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Richard Penna

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    Richard Penna reacted to Jurassic Shark in The Official Pop and Rock Music thread   
    There's a thread for this. 
     
     
     
  2. Haha
    Richard Penna got a reaction from DarthDementous in The Doctor Who Thread.....   
    Varada Sethu joining Gibson as another companion alongside Gibson for 2025 series: https://www.bbc.co.uk/news/entertainment-arts-68802766
     
    Looks like all the rumours about Gibson being fired (or leaving for some other reason) were clickbaity rubbish. Unless it had emerged that Gibson was a nightmare to work with, there would be no sense in someone leaving a reboot so quickly. I guess it must've been the talk about a new actress that led the usual suspects to decide she was replacing Gibson.
  3. Haha
    Richard Penna got a reaction from Joni Wiljami in Stepmom (John Williams)   
    I always try to keep my comments in the positive spirit of the discussion (hence bringing up the superb Rosewood as a replacement score example that Williams nailed) but I'm not going to restrict my words just to avoid offending a few people who are convinced that no one can ever write better than JW. The forum ceases to be a place of discussion and debate if every conversation gets derailed because someone is devasted at a suggestion tarnishing Williams' abilities.
     
    This score is largely not my thing except for a few cues and The Days Between with the beautiful guitar melody. My overall prior point was that, apart from there being nothing I hear in this score that makes it overly special within Williams' ouvre, I honestly hope that the labels' attention and resources are being spent on scores that need expanding and properly presenting more than I think this score does.
  4. Like
    Richard Penna got a reaction from Yavar Moradi in Intrada announces Species.   
    The only release where that bothers me with Young is Hard Rain, gratefully corrected by LLL's release from a few years ago. Similar to Jurassic, it's not really missing anything huge, but quite a few tracks are moved out of film order for no listenability reason I can see.
     
    Otherwise, I'm a big fan of The Core, Something The Lord Made and of course Spidey 3. Hush is also very enjoyable.
  5. Like
    Richard Penna reacted to Jay in DIAGON ALLEY TRACK MOVIE vs SOUNDTRACK ALBUM   
    In 1983, the Return of the Jedi OST track "Rebel Briefing" actually contains music from the end of the movie.  The cue for the rebel briefing is not on the album.
     
    In 1988, the Accidental Tourist OST track "Wedding Scene" actually contains an alternate Main Title cue.
     
    In 1989, the Last Crusade OST track "Escape From Venice" contains the music for a boat chase that happens entirely within Venice, a place they continue to be in for a while after the chase.  The cue for when they leave Venice for Austria isn't on the album.
     
    In 1997, the Lost World OST track "Rescuing Sarah" is for the second half of the trailer sequence, after Sarah is already rescued from the glass and they are working as a whole to get out of the trailer together.  The actual cue for her being rescued from the glass isn't on the album.
     
    In 1997, the Amistad OST track "Mr. Adams Takes the Case" combines the start of the cue for Adams' introduction scene with a cue for later in the film when he's talking to Joadson in his home.  Both of these scenes take place before he's decided to take the case (he decides to take the case off-screen, there is no cue for it).
     
    In 1999, the Phantom Menace OST track "Star Wars Main Title and the Arrival At Naboo" only contains the very start of the the arrival cue, almost immediately segueing to music from later in the film to end the track.
     
    In 2002, the Attack of the Clones OST track "Star Wars Main Title and Ambush On Coruscant" only contains the very start of the ambush cue, almost immediately segueing to music from later in the film to end the track.
     
    In 2005, the War of the Worlds OST track "Confrontation with Ogilvy" combined music from the "bodies in the river" scene (which is before the group has met Ogilvy) and the "Red Planet" scene (which begins after Ogilvy is already dead).  The actual cue for Roy killing Ogilvy isn't on the album.
     
    In 2015, the Force Awakens OST track "Rey Meets BB-8" combines the "Finding The Map" cue from the very end of the movie with the "I've Found The Droid" cue from the middle of the movie.  Williams recorded 5 different cues for the scene of Rey meeting BB-8, but none of them are on the album.  (The film did track in "Finding The Map" into the scene where they met, so this is sort of an exception I guess).
  6. Like
    Richard Penna got a reaction from bollemanneke in DIAGON ALLEY TRACK MOVIE vs SOUNDTRACK ALBUM   
    Considering JKR's grip on most story related aspects and on all British cast, I'm a bit surprised she allowed the filmmakers to hire an American composer.
     
