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Posts posted by Richard Penna
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Now that I'm effectively paying a nearly reasonable shipping cost due to LLL's sale, it was time to get this bad boy.
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I echo Fellowship of the Ring. It's beautifully directed but also feels so real given PJ's usage of real locations where he could. The film for me has become very synonymous with the UK countryside, particularly places in Wiltshire and Somerset, and also Wales where I spent a lot of time as a kid. The FotR OST is probably my favourite thing to listen to if I'm doing a cross-country journey - I can picture people from Middle Earth wandering around, Ringwraiths stalking the countryside at night - PJ created something that for me trascended a movie and mirrored the simple pleasures of visiting beautiful rural places. My parents took us to a lot of castles and historical places as kids, so I felt pre-disposed to become attached to many locations that PJ brought to life.
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The major things I bought in the last 5 years or so are the Johnny English/Bean movies, Oceans (all four), the Conjuring universe, and the two most recent Alien movies.
I tend to want a physical disc when I really like a movie or franchise, and I got the Bean films on Blu-ray as I got a sense that it was getting difficult to find copies and an exchange store over here has some at a steadily increasing price (meaning they don't have a ton left). That same place has a lot of lower demand BDs going for £1-1.50 or so; often less, so sometimes I buy one if I just want to watch a film a second time, as it's obviously vastly cheaper than renting a stream. By that method I discovered that the Hangover trilogy was a bit meh second time round, but it cost about £2 for all three.
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It was a firm favourite for me as soon as I heard it, and a wonderful album. A quick skim through the film once suggested to me it was an overachieving score in general.
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I was nosing through the FAQs and if they raise the full $50,000, ~$5,000 of that goes to KS and card processing fees so they've actually raised the amount they will receive and just need some more backers to cover KS's cut.
Also talks about picking the right target and considering what funds they may be getting from friends/family/others so they don't have any rules about being the sole source of funding.
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I'm finding DVDs/BDs an increasingly desirable thing given many streamers' inability to keep a particular title on their service for more than 5 minutes.
I guess it's more stable with Disney as they own the rights to their own stuff, but when Netflix and Prime can't keep consistent catalogues due to licensing agreements changing all the time, I tend to start looking on the used marketplace for things. At time of writing, the Hobbit movies (for example) are on Prime, but I have low confidence they'll still be there in 6 months.
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38 minutes ago, Tom Guernsey said:
Going back to my investment fund analogy (yes, I work in investment funds, albeit at the admin end, hence using it as a frame of reference), a fund is effectively a closed system where all money raised is on the terms outlined in the prospectus for the fund. However, Kickstarter is a closed system with its own rules but presumably it doesn't prevent funding outside that system.
I'd go further - it's impossible to prevent any additional outside funding unless it were in the T&Cs that any product directly resulting from KS were not permitted to use any other source of funding. IMO that would be wrong of them to dictate, and I also don't see how they would ever know or check. Particularly if it's a company involved that decides to get public funding for a specialist product line, they're going to be using some of their own resources and costs. Hence I'd be amazed if KS somehow thought they could dictate the entire funding structure of a project.
I can picture creators who have decided they can put a bit of their own money in but need public help with the rest, so they set the project goal to XX thousands with the knowledge that if they hit the goal they can realise the project using whatever they've privately decided to invest. If the project goes over its goal - great, the creator doesn't need to put any of their own funds in.
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Interesting. I'm sure there's a good reason behind that (stopping some sort of misuse); I just can't immediately think of what it is.
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I got the e-mail way earlier this morning and I seem to get them on a regular basis.
Now if they could at some point get TLW back in stock, that would be very helpful.
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Ah, neat, thanks! It bugged me a little that I had Dragon 2 and 3 in full 3000x3000 but not the first one, plus the imminent arrival of the RoP box obviously required those 9 covers to be given proper treatment.
Wouldn't it be neat if the CD format allowed (and if it does, were more exploited) high-res album art to be included when put in a PC. Isn't that what those 'enhanced' CDs from the early 00s did, with screensavers and such?
20 hours ago, Tallguy said:So how do people handle Year on a soundtrack? I think the answer is obvious (year of the film with some exceptions) but I often get imported metadata that uses the year that the expansion is published. So Top Gun, rather than 1986 will say 2024.
