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Richard Penna

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Everything posted by Richard Penna

  1. They were still filming in the UK as of a few weeks ago because it was in the local news that Cruise was filming at Longcross Studios near the M25 (the big motorway car park circling London) but we had a massive planned weekend closure nearby the studio and some news outlets made a thing about Cruise possibly using his helicopter to get crew there (I'm slightly skeptical of that bit of the story - choppers are small and film crews are big).
  2. That's one Middle Earth release I wouldn't have much interest in, mainly as the SEs are reasonably comprehensive for those not massively familiar with the films. It would be nice to hear the film version of the eagles scene from the first one but I can't think of a single moment from the other two scores.
  3. No doubt there's alternate material - we know of one minor one which is a track later on in the series where he recorded Halbrand's theme iirc, with two solo instruments to avoid clashing with dialogue. However, given that with a different release mentality this box could easily have been a highlights release (with maybe half of each score), the fact that it has nearly everything heard in the show is more than good enough for me.
  4. I've made some estimates before and I reckon it's around 5 minutes of proper unreleased cues or prominent sections. No doubt there is a bit more than that when considering edits to shorten tensions/sustains/etc, but in terms of music that's creatively important I don't think there's much at all.
  5. I don't find myself drawn to the complete albums that often, but there are a few set pieces and moments that are abridged or not presented properly on the OST. Plus when you like a score as much as me (and many) you want the entire thing even if it doesn't get a huge amount of playtime. I really didn't want to pay £80 for a bunch of downloaded files so while this set is 30% or so more, it feels like what we get (all the music plus the OST and the book) makes it worth it, and those who just have the downloads don't feel left out with any content exclusive to this box.
  6. If they were the same price, why wouldn't they have one basket option and just give the signed copies to the first 200? I was looking for a change in price when switching between the two while I was out yesterday and got a bit confused.
  7. I wondered this too. A nice deluxe box for collector types, then a slimmed down 8-disc clamshell sort of thing, sans OST or book, with more units.
  8. Well, only four days between "release" and the first potential ship date I'm still really happy I get a hard copy of the OST as a bonus - it's an absolute 5 star concept album. Plus a book I will actually read - what a wonderful package for the entire thing. I was musing over a purchase of the digital albums only a few weeks ago.
  9. I saw that while I was in a waiting room earlier this evening and got a tad concerned about whether this would actually sell out before I got back home. 1000 units feels low for a score for this sort of franchise - it won't just be the McCreary fans.
  10. It's worth trying for just about anything - you just don't get your hopes up if it's anything more complex than dialogue, percussion and high/low frequencies.
  11. Ah cool. I've never ordered from Mondo before, and thankfully they have a status thing based on your email and order #. I tried to register but their recaptcha thing is either broken or impossible to pass. And no waiting to hear the music in this case - quite the opposite. It'll encourage me to listen to some of the episodes more
  12. Ah, you got 'Vinyl only shipping' too - that's what made me suspicious. Actually, you got taxed and I didn't, so despite overseas shipping I paid around $1 less!
  13. I appear to have paid just $17 for shipping, but there was a $30 something option which I suspect may have been the actual int'll cost. I hope they don't notice I doubt I paid more than £10 for the OST and I've barely gotten any LE releases the last 3 years so it's worth it. The page now says it's Almost gone. Maybe this thing really has enough fans to get rid of 1000 copies in just a few hours.
  14. I'd lost all hope! What a random time to do it - could this prove to studios that they don't need to tie score releases to other dates any more? It works out around £40 or so more than downloads but it looks great with a nice book and I didn't expect a set like that to come with a hard copy of the original 2-disc set - I never got that physically so that's a nice extra thing to justify the overall cost. Man, I came sooo close to buying them all digitally, but something was keeping me back.