    I'm not sure making it a score and concert suite-only album would've made that much difference considering the entire score though - maybe ten minutes of material given to more score? And knowing Williams he'd have done a KotCS and chosen the most incidental and random cues.
     
    For me it's more what those smattering of children's suite pieces does to the flow of the album, and the vast stylistic difference between it and the score.
  7. Like
    Richard Penna got a reaction from oierem in DIAGON ALLEY TRACK MOVIE vs SOUNDTRACK ALBUM   
    I don't know whether I got this or LotR first, but both are textbook examples of albums missing vast amounts of music, and therefore maximum confusion for a new soundtrack fan.
     
    But AFAIK this is the only example of Williams omitting music promised by a track title.
  8. Sleepy
    Richard Penna reacted to TolkienSS in Are There Any Film Composers Working Who Can’t Read/Write Music?   
    Then why does he sound like he is?
  9. Love
    Richard Penna got a reaction from bruce marshall in Are There Any Film Composers Working Who Can’t Read/Write Music?   
    Goodall is one of the most easygoing and unpretentious composers I've ever seen and I saw this series way back whenever the BBC first showed it. He's really good at explaining musical stuff to idiots like me.
  10. Like
  11. Like
    Richard Penna reacted to Manakin Skywalker in The Phantom Menace vs. Attack of the Clones vs. Revenge of the Sith   
    You don't. The handful of folks that like "film edits" for whatever reason would inevitably be a bit disappointed, but editing together the music as-recorded is quite simple actually, and still provides a relatively good listening experience. It's the sequel scores that I'd be more concerned with.
  12. Like
    Richard Penna reacted to Mephariel in Are There Any Film Composers Working Who Can’t Read/Write Music?   
    They are great piano pieces for film. The reason "Light of the Seven" is so popular because it encapsulated the emptions of the storytelling perfectly. The build-up to a grand tragedy. Interstellar is extremely popular because the piano themes captures the mysteries of space, and discovery of science so well. I would argue that the simplicity of those pieces are what makes them powerful. Another example is Giacchino's "Exodus Wounds" in War for the Planet of the Apes. The piano writing is stupidly simple, but it cuts deep.
     
    To me, those pieces work just as well as other complex pieces in other movies. It is all about the story. This is film scoring, not concert writing. 
  13. Like
    Richard Penna reacted to Tom Guernsey in Stepmom (John Williams)   
    Guess that goes for a lot of expansions. There's obviously the improvements to sound quality where, even if the new material isn't much, you get to hear things anew with a far greater level of clarity and detail. Even if you don't get much music, it can still be quite an experience. However, with Stepmom, I can't imagine any new music would be of any great import nor is there any great scope for material sound upgrades.
  14. Like
    Richard Penna reacted to Not Mr. Big in Stepmom (John Williams)   
    Stepmom doesn't need an expansion.  OST is already perfect 
  15. Like
    Richard Penna reacted to GerateWohl in Stepmom (John Williams)   
    Independent of the amount of unpublished music there are two kinds of Williams expansions: The ones that reveal previously unpublished compositions like Star Wars, Indiana Jones or even Spacecamp, which just added 8, but particularly incredible minutes, and the other ones like Presumed Innocent or probably Stepmom, which wouldn't add any new themes but rather more of the same by slight variations or different arrangement or edits of the already published music. The second type of expansions is not very interesting musically but essential for completists.
  16. Like
    Richard Penna reacted to Tom Guernsey in How many streaming services are you subscribed to?   
    Exactly my point. I would hope there's some places where consumer and "reasonableness" laws are written in such a way that if you click to "buy" something, your "reasonable expectation" is that you have therefore bought it and if challenged in court, could potentially rule against the streaming service that they are misleading. I don't mind paying £3 to "rent" a movie to stream for a known period as it's an understood concept, but I only have one film purchased as a download and that's an I'm Sorry I Haven't a Clue stage show!
     
    Another reason why I only buy music from places where I'm very certainly downloading a digital file which is mine to keep rather than Spotify or Apple Music or whatever.
     
    I highly recommend Get iPlayer Automator if you want to download BBC stuff, works for both TV (including movies) and radio shows. 
  17. Like
    Richard Penna got a reaction from Holko in How many streaming services are you subscribed to?   
    I understand the password sharing crackdown - that's much more blatant receipt of something you haven't paid for.
     