I have just one case where it's a bit of a mess, and I came up with a naming that isn't tidy in itself, but does the job:
Robin Hood (BBC)
Robin Hood '10
Robin Hood: Prince Of Thieves
In all other cases, I have at most the OST and an expansion, so Score XYZ: OST for the OST, then whatever takes my fancy for the expansion. If it's Varese I usually do Score XZY: The Deluxe Edition and if it's another label, Score XZY (LLL) or Score XZY (Intrada)
I can't think of any cases where I've got more than two versions, because it's not in my collecting nature to keep multiple expansions, so for JP for example, I just have the 2016 box - not the OST, anniversary set, nor the new one. Unless a fundamentally different listening experience is offered between expanded releases, I just keep the one I like the most (usually the most recent).
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I'm definitely lacking understanding of the more techy details, but doesn't phase inversion rely on the two tracks in question being based on the same digital content? I.e. if you digitized some tape to a digital file, then created a copy of that digital file with some other element on top of the music, the music element of both would be the same because the digitised content is the same.
Whereas the same musical material heard in the film and from a tape transfer is going to result in a different digital end result, like if you recorded some tape to digital twice in a row - it will sound the same but the resulting files won't be identical, digitally.
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I meant more along the lines that in terms of content for that we don't need anything from Disney. If you really wanted an official pressed CD with all the FYC material so that it's all 'official', fine I guess. We should be aiming our sights far higher than that though.
13 hours ago, Chewy said:And an
expanded releasesession dump of Rogue One!Given that JW will ruin something with eventual expansions, and I hear talk of people wanting literally everything JW recorded, isn't a session dump actually what you want?
Problem is, what you really want is a tightly curated, MM-produced, JW-rubber stamped set in an embossed, deluxe box set, but I'd say it's almost certain such a set would omit something, particularly as JW has a tight hold over what he wants released. I don't think one product will deliver both wishes.
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There's one cue from RotS that never seems to have leaked that I'd like clean (funeral/vader reveal), but other than that I just added ~10 minutes including that bit, to the end of the OST. The opening battle track is a better listening experience for me than the full intended sequence.
Indy... it would be nice to have the full score for Crusade but most of what I want is on the Concord set. Not overly interested in the other Indys, and certainly not the other SWs.
But I know many are praying for complete/remastered sets and I hope they happen just like I pray my grails are coming. But I'll be as detached from the associated mania as bolle.
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Oh I'm in no doubt they're putting out stuff they love, but in the wider soundtrack community and for fans of more modern stuff, it feels rather niche.
If we get to June's flyer and I don't recognise any composers, then I'll start to ask what's going on
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Possibly the first time that not only have I never heard of either film in a flyer, I've not sure I've heard of either composer.
They're the sort of thing I'd normally expect to see from someone like Quartet, not LLL. I'm assuming that they've got lots of bigger titles waiting in various stages of development/approval hell.
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6 hours ago, GerateWohl said:I would even be happy just with proper expansions of the sequel scores. Even if they just contained a merge of the OSTs and the FYC albums.
Huh? You don't mean literally merging the OSTs and FYCs and pressing a disc do you? What a pointless exercise - any of us can do that.
At a minimum they should release expanded prequels - surely not too much editing or mastering needed, relative to the work involved for the OT.
- Taikomochi, Chewy, enderdrag64 and 4 others
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25 minutes ago, TheUlyssesian said:
Or maybe there was disagreement about budget and timing and Shore couldn't agree to that. Writing 8 hours of music is a HUGE undertaking. I think Shore might have demanded much more time and a bigger budget and compensation for his services. TV schedule is too pushing for a composer of Shore's stature.
That would seem to me as more than a disagreement but a fundamental issue with anyone except a seasoned, well-oiled TV composer team trying to take it on. Had Shore said he's happy to do it, but needs a year to write the score but the producers come back and say they can't give him that sort of time... that's just the nature of TV scoring and schedules, and Bear can do it because he's built up a team and workflow, but does mean that for most of his projects we're hearing music from others too.
25 minutes ago, TheUlyssesian said:Also think about it - this would have been an impossible gig for Shore. Imagine hiring John Williams to write 8 hours of new Star Wars music and tell him - you can't use a note of anything you wrote previously because we don't have the rights. That's putting him in a straight jacket.
Definitely a whole situation best avoided. I can't imagine approaching a composer who has completed several trilogies, amassed dozens of themes and told that he's not allowed to use anything that he created just because the copyright is owned by some other entity.
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I found this interesting video which I'm just about able to understand, musically.
I'm still in the camp that finds his piece a bit simple in comparison to most stuff he did in LotR, though, and if many people reacted how I did (i.e. a little bit 'meh'), does that not indicate that Shore composed a main title that drives other composers and scholars crazy, but doesn't make much impression on Joe Public? Sure, he absofuckinglutely did that with LotR (it's quite literally the reason I'm writing this now) but that doesn't mean he did the same here.
