Steffromuk

Yeah, I've watched it and I love it. I definitely recommend it if you're looking for a relatively laid back story, focusing more on character moments than big epic action scenes (even though there are also a couple of those). Charming characters, beautiful animation and a lovely message. Plus a great score as well!
 
I also like Kevin Penkin a lot, but I enjoy Call's scores a bit more. I just resonates with me more. But I agree that Penkin is also great, no need to compare them. I've listened to Rising of the Shield Hero and By Bye Earth and they're both great, as is his score for Made in Abyss and his contributions to the Apothecary Diaries!

Flowers of Shanghai using the gorgeous Criterion cover art by Victo Ngai

Flowers of Shanghai using the gorgeous Criterion cover art by Victo Ngai

Has anyone listened to this 2006 soundtrack? I just discovered it and it sounds great!
 
 

"BEST ARCHIVAL RELEASE" and "BEST NEW RECORDING OF AN EXISTING FILM SCORE" are FINALLY separate categories!!!!!!
 

 
THANK YOU THANK YOU THANK YOU!

@Stéphane Humez, congrats on the nominations for Flatliners and Gladiator!
 
@Maestro, congrats on the nomination for The Dark Crystal!
 
@Lurker, congrats on the nomination for On Her Majesty's Secret Service!
 
Mike Matessino, congrats on the nomination for Jaws!
 
@Steffromuk, congrats on the shoutout for doing the cover art for Jaws, Abbott and Costello, The Chairman, and Crawlspace/etc!
 
@Kaya, congrats on the shoutout for doing the liner notes for Flatliners and Gladiator!
 
@Yavar Moradi, congrats on the shoutout for doing the liners for Crawlspace/etc!
 

It makes no financial sense for any studios investing in 4K restoration of their top profiting movies of all times, to only release them in theater. They will obviously release them on physical media. This is a no brainer.
 
They want our money

Well done to Intrada for continuing to commission album art from Stéphane Coëdel. This guy does great work!

If you want to help spread the word about the Kickstrter campaign, I’ve made a short video I posted as a story on my Instagram with the link to the KS page.
 
If you’re on Insta, TikTok, X or wichever social network you like, feel free to download it and post it with the right link. And tag the right people or accounts, so they can repost it.

If you want to help spread the word about the Kickstrter campaign, I’ve made a short video I posted as a story on my Instagram with the link to the KS page.
 
If you’re on Insta, TikTok, X or wichever social network you like, feel free to download it and post it with the right link. And tag the right people or accounts, so they can repost it.

@Andy as someone who only saw a handful of DuckTales episodes back in the day and who doesn't have @kenisu3000's obvious (and admirable) obsession with it, I can back up the claim that this is objectively quality TV scoring and well worth your time. I'd just encourage you to check out Intrada's sound clips next Monday, and judge for yourself whether it's for you. It's much less synthy than his Trek scores (which was a deliberate sci-fi choice on his part, inspired by Jerry Goldsmith's synth/orchestra sound established on Star Trek: The Motion Picture). With the template being Indiana Jones-style old-fashioned exotic adventure, rather than Star Trek/sci-fi, I suspect you'll enjoy it a lot more.
 
Yavar

Thanks!

Nice artwork @Steffromuk? 😁 

2CD DuckTales set coming 2026-01-27.
 
That's Ron Jones ticked off the list. If it's chronological, it shouldn't be long before the next JW release, though given how capricious movie studios are about approvals, who knows.
 
https://www.facebook.com/groups/95015405220/posts/10173747641215221/
 
 
 

It makes no financial sense for any studios investing in 4K restoration of their top profiting movies of all times, to only release them in theater. They will obviously release them on physical media. This is a no brainer.
 
They want our money

It makes no financial sense for any studios investing in 4K restoration of their top profiting movies of all times, to only release them in theater. They will obviously release them on physical media. This is a no brainer.
 
They want our money

It makes no financial sense for any studios investing in 4K restoration of their top profiting movies of all times, to only release them in theater. They will obviously release them on physical media. This is a no brainer.
 
They want our money

It makes no financial sense for any studios investing in 4K restoration of their top profiting movies of all times, to only release them in theater. They will obviously release them on physical media. This is a no brainer.
 
They want our money

Right off the bat this just seemed like... that kind of score. Especially after reading the track by track notes and seeing how specifically some parts react to onscreen events, I knew I had to do this not only for fun but to help "get" the score better, and it sure as hell did help! And it sure as hell was fun too.
 