    But things disappearing off services after a period is the killer for me. I'll always remember watching Kingdom of Heaven on some platform a few years ago and due to its length, I went to bed with about 5 minutes to go...... not realising that it was the last day they had it! I went back the next morning to watch the last 5 minutes and it either wasn't there or they wanted money.
     
    My response? I liked it so I bought the director's cut Blu-ray. The fact that that's a solution to that problem in 2024 is not good, and if the streamers and studios don't find a way of keeping movies on their services far more long term, then as you say, it goes back to piracy - the very thing streaming was addressing at one point.
     
    I like the idea of buying digital movies in place of discs, but again, the killer is you need to let me own a file of that download. I've given you money to buy it - you don't get to just remove it from me when you're bickering with the studio again. That's not my problem.
  18. Like
    Richard Penna got a reaction from Badzeee in Are There Any Film Composers Working Who Can’t Read/Write Music?   
    Thomas Newman talked in an interview once about the soloists and specialists he works with, and he had a really relaxed attitude when it comes to the musical acumen of the people he works with. Paraphrasing, he said that if someone is really good at playing <instrument> but can't read music or has difficulty in that area, he's (exact words) 'grateful to have you'.
     
    I'd imagine finding composers or players who have that magic combination of a great talent at music theory and a knack for memorable music (such as, but absolutely not exclusively, Williams) is like gold dust. The majority of creatives are likely to be one or the other - studying music theory and taking great pains to write music that's structurally inspired by the greats or writing from the heart and creating music that works for the picture, regardless of how simple it may be.
  19. Like
    Richard Penna got a reaction from Trope in How many streaming services are you subscribed to?   
    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.
  20. Like
    Richard Penna got a reaction from Tom Guernsey in How many streaming services are you subscribed to?   
    I never saw a rental disc that had the special features stripped - certainly I never saw any messages that a feature was unavailable. Add that to the list of dumb ideas studios have made in the name of wanting more money from you.
     
    This weekend I received two things - the complete Alan Partridge box, as I'm constantly watching compilations on YT and finally decided it would be easier to just own the damn thing. Also the blu-ray of Shrek as it has a certain nostalgic importance to me and it was getting oddly difficult to find even a used copy in the usual places (I've never owned it in any format), whereas other animated movies of the period don't seem to suffer similarly.
     
    Now due to streaming I've found a lot of movies from the 90s and 00s are very difficult to find on Blu-ray whereas DVD copies are littering the planet. Hence Shrek is the first case where I decided to get a copy while available, and it won't be the last. I also have an external USB DVD drive set to region 1 so that it doesn't matter if I have an American-sourced DVD (and I have several).
  21. Like
    Richard Penna got a reaction from Tom Guernsey in How many streaming services are you subscribed to?   
    Yep, I rented a heck of a lot of DVDs and Blu-rays from LoveFilm, and was very disappointed when they stopped as they had pretty much everything. Particularly as you could see all the extras and special features and generally see how good the release was, and I'm fairly sure I bought a few Blu-rays after having rented them.
     
    What's just occurred to me is why Netflix (and others) clearly have a long-term issue with licensing agreements with the studios for streaming when they could rent out films/series/etc to their heart's content as long as they had the disc. Evidently the licensing model must be very different for streaming.
  22. Haha
    Richard Penna reacted to Jurassic Shark in Stepmom (John Williams)   
    Where's the relieved smiley?
  23. Like
    Richard Penna got a reaction from OneBuckFilms in James Bond is better than everything   
    TWINE is my favourite, but partly for nostalgic reasons. It's also more balanced between the string/piano material and action which makes it an easier listen. I know TND is probably the most popular around here but for my tastes it's too loud and overbearing for the most part - I've never gotten into it.
     
    The problem for me with QoS is that I think the film is absolutely goddam awful - I sat through it once with my brother, then twice more I tried again and neither of us had a clue what was going on, what the story was, and were both thoroughly bored. Arnold absolutely did the best job anyone could have done (and I'm sure he found the film more intesting than we did) but it remains a concept album for me - 20 minutes or so of decent action music.
     
