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ZackR

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Everything posted by ZackR

  1. I'll definitely be picking it up. Excited to see what else their Black Friday slate has in store!
  2. There isn't any music from Home Alone in the film that I'm aware of. The first two Santa Claus films are nostalgic for me (especially the music). I even picked up the promo score release of the second film for quite a bit not too long ago. Anyways, I am not aware of any spots where it uses Home Alone music at all. I'll keep my ears open when it's playing in the background of our constant Christmas movie Plex playlists.
  3. Oh 100%. I agree. I just meant that I would not let the fact that fan was the source stop me from using it. Of course if I had the legitimate source material, that's what I would use. I only meant that the (to me) it would be silly to not consider using material from a fan simply because it was from a fan, leak, etc. As for your second paragraph, I agree wholeheartedly. I obviously want all of JW's unreleased/unexpanded work too, but if I had to choose, I'd take proper, MM-produced versions of Star Wars, Indy, and Hook. It might not get a ton of attention (outside of a place like this) in the public consciousness, but Hook is a top-tier film score for me and a personal favorite with so much sentimental value to me. I really hope I can add a proper presentation to my library someday. And for the record, I of course have the LLL and OST. I'm not depriving myself of "good" while holding out for "perfect."
  4. I would blame them. If were the rights owner (Sony), I wouldn't care what the source was. I might be annoyed it had gotten out or been taken or whatever, but at the end of the day, the material belongs to Sony. They would obviously have every right to use it and the fact that someone might have possessed it illegally doesn't make the material itself any less valid. I wouldn't make some moralistic stand as if I'm sticking it to bootleggers/leakers by not using the material in my authorized release. Regardless, as Jay said, for whatever reason, the decision was made not to include it.. Even though we can cobble together a good experience with the sources available to us, a proper (ie, Matessino produced) version of Hook is right under Star Wars and Indy for me at this point. Hook is a Top 10 score for me from any composer. It's very special to me personally I hope it gets the presentation and preservation it deserves.
  5. There's nothing I associate with Harry Potter more than the music Williams wrote for it...including the books/films themselves. It's like Superman for me. I can't imagine the source material without the corresponding music at this point.
  6. I would LOVE a Mike Mattessino version of Hook. LOVE it.
  7. Can't wait for this. 80's-90's Elfman is terrific and Sleeping Hollow is a favorite, although I too have to be in a particular mood. When I am though, it's perfect.
  8. The FSM Thread has some details from folks who received it. Seems some tracks are duplicated and (maybe) there are a couple unreleased alternates? Maybe. I don't have the disc and have done no digging on it so I can't say.
  9. Mine arrived from Intrada today. Much faster than I was expecting. Can't wait to dig in!
  10. I have to agree on Soul. They bent (shattered) the rule for one reason and one reason only: optics (political correctness). The rules don't matter. Virtue signaling for the Academy is where it's at. Soul will make the final list of nominees. I think that's virtually guaranteed. It wouldn't surprise me at all if it won. I'm actually trying to think of a score that really knocked me out in 2020...
  11. The entire world also forgot she existed by BvS and JL.
  12. WW1984 was abysmally awful. We watched it last night and I was seriously surprised by how bad it is. I actually enjoy campiness/silliness to some degree, but this was just ridiculous. Also, the portrayal of the 80s was just a ridiculous caricature of the decade - and not even in a clever or amusing way. Nonsensical “plot.” The whole "Steve Quantum-Leaping via magical wish into some other guy's body" might be the lamest way I've ever seen a character be shamelessly resurrected. There were surprisingly subpar visual effects at times. It's also as subtle as a bulldozer. All men are ogling creeps. Got it. Also, I love how she very blatantly tries to avoid hurting people and being "above violence" almost to the point of breaking the fourth wall. After telling the one driver that "the brakes still work" after ripping out the steering wheel, I half expected her to look at the camera and say, "Just wanted to be sure you fine folks in the audience know that I am not dooming him to a fiery car crash. The brakes still work and I am a good person who does not believe in violence." The retconning of Diana Prince’s adventures in 1984 is somehow even more egregiously stupid than Captain Marvel’s MCU appearance in 1995. The audience is supposed to believe the events of this film occurred and then decades later when Batman v. Superman and Justice League take place, nobody remembers anything? I love good escapism as much as anyone but WW1984 was terrible.
  13. Thanks for those links, @TSMefford and the info @Datameister! I appreciate it!
  14. Cool, thank you. Will check that out. I've been itching to create a playlist from the LLL set (or other films) to recreate the park ambience. Thanks again!
  15. Does anyone happen to have a list of the specific Potter music that plays in the various venues/attractions at Universal in FL? We just spent some time there. I'm admittedly not an expert on the Potter music but would love to create a playlist of all the cues used in the park. Not necessarily looking for a breakdown by area, attraction, etc. (though if someone has done one, AWESOME), but just in general, I'd love to know what music plays in the parks there. This set has quickly skyrocketed to my top played since our trip! I couldn't love it any more.
  16. I ordered mine on release date and no shipping notice yet... hopefully soon!! Super excited about this release!
  17. Hook. They're both masterpieces but Hook has the edge both thematically and for me, nostalgically.
  18. Good call, King Mark. I was actually thinking of starting a similar thread for all of Williams' various concert arrangements (not limited to SW) but just hadn't gotten around to it. This will make a nice start. Thanks!
