Richard Penna

You misspelled JPIII  

You misspelled JPIII  

You misspelled JPIII  

I believe she would have been kicked out immediately.
 
 
When you buy a blu, you're not only buying the film. You're also buying storage.

"Other composers let their music speak for themselves." Once again, this board never fails to amaze me.  
 
Just recently from Ludwig Göransson on Oppenheimer: “In the end, we recorded music that surpassed what I believed to be humanly possible." Balfe never said anything this bold. 
 
Remember Brian Tyler doing press for Those Who Wish Me Dead? In an interview for the film, Tyler talked about how he actually set fire to a cello during the score’s recording sessions, in order to provide a “unique and inspiring” sound for the movie and how it canters around the tonal idea and mortal danger of fire. This was first posted on Fimtracks and several posters immediately pointed out what a great salesman Tyler was.
 
And then there was Bear McCreary on Rings of Power: "I’ve been thinking about it my whole life. I formed an image in my mind of what I wanted those themes to feel like, and truly, when I wrote those themes, the only concern was if the visuals would live up to them."
 
Should we not mention Elfman claiming that his Batman theme was the only Batman theme? That is not pumping up his own music? 
 
  

If Zimmer is lurking here, there's far worse material for him to find than anything in this thread 
 
Although come to think of it, where's Koray when you need him to fly in and provide the defense of a composer being tweated howwibly....  I'd forgotten about the Fallout episode.

The book Torn Music has a similarly in-jokey title which no one else will understand and it's great. I think though, that if you're worrying about this book not being on every family bookshelf in the world because its title is a tad cultish, you may be worrying about the wrong things.
 
From the perspective of how things happen behind the scenes, how he got to score various films, it could be really interesting. And that would be my one wish for this publication - please let it be insightful and a look into his processes and interactions with filmmakers and not just essentially a 300-page choir-preach on how JW is the greatest composer. Torn Music is a great book and it doesn't (a) kiss anyone's ass or (b) shy away from some pretty damning personal composer/filmmaker quotes.

Great surprise use of Barely An Inconvenience!

If Zimmer is lurking here, there's far worse material for him to find than anything in this thread 
 
Although come to think of it, where's Koray when you need him to fly in and provide the defense of a composer being tweated howwibly....  I'd forgotten about the Fallout episode.

If Zimmer is lurking here, there's far worse material for him to find than anything in this thread 
 
Although come to think of it, where's Koray when you need him to fly in and provide the defense of a composer being tweated howwibly....  I'd forgotten about the Fallout episode.

If Zimmer is lurking here, there's far worse material for him to find than anything in this thread 
 
Although come to think of it, where's Koray when you need him to fly in and provide the defense of a composer being tweated howwibly....  I'd forgotten about the Fallout episode.

I would use many of his terms to describe Gladiator, a score I love, and no doubt there are some choice words to be said to describe the lack of talent or proper orchestration in that score. The bit you're sadly missing this this: I don't care because I still enjoy it. What a boring place this would be if everyone just liked one style of music.
 
But I get the sense you enjoy demonstrating your perceived superior musical knowledge by routinely shitting on the tastes of those who enjoy such scores.

If the score is as brief as it sounds (and I haven't seen it), would anyone really want Desplat to have provided a small amount of score to just fit in between the songs? I think asking the producers/supervisors themselves to fill in the gaps was the easiest way for everyone.
 
I find myself wanting to kill this obsession people have for their favourite composer to take on any and all projects and see their name in the credits, without considering whether the film is actually the sort of thing that needs their talents and musical development.

I would use many of his terms to describe Gladiator, a score I love, and no doubt there are some choice words to be said to describe the lack of talent or proper orchestration in that score. The bit you're sadly missing this this: I don't care because I still enjoy it. What a boring place this would be if everyone just liked one style of music.
 
But I get the sense you enjoy demonstrating your perceived superior musical knowledge by routinely shitting on the tastes of those who enjoy such scores.

If the score is as brief as it sounds (and I haven't seen it), would anyone really want Desplat to have provided a small amount of score to just fit in between the songs? I think asking the producers/supervisors themselves to fill in the gaps was the easiest way for everyone.
 
I find myself wanting to kill this obsession people have for their favourite composer to take on any and all projects and see their name in the credits, without considering whether the film is actually the sort of thing that needs their talents and musical development.

If it was going to get this level of inattention, they shouldn't have bothered, full stop.
 
If perhaps JW has it in some long-ago-authored contract that every score release has to be available in some form on CD, perhaps they should have asked him whether he minded this one being digital-only. All it's done is created anger, resentment and general unhappiness that has completely overshadowed the general positivity surrounding the score. It's even made everyone completely forget the complaints about the cover design!

I wonder if the songtrack will have such a mass appeal that they don't want another similarly named album out there with all that 'background stuff' that no one cares about.
 
I'd probably only be interested in such an album if the score contains any interesting variations on Dance The Night.

It's a national shame for the United States that so few copies of the OST written by John Williams, possibly the final score, were distributed. Regardless, this is what Disney may eventually achieve - becoming a national shame for the USA.

The incidental scoring is better than Skull, but Skull’s action writing is top notch. Nothing comes close to the complete Jungle Chase.

Given the limited nature I'm veering towards being surprised they bothered at all. All it's done is create frustration and anger from those who weren't able to buy it. 
 
But there's no question - it's signalling the end of even major scores being guaranteed a CD release. I understand it from a publishing perspective - all concerns about pressing plants, managing inventory, etc, are out the window.

No, it got awards because most people recognize it as a fantastic score.

For me Fallout didn't open up until I saw the film and extracted several cues from the isolated score. I think Balfe did himself a bit of a disservice with his album presentation which does a lot of microediting.
 
However, I really liked the film and it feels like Balfe responded the same as me for some scenes which were exciting, innovative and didn't attract the usual RCP fluff.

It feels like this score got awards because it had big production value and "he tried so hard".

For me Fallout didn't open up until I saw the film and extracted several cues from the isolated score. I think Balfe did himself a bit of a disservice with his album presentation which does a lot of microediting.
 
However, I really liked the film and it feels like Balfe responded the same as me for some scenes which were exciting, innovative and didn't attract the usual RCP fluff.

The day the IFMCA awarded this Score of the Year was a sad day.