Richard Penna

I'd define water Horse as a fantasy score. Why get so hung up over the definition of an action score anyway? A person who doesn't really care how scores are classified as long as the music is good? Funnily enough, the final scenes in Water Horse I'd say are ones in which the quality of the music generally surpbunses what's actually happening on screen. A prime example of attention to detail in the music severely diluted. Not trying to say the film is bad, but you often hear a piece of music which you imagine scoring some amazing shot, and when you see the film, it's buried under dialogue or SFX. It's kind of like that. Driving to the Loch for example, evokes a huge Scottish expanse with the camera panning over. Instead, we get a conversation in a truck... see what I mean? (edit - now I understand that rubbish with the word 'bun' earlier. What the hell?)

Nice finale, I think it needed the 2 hours. Did a good job of explaining a lot of things and the final revelation was a pretty big shock. I'm a bit concerned that the whole moving the island thing was going a bit too far, even for Lost. I'm keeping the hope that they've got an absolute whopper to end this whole thing and that everything will eventually be explained.

Definitely. The last 4 cues of The Water Horse are a favourite sequence of mine at the moment - the sequence has everything. Jamesyboy has hit the nail on the head regarding his action music. I really do think there's material in some of those scores that could rival Williams' orchestrational complexity, and while his themes might not always be complex, they're damn memorable. I also think Howard is a rather good album producer. With the exception of The Village, they always have a good flow, include all of the key material, and very often include entire/comprehensive finales. King Kong and Water Horse I believe contain every bit of music in the film from the start of the respective main sequences until the credits, whilst providing good coverage of the rest of the score. Williams should take some lessons. The clip of The Happening sounds great, and the score is out tomorrow! The album also looks good and lengthy, and amazingly, we have another 8 minute credits suite - I wonder if Howard is finally seeing the light? Wonder if it'll leak a few hours early

Man, I didn't know there were so many a$$holes in the film music world. And I second the 'Wow with A.I.'. He's always been a little weird, what with talking in the third person, but I never saw that much aggression from him.

Yes, the Doctor seems to be rather freaked out by that, plus the fact that she . It's just like Moffat to come up with the idea of ghosting - a really haunting idea, and heaven knows what the little girl has got to do with all this...

He's not the only one, Badelt's theme from Poseidon rips L&L off as well. No it doesn't. You are misunderstanding RCP. They don't steal from other composers, they steal from each other. How am I misunderstanding? I'm not saying that Badelt went and listened to L&L and thought "hey, I'll nick this" (although it's possible obviously), just that the two themes contain large similarities.

So was I (or somewhere in the US anyway). Wouldn't have gotten up to Manchester, UK anyway.

Most of the time yes.

He's not the only one, Badelt's theme from Poseidon rips L&L off as well.

Mutt's theme. Endlessly hummable.

There are plenty of lines that I felt didn't work in this movie, but that line wasn't one of them - I don't see anything wrong with it.

I'm fairly happy with the film, although it has many flaws in my view. It clearly wasn't sensible to expect anything as great as the original movies, but what we got was a solid 2 hours of entertainment. I'm warming to the score a lot more, although it still doesn't quite reach the expectations I had. It's a superb Johnny score, but lacks something that would make it a true Indy score.

Gabriel Yared's 1408. I saw the film ages ago and wasn't drawn by the score, but then I heard the cue Fire on the Varese 30th and decided the album needed a visit. Also the full score to Alien, a work I've criminally neglected since it received the official release.

That has no bearing on importance. The score award is somewhere in the middle, and without a doubt it's "the most important aspect of any motion picture"

My two most recent cinema outings were Indy last Friday, and 21 on Tuesday. The latter was fun and engrossing, if sometimes a bit cliched, but with some nice performances, and what I thought was a decent story. I also thought that for a gambling movie it judged well when to explain things to the audience, and when to let us recognise little plot points ourselves. It's got some pretty scathing reviews from critics, but sod them. Plus, any movie set in Vegas gets immediate brownie points

It's a very fun cue, with a nice Indy statement at just the right place. It's true though, that it doesn't really do anything to distinguish itself, although it has some nice hints at Mutt's theme and the bit starting at 1.40 is a favourite part with the swirling strings, with that brass statement near the end that further acknowledges the setting. There's quite a bit of RotS in here too.

I love this cue. The final part with the galloping brass gave me one of those shivering *woooooww* moments when I first heard it. When I recognised the brass was starting in the cinema I was just waiting for the final part... then Burtt goes and buries it underneath his stupid SFX.

This is becoming one of my favourite cues. As previously mentioned, it doesn't have the smoothest transitions, but I happen to love the thematic quotes, and Mutt's theme is getting pushed firmer and firmer into my head. I was humming it all day at work today. Joe - we all know what you're like, but what the heck is your problem with letting someone else have their opinion without you calling them a jackass?

Sex and the what? i.e. hell no.

I forgot to post last week Very cool episode, although the CG wasp was a little on the dodgy side. And yes John, I mistook it for one of the bees we keep hearing references to. I guess there's something more to come concerning them. I'm very curious about the newest trailer airing on BBC, with , although I'm a little concerned about . I hope it won't be another RTD plot 'fix' like was at the end of the last season.

Yes, I thought it worked very well. Just a shame that probably 80% of people watching it will have no idea.

I wasn't a big fan of "damn, I thought that was closer". I might be being pedantic, but the two guys in the truck just seemed to sit there patiently for him to finish, before being summarily ejected... However: "I don't think they're here for the milkshakes." "Don't let the kid see Mum and Dad fight!"

The Mummy Returns as a movie is a pile of crap IMO. I do find its score more consistently entertaining however - more time is needed for kotCS to fully sink in.

Wow. Can we swap places for just one night odnurega1? One of these days, Williams will come over here.. one of these days.

Cutthroat Island. Like Ray, I am in dire need of getting to know some more Golden Age scores.