  19. This isn't directed at anyone. I'm just passionate about this subject lately... On top of what Jay said, it's likely not often feasible for LLL to print an entire run. Sure, some are likely going to sell out quickly like Jurassic Park, which hasn't had a proper release since the OST unless you count the digital expansion back in 2013 or whenever. Even a score like Superman, which is undoubtedly at the top of many fans' lists, is questionable to sell out its entire run quickly. My wife has a small business and inventory management is easily the MOST complex part of what she does. Easily. She doesn't have to deal with half the mess that the specialty labels do. They have to deal with the studios, union rules, finicky pressing plants, composers (even when not legally obligated to), etc. Even if they *could* get an entire run of 3-5,000 printed on Day 1, it would be financially insane in most circumstances. You could be a small label, spend THOUSANDS up front to produce a release and then sit on it for months or years due to factors completely out of your control. On top of that, they have to send out replacement discs because the wrong cue was included on a 4-disc set full of Star Trek music that I never would have imagined I would have ever been able to own. It's possible that a single disc replacement like that could end up eating up a release's profits. I honestly wish they could have just made the single track available for download or if not legally permitted, just said, "Hey guys, sorry about that. Honest mistake. We will throw it on the next "odds and ends" Trek disc if you're desperate for that one cue from a random Voyager episodes from 20 years ago..." or even, "Sorry all! Little error there but hope you enjoy the cue that's there in its place." But if they had done that, the message boards would have been on fire with people complaining that they paid for that cue or it was the one cue they wanted and wouldn't have bought it otherwise Oh my God! The dinosaur on JP doesn't have teeth... you get the idea. The profit margins on these sorts of releases (usually) are so razor thin, the smallest issue or delay can be the difference between profit and loss. As a lifelong lover of film/television music, I couldn't be more grateful for the labels. These folks put their hearts and souls into a passion and we are the beneficiaries of it, all the while being the most finicky, particular, unsatisfied group of customers any business could want. And that's fine. We are passionate too. Nobody is perfect, but I have to think it can be disheartening to put countless hours and thousands of dollars into a release and then hear complaints that someone can't hear the last 0.35 seconds of cello fade out like they could on a 30 year-old OST album or how the squeaky orchestra chair sound was removed and someone loved that or whatever. Sorry for the long rambling post. It isn't directed at anyone. Things are tough for a lot of people right now and these labels have brought me more wonderful music than I could ever imagine. I am fortunate that I'm still working right now and I've made it a point to try to spend a little extra lately on releases I had put off getting. If it takes a little longer for them to arrive or they arrive with a cracked case, I couldn't care less. If you would have told me 10 years ago that I would own deluxe editions of every Trek film, every bit of TOS music, TAS music, plus numerous hours of TNG and all the others, I never would have believed you. Don't even get me started on all MM's work on Williams' music. Are you kidding me? It's like having one of us having the keys to the kingdom. I truly don't think we film score fans realize how fortunate we are. I'll step off my soapbox now.
  20. If MM had the opportunity to do Hook HIS way, I'd rebuy pre-order on Day 1 without question.
  21. I actually don't think we are done with the magical/White Walker/3 Eyed Raven angle. There's only three episodes left to wrap everything up but I can't be certain that storyline is dead. Where was Bran warg-ing all that time during the battle? He obviously has some connection to the NK. There has to be more backstory. Also, I haven't been involved in this thread until now so this may have been covered, but I want some fleshing out of the NK/Bran/Stark relationship. This video touches on it - Additionally, the fact that he can ride a dragon (even though he "turned" it) becomes a little more interesting after last night and his ability to be completely unharmed by fire. I'm not saying he's got Targaryen blood in his lineage... I'm just saying it's interesting that he can ride a dragon and is immune to fire. It likely is meaningless, but with all the focus on the Walkers since literally the opening scene of the first episode, I hope we get something more. Overall, I really enjoyed last night's episode. The quality of the HBONow stream was absolute garbage. We stopped 30 minutes in and literally rewatched at like midnight and it was much better. I like that it was Arya that took him down, but like I said, I am not sure we are totally done with his story. The foreshadowing of Bran giving her the dagger in that same spot and that it is also the spot where Jon says to her, "How did you sneak up on me like that?" shows her fulfilling her destiny. Only three episodes left. We've got a lot of ground to cover. Drama/infighting between Sansa/the north and Dany, Jon and Dany needing to figure out their relationship post the revelation of his true lineage...plus Cersei. That's a lot to do in three episodes. I can't wait. This is why I still prefer watching shows like this live versus just binging. I love all the discussions, fan theories, etc. That's half the fun!
  22. Quick first reaction - Overall, I thought it worked decently well, but it wasn't cohesive. I liked the callbacks to the Captain America theme, etc. Having said that, I think half the solemn/serious/sad moments were temped with Silvestri's previous work OR he HEAVILY relied on them. I heard strong echoes of Contact, Forrest Gump, and Cast Away throughout. Saw it last night in a sold out theater with my kids, so I honestly wasn't too intensely focused on analyzing the music, but Contact and Cast Away literally yanked my right out of it a couple times.
  23. I'll just add that Mike HAS TO get his hands on Star Wars / Indy and give them releases like this.
  24. I've only skimmed through so far, but it's never sounded better. I know this score better than I know any other and I've never heard it with this much presence and clarity. It's like you're in the room with the orchestra. This may be the most impressive of Mike's work yet, although I'm admittedly biased by my love for this score. The music has a warmth to it that I never knew it was lacking before this release. Don't get me wrong, the Blue Box is a stunning release and a crown jewel of my music library. I'll try to do an A/B comparison at some point, but to my ears, it's just no contest when it comes to audio quality. This is a worthy upgrade all the way. The new Fortress track is simply beautiful as well.
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