 
 

R1P1 The Dream - Interestingly, though Goldsmith and Carolco had a good relationship, the logo gets no special music on its own, the main titles already start to build up over it. The ostinato semi-ominously builds for Mars and towards the motif for the Mountain, taken over by the Dream theme which doubles as a love theme as Quaid and his dream woman start to hold hands.
 
 
 

R1P1 The Dream (Original Ending) - The Dream theme comes out of a much lighter and dreamier atmosphere with no special accent for the mountain. I assumed the eye-popping shot was shorter in this cut (maybe to not give it away early) and replicated it.
 
 
 

R1P3 Rekall Commercial (Alternate) - Only restored this version since it works better around the picture - well, subtitled dialogue for the most part here. I didn't remember the commercial exactly (and we don't see most of the start) so I was initially weirded out by the comedic start, but it works absolutely perfectly. Heroic fanfares for the imagined adventures, mocking descending lines for reality knocking in, switch to corporate muzak for corporate schmuck. The final film unfortunately only keeps the last part with the vocals.
 
 
 

R1P4-R2P1 First Meeting - I couldn't resist editing the ending down just slightly to make that fingernail sync a little better.
 
 
 

R2P5 Secret Agent - Goldsmith subtly underlines the fateful decision of trip, then continues the rekall ostinato and dream motif as the adventure is outlined.
 
 
 

R2P6 The Implant - A sweet sleepy motif starts playing as Quaid's slowly getting knocked out, the Dream theme accenting Melina's... birth? The ensuing chaotic action gets a break as Quaid (Hauser?) breaks free, with a few suggestions of the dream theme's first notes. The layers are brilliantly gradually stripped back as he goes back to sleep.
 
 
 

R3P1 Where Am I? - Completely unused so this placement is my best guess, with the strings coming in as Quaid wakes up, and the Johnny Cab fanfare working around the dialogue.
 
 
 

R3P2 The Aftermath
 
 
 

R3P3 Old Times Sake - Richter gets a wonderful unambiguous introduction. The ostinato and dream theme continue from The Aftermath for Quaid washing his hands. I struggled a bit with this cue but in the end I put a break in the music at the first gunshots as it is in the movie, then put a break in the video when the brawl starts. This is not how the cue's edited down in the final movie, but it worked too well not to do it like this. The only good "proof" of an edit here is that before my cut, Quaid is on the bottom, and after my cut he's on top. The Rekall ostinato interrupts the action for Quaid recognising his wife as the attacker. The action winds down and ends as he lets her go, and the ostinato and dream theme again take over for the explanation of his fake life.
 
 
 

R3P4-R4P1 Clever Girl - A wonderfully reactive action cue, breaking it down could take pages. Just shortly of note, Richter's theme for the bad guys running, new action theme for Quaid running, pinking synth for the tracker, main title rhythm returning for the escalator shootout for some extra drive. With nothing better to go on, I used the film's music edit points to insert 3 gaps in the footage.
 
 
 

R4P4 The Johnny Cab - The movie drops the first 30 secs, including the determined Dream, a cool Richter cut and more tracker pings. It enters with the more mysterious ostinato+dream for the hotel room. Another wonderfully reactive cue, but in mostly more subtle ways. My favourite bit is the brass for Quaid's reaction to the tracker in his skull.
 
 
 

R5P1 Howdy Stranger - More lowkey but subtly reactive scoring for the coversation between Quaid and Hauser, made more tense by the loud Richter cutaways. The first minute or so until the first Richter cut is unused in the film.
R5P1A The Nose Job - Nasty pounding action builds to a fun little motif for the tracker. The pings immediately return
 
 
 

R5P2 The Spaceport
 
 
 

R5P3 A New Face - Richter alternates with a crazy new motif building up as Quaid's disguise unravels. Interesting choice to go heroic only when the mask is fully off, not when we see his face as he's taking it off.
 
 
 

R5P4-R6P1 The Mountain - Again an interesting choice here - leave the entire action sequence unscored (while going all out on nearly every other action scene), but come in at the end for a grunty Richter coda. After some ostinato for the mountain conversation, we get an epic Mountain theme buildup for the very impressive miniature shots. Interesting demonstration at the end of how the score never really gets to characterise Cohaagen, the actual main villain of the movie.
 
