Jump to content

Brundlefly

Members
  • Content Count

    4807
  • Joined

  • Last visited

  • Days Won

    1

Brundlefly last won the day on April 5

Brundlefly had the most liked content!

About Brundlefly

  • Rank
    Consumer of Emotional Fastfood

Profile Information

  • Location
    Germany

Recent Profile Visitors

5018 profile views
  1. The special edition is by far the worst cut.
  2. Okay, so that explains why Patronus Insert is much shorter than Patronus Light. I honestly start to wonder, whether there could be a load of actually recorded alternates lying hidden in a vault somewhere.
  3. @Jay Are you sure Patronus Insert and Patronus Light are the same take? They have a considerably different orchestration and lenght.
  4. Almost forgot to answer that question. I voted "It varies, but most often start-to-finish" and although that is normally the case there are many ways I can listen to C&Cs, depending on the nature of the score: A) Some scores are varied, constantly interesting and at the same time short enough to just listen to every cue in one sitting - e.g. The Wind and the Lion, Empire of the Sun or Poltergeist - these examples all have the lenght of a generous OST, they have really no noticable portions of dull underscore and the pacing and musical development is naturally given. B) Other kinds of scores do not lack the measure of variety and constant musical merit, but they might be just too long to listen to them from start to finish - e.g. The Lost World or The Empire Strikes Back - it isn't exactly a great act to find a narratively reasonable point to cut the C&C program in half, so I often do that with these kinds of scores. In some cases, the creators of the C&C releases already split the program, so that it makes sense. C) On the other hand, there are many scores that partially consist of hot air and just need a few cues of tracks thrown over board - e.g. Masada, Deep Rising, 1941 or Powder - that's either because the C&C program has too many super short, irrelevant cues (the first two examples) or because it gets very redundant after a while (the last two examples). So I normally have a Windows Media playlist that excludes a number of short or uninteresting tracks or I even create an alternate OST program editorially, combining multiple cues to get a good pacing that the C&C program couldn't deliever. There's a special case in which, when I find that the OST of a score doesn't represent the tone of the score properly, I created an alternate OST program for, such as The Ghost and the Darkness and The Prisoner of Azkaban. I mostly listen top the C&C program of these two, but I gave the alternate OST to some friends, because I didn't want them to get to know the score in the form of the lighthearted commercial representation. In the end, at least for me, it depends from case to case in which form I use to listen to a certain score. I'm not always for the C&C and I'm not always for the OST, sometimes I think that neither of these two options can live up to the true potential of a score, so I try to create a better program. However, the problem of this kind of music is that there is no definitive way of listening to it outside the movie.
  5. When I criticized the U.S. Marshals expansion for being that kind of museum piece with no sense for actual listening purposes, no one (on the FSM forum) could understand my point.
  6. Me neither. But then again, that particular score and film never really were of much interest to me.
  7. @Jay Still need to add the times of the cue transitions.
  8. The LLL organizes the music in the best possible way. Still, I'm not sure whether it was necessary to include the film versions of the Main and the End Title that merely swap out the march after the prelude. There is just an Superman March overload on disc two.
  9. That's fucked up shit that caused special labels big trouble, not to piss any fan off.
  10. I would really like to see all those deleted scenes from The Lost World.
  11. It is the OST plus four additional tracks from the film stem, hence ugly fade-ins/fade-outs and wrong pitch. The sadly strictly limited Quartet Records release is one of the best releases they ever did. By the way, for me the score is Top 5 Goldsmith. Such a thoroughly composed and emotionally subtle work.
  12. Munich - who the fuck thinks that one belongs on this list? Kingdom of the Crystal Skull - good score and decent movie The Adventure of Tintin - good score and decent movie War Horse - excellent score and excellent movie Lincoln - excellent score and good movie The BFG - decent score and okay movie The Post - good score and okay movie There simply is nothing terrible.
×
×
  • Create New...