- Tom Guernsey and Chen G.
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I suspect the initial report that Shore was in talks to score the show didn't help in terms of expectation management. The moment it's suggested that he might be writing any actual score, the pitchforks were primed for when another composer is announced.
47 minutes ago, Chen G. said:I admit, something about the transition from Megan Richards singing a-cappella to a souped-up studio recording with accompaniment does feel a little saccharine to me, but the melody is very gratiating and sits very well with Shore's and Plan 9's previous contributions to the soundscapes of the Hobbits. The version by Plan 9's Janet Roddick is a very intelligent interpertation of the melody and lyrics.
I love Richards' interpretation, saccharine or not. Plenty of Shore's RotK material gets far too sugary for me when everything is wrapping up - I think they're all guilty of it.
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2 minutes ago, Chen G. said:
That was my suspicion for a while, too! But I've since been told on good authority that Shore only previewed the piece we hear.
That's just bizarre. Could it therefore be as simple as Shore (and co) didn't like what Bear composed, as in they were as annoyed at some are here about the compositional differences?
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28 minutes ago, Chen G. said:
For a while there, I had a suspicion that there had been something unsavoury happening behind the scenes, but I'm no longer inclined to think so, and at any rate this is the McCreary thread so I'm not going to rain on people's parade with explaining what might or might not have happened with another composer...
I'm not at all averse to discussing what might have happened as long as it resolves around attributable quotes or news, rather than one of the several fanboys we have around who just couldn't handle Shore not doing it, and were searching for the smallest bit of evidence of the showrunners having betrayed Shore and hoping for some weird comeuppance. (some very amusing cognitive bias going on with one or two people, given they were at the same time arguing that soundbites praising the score were in no way to be taken seriously)
My personal suspicion is that perhaps Shore offered to do some more themes and maybe even write some of the score, but that the showrunners didn't like his demos. I just can't think of another reason why him and Doug Adams would be clearly so agitated by the situation.
I think it might've been better to just ask Bear to do the main titles and avoid this sort of comparison from the beginning. Non music people like me respect the compositional differences but don't understand them enough to know why so many are annoyed.
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2 hours ago, Tom Guernsey said:
It might help if I watched these shows, although I have to admit that I can still only remember the main theme from Da Vinci's Demons which I'm watching at the moment. The Rings of Power themes are generally a considerable step up. Human Target is great fun for sure. I know he cares about writing decent thematic material for the shows and movies he scores, and I have almost all of theme, but I'm not going round humming his stuff like I am Jerry or JW or John Williams...
I find Bear's themes and scores in general a bit mixed and my current fandom of him is driven almost entirely by RoP and Outlander, with a little bit of TWD (although the album situation for that series is pretty much unacceptable). The theme from Da Vinci is really good though, and a handful of other tracks from that album were interesting. Most of his film work and horror material doesn't do a lot for me really.
2 hours ago, Chen G. said:Hey, look at it this way: off of this release, we got more Howard Shore and Plan 9 pieces in physical media!
I'm probably never going to understand the love for Shore's main title piece
It's a nice piece but just for my personal tastes it's overshadowed completely by Bear's themes and work overall. I probably wouldn't even have been that personally bothered if Shore had declined to allow it on the release (due to whatever crap went on that he doesn't want to talk about).
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4 hours ago, Holko said:
The liner notes should be included digitally for every digital release on every platform, why the fuck is that not a common basic given thing
Oh, agree completely. I mentioned them more as I was trying to highlight some specific appeal of having this specific release on CD, aside from obvious collector desires.
9 hours ago, crumbs said:Geez I'm glad my order shipped yesterday! Just in time.
Still gotta say, I find it a little baffling they licensed 1000 less units of the third score. A stack of people who ordered the previous 2 expansions are going to miss out.
Particularly as it's not like their US warehouse has a ton of the first two sitting unsold and they decided to reduce the pressing volume.
Not entirely indicative but discogs has between 40-50 people currently wanting the first and second, and the lowest price is around £60. If they did more in the US store, no doubt they'd sell.
The Official La-La Land Records Thread
in General Discussion
Posted
Indeed. Note I said film takes, not edits. The butchering in the film varies from creative to downright unlistenable as music, but you want to at least have the compositions and takes that the editors started with before all hell broke loose.
I replicated two tracked moments in my set because I love how they work in their respective scenes, much like how a handful of tracked moments in Potter 1 work really well.