Skelly

I wonder if they'll try to price it at the cost of two movies as well.

It can be sometimes. I remember a couple years ago Tom Holkenberg was reportedly brought on to Batman v. Superman to primarily help out with the Batman theme, since Zimmer was worried about repeating himself. Yet recently I've heard (rumors) that it was Zimmer himself who worked on the Batman theme for that film. So it can be hard to pin down just who did what without going to the composer himself and asking. Zimmer's buddies at RCP may not be ghost-writers in the traditional sense but the group isn't always 100% transparent about who did what. In the end it doesn't really matter though - it's a very detailed thing to care about.

People have been ghostwriting for Zimmer for decades. Even as far back as 1990 Shirley Walker wrote a score credited to Zimmer. That was due to a legal dilemma, but even today figuring out who wrote what in almost any given RCP score, Zimmer or not, is a Herculean task.

I'm not expecting flutes to fly up in the surrounds alone or anything like that, I was just not expecting the mix to sound so matrixed. But maybe I should shut my big mouth now, since I don't even know what it sounds like when played back properly.

Yep! I'm just basing what I'm saying off of listening to the channels separately. Make of that what you will... All I'm saying is that I could run the stereo audio through some cheap Chinese program and probably get the same result as what's on those DVD-As.

I don't have a surround system so I couldn't speak to the effectiveness of one vs. the other. But I still wonder if it's less of a stylistic choice, in the case of LotR, and more of a rush job. I wish I still had the files so I could listen from that perspective.

Then why is the score more "split", so to speak, in the actual film's surround audio? It wasn't just the instruments... in the DVD-A tracks where Gandalf or Bilbo were humming, for instance, there was bleeding into the fronts and rears. It sounded less deliberately placed and more accidental/unavoidable.

When designing a 5.1 track, sound mixers are very conscientious in saying, "this sound goes in the center channel... this one goes in the right-front... this one will pan from the fronts to the rears..." etc. That didn't happen, apparently, with the LotR CR DVDs. It's like they took the stereo track and "blew it up" to 5.1. If I remember correctly an exception was the Hobbit party Plan 9 track, but the Shore tracks didn't have much separation in the sound elements.

I obtained some DVD 5.1 tracks for Fellowship through... er, questionable means, and nothing is discrete.

I hear he ghost-writes for Zimmer.

Those DVDs aren't anything special anyway. They're essentially upmixed from the stereo.

No. The standard sample rate for DVD and BD is 48kHZ, and there's little reason for that to ever change.

Neither did Kirk, but look at what happened then!

Thanks for the research. Could Desplat have written something without having spotted the full film? But that seems like something an up-and-coming composer would feel obligated to do to gain credibility, and not something I'd imagine Desplat would feel compelled to do. But what do I know?

Apparently Desplat hadn't even spotted the film yet! That's not a solid source, of course, but I have no reason to think someone would be lying on FSM of all places.

Yeah, at this point it looks like that's all it's going to be.

It's something news outlets and others have been postulating since it was revealed that Miller had a black-and-white version ready to go. Some people think it'll be like an old silent film, with dialogue cards and the like, with the score only as an audio track.

I still haven't seen a valid source on whether this "Black & Chrome" edition will have an isolated score.

I thought the food packet thing Rey had at the beginning of the film was a cool practical effect.

If they teased a Williams release this year, I'm wondering if one of the Potter films is going to be it. He mentioned it "being close enough to taste" in Dec. of 2013.

I hope a performance ends up being scheduled somewhere near where I live. I'd love to see at least one of the Williams films L2P.

I didn't catch that - very funny!

Pope spoke very briefly about Potter in this interview:

A lot of the slates are very incorrect. I don't know what sessions you were looking at! The real slates, as confirmed by Badelt's website and SoundCloud: 1m1 Story of TMNT 1m2 3000 Years Ago 1m3 Ghost of the Jungle 1m4 Finding Leo 1m5 Donatello 1m6 Nightwatcher 1m7 Your Brothers Need You 2m9A These Guns 2m9 Those Glory Days 2m10 Enter Winters Corp 2m11 Winters Delivery 2m12 Enter The Foot Clan 2m13 Sidekick 2m14 Arise Brothers 2m15 Leo Returns 2m17AA I-Beam Fight Pt. 1 2m18AB I-Beam Fight Pt. 2 2m17B I-Beam Fight Pt. 3 3m18 Karai Complains 3m19 Splinter Briefing 3m20 Gathering Monsters 3m21 Watching Foot 3m22 Witnesses 3m23 Raph Wounded 3m24 Legend of Yauto 3m25 Raph Quits 3m26 13th Monster 3m27 Deli Monster 3m28 Deli Help 4m29 Nightwatcher Chase 4m30 Raph Fights Leo 4m31 Leo Taken 4m32 They Took Him 4m33 Leo's Prison 4m35 Stars Align 4m37 Freeing Leo 4m39-39 Winters Feud [both his website and SC list the slate as 39-39; I think this is a typo and should be 38-89] 4m40 Stones Fight 5m43 Final Monster 5m44 We Did It 5m45 Winters End 5m46 Masks 5m47 Love Being A Turtle BONUS! Here are a few cues from Marco Beltrami's rejected score (via the sheets). Apparently what he had in mind was too dark for the film... 1m2 Winter's Portal 3m7a Jaw Flappin' 5m1a Woman Driver

They're very different from the television series... a lot more whimsical. They're less focused on medical mysteries and more on weird goings-on. I was fortunate to watch them on Netflix back when they were on their streaming platform.