  15. I remembered that my first exposure to Goldsmith was actually in the very early 2000s when illusionist Hans Klok did a TV special where for whatever reason the producers could get UK TV rights to a whole load of soundtracks, and one of them made a superb use of Basic Instinct. See this clip, particularly from around 17 mins in. (and keep watching after the dramatic bit at the end, for an inspired use of a Jurassic Park cue)
  16. Yes, for music you intend to listen to, it's best for either removal of very simple elements or to make an already polluted soundscape a bit more bearable, but the more it's got to do, the more distorted the result will be. I've come across a few instances where a speciality release presents a cue with its intended mix, and these models can almost entirely remove a synth or solo element that the film removed, but those are solo or frequency distinct elements. It doesn't seem to me to be at that point (yet) where a polluted rip with effects and dialogue can be magically rescued to just isolated music.
  17. I'd see that as a somewhat non-progressive stance, but depends why you would think that. I.e. a female Bond is a change to tradition and I suspect most people don't have an issue with it being a male actor. Some other stuff in other news has just wound me up a bit with regards to general sexism - I'm not suggesting they should be rushing to cast someone non traditional. Whereas if it's the black aspect, that's more of a problem.
  18. Actually not a huge amount of action - maybe 15 mins or so in the 60 minute score - and there are no synths or textures that Goldsmith normally used - a completely organic sound. If you've never heard it before, the OST might be enough, but LLL's (sadly OOP) expansion adds some really nice material - it was a minor grail for me but thankfully it was one of the earlier modern Goldsmiths they did.
  19. Not difficult for me with Goldsmith to at least pick the finalists. It's either The Mummy or The Edge. One's complex, exotic and just damn exciting, but the other's evocative and provides such a unique atmosphere, with a lot of personal meaning.
  20. Yep, that's what I meant. I know existing ones have to meet their goal. At least this one is a reasonable representation of the number interested though.
  21. Not seeing why that needs a radical rethink. I honestly can't conceive of why anyone except plain old racists would have any problem with a minority Bond. But then I'm rather strongly on the side that I don't really see why it has to be a male character, in much the same way that The Doctor is no longer an exclusively male (nor white) character. No doubt if I said that on a Bond forum I'd be banished to Trenzalore forever because "tradition", but 007 is just a codename, right? Couldn't it be literally anyone?
  22. Perhaps they could lower their sights in terms of not bothering the re-recording cleanups they had planned and just focus on licensing, editing and mastering the existing recording. Not ideal, but if you can't raise enough, surely it's better than nothing?
  23. Isn't that pretty normal for shows that want to capitalise on a recently prominent figure? IIRC one of the Godzilla movies had a trailer heavily featuring Bryan Cranston fresh off his BB prominence, whereas I read he was in the movie for only a few minutes. Evidently the makers of MotA think Gatwa is now sufficiently well known both sides of the pond to use his as promotion.
  24. I have a very niche obsession which over a few years I shared with someone on the other side of the world (long story... one of those endless searches for stock music used in a TV show) and my co-searcher admitted to me once that he was starting to have problems a bit like this. He was so obsessed with searching endlessly that he was starting to neglect basic social activity and family interactions. My limit on this subject has more been at the level of those making detailed edits of the prequels, for example, i.e. searching for the best sources, making careful edits, and celebrating when a new source of music is found. A lot more detective work and internet research is needed for my thing, and I wrote a blog based on our findings, but I've always been very conscious of when it's time to switch off and go and do something else, like any hobby. It's partly helped by another group of obsessives looking for stuff from a different TV show (with overlapping music usage) and nowadays I just let them do the hard work Thankfully I have a personal distraction in the form of a website I run, which occasionally needs attention and has rather a lot of bodges to iron out gradually.
  25. Whittaker was fun and some of Chib's stories were good (particularly the first series) but most for me were a bit on the boring side and all that timeless child stuff went way over my head. I have no idea what was going on for most of Flux. While I love the show I don't get annoyed by (or tbh, usually notice) canonical issues or inconsistencies as long as the story and general vibe of the episode has something going for it. I lost Moffatt a bit towards the end of Smith's era a bit (series 6 is a bit rubbish, really) but I'd rather have his or RTD's attempts to be clever than Chibnall's and I really liked the four new specials.
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