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Richard Penna

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Everything posted by Richard Penna

  1. 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.
  2. '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.
  3. 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
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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
  11. Film or score? In both cases, probably yes. Unseen Tides is a highlight for me.
  12. 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.
  13. Forgot about that one. Some of LotR:TTT also feels autumnal. That's definitely a winter score.
  14. "Most Politically Correct Film" has been the case for years.
  15. It's a nice idea in principle, but I think in practice all it does is push to nuclear levels the virtue signalling that goes on in the oscars, with the main winners preaching about something or other.
  16. Can't even remember which season I stopped watching this, but it's been years. Pretty much the only TWD news that would interest me these days would be a release of more music from season 1, but that ship has likely sailed.
  17. I listened to the opening few tracks; the main theme is pretty and functional. Not much more to say than that really.
  18. Cool, thanks for the info. I just had a dispatch e-mail 20 mins ago, so I should receive it tomorrow. I was really hoping that this was an arrangement where either Distro were doing the pressing themselves, or Varese shipped over a certain number of units in advance so that Distro were in a better position to dispatch them sooner. Given that we're paying £2.00 or so over the exchange rate, I guess that contributes towards a mass shipment to the UK, then £2 or so more for UK postage. We'd normally pay at least £10 for shipping, so while we still have to put up with the w
  19. Has anyone ordered this from the international store, and more importantly, received it? I haven't heard a sqwawk from Varese since ordering (8 days ago) and just got back from a trip and no sign of it. I'd hoped this era of long waits for speciality releases was over, but apparently not
  20. Nothing inherently wrong with combining cues, especially if they're heard that way in the film. But crossfading in our context usually means joining two cues that don't go together in the film, and that often doesn't work. I've got a couple of expansions where crossfading was done between unrelated scenes, and it doesn't work, because you don't get to properly exit the tone and emotion of the first cue. I reckon that if you're buying an expansion, you're sacrificing some ability to ask for it to be presented with proper flow like an OST would have. I'd suggest that more
  21. I loved it as a 13 year old kid. I still think it's harmless fun it you completely turn off your brain.
  22. But that's not what C&C means - it's not trying to present all 5 takes of one particular cue, like you'd find in a set of recording sessions. It's the final film version of each cue that appeared in the film, usually in the order they appeared. There are some concept albums that Iove to bits - ironically, Thin Red Line, which you reckoned worked well as 2-CDs, I think works fantastically well as the concept album Zimmer made. I have virtually no interest in any more material. But there are other scores where I absolutely want every single cue, even when they're only
  23. Cover art looks fine to me - I don't understand what the problem is; it's the same image used by the original album. I actually like the shorter tracks, and join them myself where I feel it helps. Doing it this way at least avoids the common complaints about crossfading, re-orderings, and so on. If the Varese guys had done those things, they'd be facing a different set of complaints. One other thing - the song by Will Smith is absolutely fricking godawful. Bernstein's main theme on the other hand, is one of my long-time favourites.
  24. I saw the film back in the day, and while it's pretty corny and has some unnecessary elements in the screenplay, it's a bit of fun, and had some good musical moments. After a quick skim on Prime, I went ahead and ordered.
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