    I also unpopularly side with JNHFan2000 in that I like Newman's scores in general. The action music is a bit mixed given that (a) action is not his forte imo, and (b) some of the material at the end of Spectre is just generic fluff (considering Mendes knows how to use music well, I really question what he was thinking here) but the overall sound he gave to the scores is refreshing - his more ambient/rhythmic approach working particularly well with the early action sequences in Skyfall and the Scotland scenes later on.
  24. Like
    Richard Penna got a reaction from JNHFan2000 in James Bond is better than everything   
    TWINE is my favourite, but partly for nostalgic reasons. It's also more balanced between the string/piano material and action which makes it an easier listen. I know TND is probably the most popular around here but for my tastes it's too loud and overbearing for the most part - I've never gotten into it.
     
    The problem for me with QoS is that I think the film is absolutely goddam awful - I sat through it once with my brother, then twice more I tried again and neither of us had a clue what was going on, what the story was, and were both thoroughly bored. Arnold absolutely did the best job anyone could have done (and I'm sure he found the film more intesting than we did) but it remains a concept album for me - 20 minutes or so of decent action music.
     
    I also unpopularly side with JNHFan2000 in that I like Newman's scores in general. The action music is a bit mixed given that (a) action is not his forte imo, and (b) some of the material at the end of Spectre is just generic fluff (considering Mendes knows how to use music well, I really question what he was thinking here) but the overall sound he gave to the scores is refreshing - his more ambient/rhythmic approach working particularly well with the early action sequences in Skyfall and the Scotland scenes later on.
  25. Like
    Richard Penna reacted to JNHFan2000 in James Bond is better than everything   
    What I love so much about the Bond scores, is that each one has something to offer that the others don't. Be it a positive thing or not.
     
    Dr. No: Not really a score, but still a fun album for it's time
    From Russia With Love: Oustanding thriller score with a beautiful theme.
    Goldfinger: Some fantastic action music towards the end and Goldfinger will always be iconic.
    Thunderball: Maybe a bit chaotic at points, but the action here is quite ferocious.
    You Only Live Twice: Beautiful theme and oriental touches.
    On Her Majesty's Secret Service: Maybe the most streamlined and best constructed Barry Bond. Love the synth touches.
    Diamonds Are Forever: love all the big band and jazz in this score!
     
    Live And Let Die: Very different from Barry, but this always was one of my favourites because of the way it incorporates the song in the score.
    The Man With The Golden Gun: A more quieter score, but the two action cues are great (exept the whistle hahaha). Lovely softer moments.
    The Spy Who Loved Me: I love the disco varient of the Bond theme, but the rest of the score is very hit or miss for me. It feels like multiple scores on 1 album and doesn't always work.
    Moonraker: The Flight Into Space cue is almost enough to forgive that this film exists. That's Barry writing at his utmost grand!
    For Your Eyes Only: One of my personal favourites. Love all the disco and funk in the action moments. And the title song is beautiful.
    Octopussy: This is very basic imo. It has some really nice moments, but this felt like Barry wasn't too inspired.
    A View To A Kill: Love the added guitar in the action scenes. The instrumental statements of the title song are beautiful.
     
    The Living Daylights: Love love this one. Feels like Barry went out on a high note. Love the added drums, really feels like Bond is coming into a different era.
    Licence To Kill: I love Kamen, so I love this score. Yes, there is some downtime, but when it works, it's some of my favourite music in the series.
     
    GoldenEye: Awful. Hate it. But it's unique. Haha
    Tomorrow Never Dies: Best Arnold score. Perfection to me. White Knight alone assures it's at the top of the list 
    The World Is Not Enough: Still really love this. The electronics aren't to overbearing yet and the emotional cues are gorgeous.
    Die Another Day: I still like this, but the drum loops etc get a bit much at points.
     
    Casino Royale: Arnold back on track. Score works slightly better in the film than on album, because of the quieter cues during the poker games. Action cues here are fantastic and all have something unique and fun to offer + Vesper's theme still breaks my heart.
    Quantum Of Solace: Short and sweet. Action is extremely powerful, but the score misses a central theme to build from.
    Skyfall: There are some who don't like this, but I love it. It's Newman through and through, his action music is sublime and I'll never tire of his orchestrations.
    Spectre: Same as Skyfall. This one is a bit darker, the final action cues are powerful and the madeleine material is beautiful.
    No Time To Die: Love it. I like Zimmer and I like Bond, so this is a great mix for me personally. The cue Cuba Chase is one of the most fun action cues in the whole series.
     
    Love me or hate me, but this is just my opinion. Can't wait to see who scores the next film.
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