Richard Penna

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.

I'd say respectfully... not really? Pretend for a moment that it was a limited edition physical run and someone at Disney forgot to add it to the listing - you could still have missed out on it.
 
I missed out on a physical copy of a single Doctor Who and Game of Thrones CD which is a tad annoying. I've moved firmly into the digital era but I'm allowed to have the odd franchise where I'm more anal than usual  
 
However, the fact that the music is available at all in a world where the public doesn't care about soundtracks, is a good thing. It's just not as collectible as it once was.

If you listen to some of his interviews he had a team at S&S helping with all the non-compositional work and it took a very high mental and physical toll on him. It almost certainly means that the 'McCreary' label on other projects at the moment leans more heavily on his team for composing, which again he made very clear on an Outlander podcast.
 
So basically there's zero evidence of him not solo composing, besides some here wanting to uncover some huge lie or unethical practice merely because they don't like his score.
 
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I still find it hard to believe Shore would have agreed or wanted to compose the entire score, given the toll it takes on a much younger, more seasoned TV composer.

Perhaps this is an indication of how little interest there is in pressing CDs of soundtracks nowadays, even for Disney.
 
If I look back at my purchases over the last year (and discounting speciality and non-score releases) I end up with just one release, or series of releases - Doctor Who, which I have on CD because Silva Screen is an independent label that still focuses a lot on CDs.
 
Even on my Spotify 'to buy' list, which has around a dozen albums, just one of those would conceivably be available on CD, and certainly not not for a reasonable price. It's not as if we're in some horrible streaming-only rental world - we can still buy CD quality files.

Having seen the movies but not read the books, my main complaint about the show has always been the shitty writing in places. All this 'canon' stuff flies over my head and I like it that way.

If you listen to some of his interviews he had a team at S&S helping with all the non-compositional work and it took a very high mental and physical toll on him. It almost certainly means that the 'McCreary' label on other projects at the moment leans more heavily on his team for composing, which again he made very clear on an Outlander podcast.
 
So basically there's zero evidence of him not solo composing, besides some here wanting to uncover some huge lie or unethical practice merely because they don't like his score.
 
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I still find it hard to believe Shore would have agreed or wanted to compose the entire score, given the toll it takes on a much younger, more seasoned TV composer.

If you listen to some of his interviews he had a team at S&S helping with all the non-compositional work and it took a very high mental and physical toll on him. It almost certainly means that the 'McCreary' label on other projects at the moment leans more heavily on his team for composing, which again he made very clear on an Outlander podcast.
 
So basically there's zero evidence of him not solo composing, besides some here wanting to uncover some huge lie or unethical practice merely because they don't like his score.
 
--- 
 
I still find it hard to believe Shore would have agreed or wanted to compose the entire score, given the toll it takes on a much younger, more seasoned TV composer.

If you listen to some of his interviews he had a team at S&S helping with all the non-compositional work and it took a very high mental and physical toll on him. It almost certainly means that the 'McCreary' label on other projects at the moment leans more heavily on his team for composing, which again he made very clear on an Outlander podcast.
 
So basically there's zero evidence of him not solo composing, besides some here wanting to uncover some huge lie or unethical practice merely because they don't like his score.
 
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I still find it hard to believe Shore would have agreed or wanted to compose the entire score, given the toll it takes on a much younger, more seasoned TV composer.