Skelly

Mark Thomas's scores to the two Doc Martin films. The films have long since been overshadowed by the television series (scored by Colin Towns). http://coolmusicltd.com/wp-content/uploads/MT-TV-CUE-05-DOC-MARTIN-TRK-01.mp3 As for Spidey 3, I've never really looked at the score... I know film mixes of certain cues are markedly different from what you can find on bootlegs, but are there any substantial differences?

I must have played hooky on the day we talked about Moses's adventures as told through music...

Just finished listening to Mark Russell's television score to Kingdom. For some reason they didn't hesitate to include the main theme no less than FOUR times in the forty-minute compilation! But it's so beautiful I don't even mind.

The Hobbit is by its nature more light-hearted and whimsical than the Lord of the Rings books. I wonder if Jackson had a misguided intention of retaining that difference in tone by adding in wacky stuff, like the examples you mentioned, plus such sublime moments as the Goblin King making a quip about his own death and Kili saying "I could have anything down my trousers!"

Anyone who is curious about that can PM me... Alas, Soule's scores received very poor releases, with cues selected at random and with cue titles "straight from the spreadsheet", as Soule put it (yes, he was disappointed in them as well!) They may even rival Williams's scores in terms of sounding "magical"!

Although Jeremy Soule gave the scores for the Harry Potter video games their own identity (as opposed to copying Williams's style), there was one (unused) cue in the first game that sounds strikingly similar to Hedwig's Theme.

Agreed... even Alfrid deserved a more dignified death. Good grief.

I guess Elfman was otherwise occupied when Burton was making Miss Peregrine? I've enjoyed Margeson's past work (The Winter Soldier and Eddie the Eagle). I might check out what he did for this film.

I'm glad to see I'm not the only one who appreciates a fine "posing pouch"! It's hard to say. I like it when the film allows the audience infer certain elements to a reasonable degree; not everything has to be spelled out for them. But at the same time some people just aren't clever or engaged enough, and they're left confused ("did I miss something?"). I don't blame Jackson for the extended prologue sequence but I don't love it either. I think that goes for all those LotR "easter eggs". They sound fun on paper, but are clumsy in the real world. It got pretty ridiculous when the watchtower Azog used was the same one in FotR, or in the second film when Gandalf and Thorin meet at the Prancing Pony, or when Gimli was referenced. It all makes me wonder if Jackson envisioned this as, in terms of viewing order, a prequel or a sequel to LotR. The connections between the two trilogies aren't exactly organic. Maybe they were WB-mandated.

Williams incorporates a bit of dry humor in the "Dursleys vs. Owls" montage in the first Potter film, as Harry peeks out to see Vernon drilling the mailslot shut. He used some pizzicatos that were directed to play "non-espr [expressive]”; they're not making comment either way, so the humor of Vernon's silliness is more inferred than apparent. In the extended edition for the second film, which contained a longer cut of the Dobby/cake scene, Williams used the same figure, albeit at a slower tempo.

A ten-minute prologue wasn't necessary, especially since the important bits were, or could have been, related by Thorin at Bag-End. There was absolutely no reason for Frodo to show up either (but it was a nice easter egg/cameo). It was just another way PJ tried to play off the success of LotR films by mimicking its formula. The gang should have been out of the Shire by at most the 25-minute mark.

Well I clearly know nothing about the history of this score!

I might be in the minority but I prefer to listen to the score as it was recorded for the film. I don't know if Bernstein presided over the re-recordings at all, though. I can't say the last three discs interest me at all...

Some video game that was advertised for many years before release, and turned out to be garbage.

I can understand preserving a previous program on your re-release, but three? A bit much...

Everyone working on the film was so constantly exhausted by the ridiculous deadline that I wouldn't be surprised if Shore would've felt guilty if he complained.

Only one track is out of chronological order. I guess it's funny that FunnyML typed out all the tracks when he could have said "track 10 goes before track 13"?

I don't know how I messed that up! Thanks for the correction.

I think that comment is being taken far too literally. I don't think Steve is giving up being Captain America, I think he's giving up being the symbol of patriotism that he's often associated with. The last two Cap films have shown how at odds he is with the modern world, and now he no longer feels obligated to be a symbol for a world he no longer has confidence in or respect for. I haven't seen the film since May, but didn't Cap explicitly say to Tony that he and his rogue Avengers would always be on call? How would that make sense if Steve no longer was Cap?

In this case, it seems like bollemanneke just wants to do a quick transcode from 5.1 to stereo... so I see no harm in using the DVD audio for such a task (things are different in this instance, though, since apparently the DVD's sound wasn't mastered properly). If you're doing real audio editing, you're right; the highest available quality should be used.

It's largely placebo. You can't tell the difference between 448k DVD audio and LPCM Blu audio, unless you have Jedi hearing.

Watching Stephen Fry eat testicles was pretty unsavory. And, it's far from being the worst scene, but that bit where Bard careens down some stairs on a wagon to save someone (his kids, I think?) is just so goofy. Even the Legolas fight with Bolg was more believable.

Indeed. You could quietly replace a lot of Hooper's music and no one would notice.

In general Hooper's work was boring, but they weren't terrible. There are a few very good cues in HP6 that stand out when looking at the series's music as a whole.

Of course, but some of the tracked cues - especially the one when Harry enters the chamber - have so many layers that it would be a better performance overall if they used one or two long selections.