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Richard Penna

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Everything posted by Richard Penna

  1. Very interesting that Powell seems very open to releasing things complete, as HGW (his fellow Brit in L.A.) did an interview with Daniel Schweiger recently in which he didn't seem to feel they were necessary. (specifically, he pretty much felt that the 50 mins we have of Narnia was all we needed)
  2. Ugh, seriously? There's me thinking I could buy a legit version of whatever "complete" version I have. What a monumentally wasted chance. Well, it got me to look at Filmmusicreporter and find out that Don Davis' Space Odyssey has been released, so some good news
  3. I think digital-only is absolutely the way to go for expansions of even quite big scores like Solo. Forget about the mechanical/manufacturing/delivery overheads and focus on what's actually important. Provided they're purchasable in lossless of course. For really small scores, I'm ecstatic just when I find I can buy an mp3 album; lossless is the icing on the cake. Mainstream Star Wars is different, because the market is monumental for those, and Disney woud have no trouble shifting CDs/box sets.
  4. People who expect a release to conform exactly to their listening pattern will always complain. We've gone from 'wow, a totally unexpected complete release!' to '... but he joined some tracks...'.
  5. I definitely agree with the CoS comments. Whether by choice or not, JW devoted his time more fully to CMIYC, and it feels like CoS suffered as a result with all the tracked/rearranged music. I suspect he felt that the opportunity for a jazzy period style attracted him more.
  6. I had a look in this resurrected thread as I assumed someone had revisited the score after a few years and had written some thoughts. What a nice surprise! I haven't seen the film, so the album is all I need for now, but Powell's amazing in this mode, so I'll certainly give the complete score a listen. Couldn't care less about it only being digital - I think releasing it this way makes the release way more likely to happen.
  7. I didn't find Skyfall confusing at all (and I lose plots easily) but the story does fall apart logically if you think about it for 5 minutes. It's a different beast to QoS, which is just flat out confusing. No idea what's going on in that one.
  8. He may just not want to do a project of that scale, with the amount of work it would involve. Highly doubt an Amazon production would have trouble paying an A-list composer.
  9. That was the first thing I thought when reading that.... does the author of that quote know anything about scoring? A composer even thinks music generates emotion? Wow!
  10. I loved the HTTYD 2/3 albums to bits long before seeing the films (and I haven't seen the third yet). It's got nothing to do with a lack of reconceptualisation - you just don't find the scores as interesting, therefore you think the albums should be shorter.
  11. From the YouTube suite, it definitely has the accomplished sound you get when a Hollywood composer scores a comedy. The small orchestra you can hear indicates some investment. I do rather like minimalist electronic music, but I'm not sure it's going to stretch to this score.
  12. 'As long as all the cues are included' is the key phrase. I actualy disagree with him about the 'museum piece' idea. I think that's exactly what these releases are to a large extent. Things can be rearranged a bit if it sounds better, but it should never come at the cost of leaving something off. If a cue really stands out like a sore thumb, that's what the 'additional/bonus' section is for.
  13. This is one of the freakiest scenes I've ever seen, and the way JNH uses the brass in a slowly meandering fashion is perfect, wth his repeated motif kind of indicating the panic and chaos that's going on in their minds. I also think M. Night's camerawork works well in making the viewer really unsure about what to look for, so that when 'it' happens, with the musical stinger, you're so tensed up. I first saw this alone, at night, as a teenager. Not the best idea. Aside from the completely brilliant Hand of Fate, Baby Monitor really gets me going with the chord changes and gentle strings. The whole score is like an exercise in how to take a simple motivic structure and produce a textural score that works without any big themes. Although, honourable mention must go to the aliens (?) theme, which I find such a subtle but evocative, and more 'mystery' than 'evil' theme:
  14. I'm more than happy to discuss the actual music. But it's inevitably going to include discussion of music that's not on the album, and therefore expansion possibilities.
  15. Oh, we noticed the missing music back in 2004. We're just now in a time when it feels weird for that missing music to still be unreleased.
  16. The Village is an anomaly in JNH's M. Night canon in terms of album. For all the others, he put most of the score on album without too much fiddling, but in this case he moved things all over the place and omitted some really nice cues.
  17. This is one of the scores that, when discovering back in the early 00s (during my scoring infancy) made me go 'woah' with how good it was. In terms of M. Night scores, this and The Village are his top two, and actually the only two for which I'd buy expanded versions.
  18. I received Wild Wild West from the Intl. store last week, and it was just a normal Royal Mail package, with no declarations needed. It sounds like what they're doing is shipping a bulk load to the UK to a local warehousing company, with a few extra £s on the price to contribute towards this, and taking care of customs bits themselves.
  19. Ah, no, I have to own the music. I just don't overwhelmingly care about it being in physical format now, as long as it's (preferably) lossless. I use Spotify all the time to find new stuff, or to listen to stuff i can't quite get round to buying.
  20. In what is probably a niche opinion, I tend to think that the quality of the preservation of the music (i.e. sounds good) is all that truly matters with these sets. I mean it's nice to look at the cover art once in a blue moon, but all the liners and essays (particlarly with bigger releases)... I usually skim them, then never read them again. I got the Wild Wild West set a few days ago, skimmed through the notes, and the score sounds great - that's all I care about now. I guess I'd prefer a soundtrack world in which more scores are expanded digitally, than fewer because people want elaborate boxes and presentation.
  21. Film or score? In both cases, probably yes. Unseen Tides is a highlight for me.
  22. Interesting... War Horse to me is completely summer, whereas The New World is 100% spring. You can hear the birds coming out of hibernation. Agreed on Never Let Me Go. I saw the film a few weeks ago, and there's some beautiful piano/cello work which is very evocative of autumn.
  23. Forgot about that one. Some of LotR:TTT also feels autumnal. That's definitely a winter score.
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