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Richard Penna

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Everything posted by Richard Penna

  1. Yeah, a surprisingly normal tracklist for Zimmer. Given his past albums though, I'd be surprised if we were getting much more than an hour of score though, similar to Gladiator.
  2. Aren't the sessions only a tad complex for the final few sequences? The rest of it looks fairly straightforward to me, with the album just re-ordering/editing/joining cues.
  3. Bryon mentioned that that's one they want to do. I absolutely love this score to bits, and can't wait for it to eventually get the Deluxe treatment - I get excited every time they announce another batch, that it might be Dante's time. Not many more Varese 30-minuters that I'm after - Sphere is the other one that comes to mind. The main highlight that didn't make the OST, and is strangely missing from the 'foot warmer', is the first cue when the volcano starts erupting. (the bit after that, when they drive through traffic, and through the river, is on the boot)
  4. We're not talking about whether they get paid or not, just what sort of credit they get.
  5. More experience I guess? The studios definitely want Zimmer's name. I'd speculate they probably don't mind who actually composes it if Zimmer is supervising everything.
  6. I can see why you were banned from FSM. You post like an angry teenager.
  7. Zimmer's normalised the idea that you can get 6 composers to help you on a score, and still be the only one who gets cover credit.
  8. Without getting back into this debate again - yep. If a cover says 'Music by ABC', and 'ABC' hasn't scored the vast majority of the score, then the credit is innaccurate. And before the RPC Defenders come piling in, that should apply to any composer. If it turned out that Batu Sener had composed 60% of CotW, I'd be unimpressed with Powell.
  9. I love the WWW theme to bits - so catchy. I'm fairly sure I had reservations about the rocky parts when I first heard the score, but they're ok now. I'm not sure they work that well during the final fight sequence, but I think it works in the main title. It's a very flawed film, and despite what the liners say about the racial elements of the script (apparently put there in response to Smith pondering about being cast in a western), I think they have a more distracting effect, and I think they should have just ignored Smith's race, and focused on the popcorn element.
  10. Rules are different now - a FYC has to contain film takes. Hence if an OST contains any alternate sections, they have to replace them for the FYC. The War Horse FYC for example, is full of film versions of cues - it was a revelation at the time.
  11. I've listened through several times and I love it - completely opens up the score over the original release. I particularly like the spider-related material in Spider Canyon/Coincidence and the complete finale - I'd never have guessed that Peter Bernstein wrote a lot of that. Other highlights for me are Washington and Avante/Air Gordon. Source music is also really nice - I remembered Polka as soon as I heard the website sample.
  12. There was a quote from Elfman at the time of the box, pointed out by Clemmenson at Filmtracks: https://www.filmtracks.com/titles/sleepy_hollow.html Not only is the 'film version' of the main titles/village sequence not the film version (I know that scene very well), but there's still plenty unreleased. I have no idea what Elfman is talking about. This score was my first soundtrack CD, so I'll be very happy if it ever gets a properly complete release. I should clarify that I think the final sections of the score (from the Church Battle onwards) are
  13. Not even close. Even a sessions leak a few years ago didn't include everything, plus there are about a million alternates.
  14. I used to have more film edits, particularly for the first score, but I eventually settled only on the tracked Halloween and First Night cues. I've kept CoS and Azkaban pretty much exactly as they are. I did switch out the alternate Aunt Marge's Waltz to get the stinger, and I prefer the alternate opening.
  15. Hey, releases are good - it just seems like it's becoming harder to deliver the 'big' releases, particularly after JP and Potter, and we shouldn't be disappointed if they don't happen this year.
  16. Probably not a case of 'hating' the score, but Varese controls a lot of scores with likely much more unreleased music than Presumed. It's the same sort of debate as when we were discussing whether Varese was using their resources effectively by doing scores that other labels could do. To be frank, the hype surrounding SPR was ridiculous, with almost all of the release being identical, with a few minutes' unreleased. It's nice for fans that it happened, but other scores need attention more.
  17. Meh, I just bought two LEs in a row, Enola Holmes, and got some non-sountrack albums this week. I'm in no hurry for another big title.
  18. At least doing it this way gives Enola a choice between solving her own personal mystery, and helping someone else. That seemed to me one of the primary quandries she faced. Score-wise, I read Broxton's review mentioned above, and agree with it - bought the CD earlier.
  19. Yes, the 'mother' plot did disappear, and then suddenly reappear, a bit awkwardly. But there were lots of little comedic moments in the script I laughed at, such as the 'sharks' bit on the carriage, and 'you don't know needlework?' line.
  20. I didn't get a sense of any of those issues. Possibly a slight lull in the middle where they're heading to Basilwether Hall, but it soon picked up after that.
  21. Pretty much this, and I look forward to any sequels. It's just a fun couple of hours. Better to watch it yourself, and form a first hand opinion, surely.
  22. Having seen and enjoyed it, I think you're overanalysing something that just isn't there. Aside from a female lead (which is the entire point behind the book on which it's based), there's nothing PC or overly concerned about minority representation. Seems to me that Netflix saw that the recent Sherlock films/series have been successful, and decided to adapt something else from that world.
  23. I watched the film last night and really enjoyed it. I stopped it a couple of times to locate the track I was hearing. Right after watching I went to listen to the OST properly and I liked it. The album is a tad overlong, with a handful of midsection tracks that probably don't need to be there, but other than that I think Pemberton did a great job. The 'mystery' theme is very memorable, and while I don't find Enola's theme quite as good, it's still used very well throughout the score. Annoyingly it's not on 7digital (my usual digital purveyor) so I'm quite likely to buy the CD.
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