And of course the infamous Ontological Shock microedit, which I can only imagine was done to keep the album under 30 mins? (makes as much microediting sense as Rescuing Sarah)

Sphere. The film is surprisingly faithful.

I do like this one - the album is wonderfully arranged. I also once checked out some of the unreleased music and found one cue (He's Crying) that I rather liked.

You're probably hearing John Frizzell's score to Primeval, a promo for which has been passed around for Shore's rejected score for years. https://www.jwfan.com/forums/index.php?/topic/14248-myth-or-fact-there-is-a-howard-shores-king-kong-bootleg-out-there