 
 

R6P3 Identification
 
 
 

R7P2 Lies
 
 
 

R7P4 Where Am I? - Weird that the cue's called this, based on the opening line it should be Where Are We? and it confuses the tracklist too that they didn't change it. Anyway. Another lovely subtle cue for all dialogue that nevertheless shifts perfectly between moods.
R7P5-R8P1 Swallow It - A fantastic buildup to a short bit of action as Quaid's quickly taken out by painfully accented kicks. Richter's theme reenters but Melina arrives first. The ostinato muddies the dream or not waters again for Quaid's brief hesitation before putting Lori down.
 
 
 

R8P2 The Big Jump - The big action showcase piece, very reactive in the first half, not quite so in the second. Unfortunately I again had to insert 3 gaps purely based on the music edit.
 
 
 

R8P3 Without Air - Dramatic scoring for the newly raised stakes.
R9P1 Remembering - Another cue of subtly shifting moods.
 
 
 

R9P2 The Mutant - Probably my favourite cue in the score, especially when put up to picture. Basically a full formal statement of the Mountain theme, with some Rekall ostinato and the introduction of the Blue Sky theme to build up to it.
R9P3 The Massacre - As it is in the film, large chunks would be missing, so I decided to start it earlier to at least get rid of the biggest one, it starts at a weird point in the film anyway. Slightly extended the gap in the score for Benny's reveal like it is in the film. Also removed the shot of Kuato calling to Quaid from under the shirt.
 
 
 

R10P1 Friends?
 
 
 

R10P2-R11P1 The Treatment - After a wonderful string and brass chorale for the torture, the action is edited down a bit, then we return to the early cues' mood - dream theme as love theme, chase motif reprise, then the main title rhythm and even melody come back for the drill fight.
R11P2 The Reactor - Hopeful statements fo the Blue Sky theme.
R11P3-R12P1 The Hologram - Very interesting and creative percussion scoring, alternating between subtile sneaking buildup and loud outcries, initially starting in the main title's odd meter, then switching to a smooth 4, then back again for the final confrontation with Richter.
 
 
 

R12P2 End of a Dream - Probably the most interesting cue to do here with its nearly 4 minutes of unused action, how the orchestration is gradually ratcheted up through the repeated theme cycles, usually restarted by cuts back to the reactor working, how the xylophones(?) drop away for the last most dire section with the most direct danger (I've been near a colleague who managed to break a glass door onto himself, I've seen the aftermath) and low strings take over their job. Interestingly the vast majority of it still fits, I only shortened the final action shot before the cut to the mountain with the clouds coming out.
R12P3 A New Life - The Blue Sky theme reaches its concusion, but the Rekall ostinato has one last sneaky appearance up its sleeve.
R12P4 End Credits*

Here're my first couple tracks. I was able to get Torture in D Minor mostly clean. There are a couple dialogue echoes I wasn't able to remove from the vocals, but it's during parts where there's louder instrumental so it's not super noticeable. The quality's still not good of course but at least it's more listenable than the versions currently available on Youtube. I cut off the end bit because it was so quiet the cleaned version sounded awful and the source audio didn't quite have a clean ending so it would've faded out prematurely anyway.
Torture in D Minor.mp3
I was also able to clean up the opening track from Amazon's Fallout a bit, although I did some editing to make it more listenable as well so it won't sync up 1:1 with the version used in the show.
The End.mp3
I started working on a Murray Gold Doctor Who track (the 'escape' scene from The Waters of Mars), Jon Brion's 'Bunker Bumper' from One Battle After Another, and Bagpipe Army from Dune as well but the former two had too many SFX intermingled with the percussion and the endings were too muddled to get anything listenable out of them and there's no bagpipes model yet so I wasn't able to make that one work for obvious reasons.

Nice. 
 

Enjoy, folks! This one took our editor David a TON of extra work, because of the video element and including so many excerpts from the lengthy two day sessions and such. But I think it's probably the best Production Report we've ever released, and one of the best episodes of the podcast.
 
(For those who just want an audio-only version even though the video is awesome, that will follow later this month.)
 
Yavar

The new video was revealed. It’s for the Chairman re-recording.
 
https://youtu.be/Qz5L0_QEaoA?si=b-ias4__9Lb5ywfx

Well then THIS is gonna really blow your socks off...
 
Enjoy, folks! This one took our editor David a TON of extra work, because of the video element and including so many excerpts from the lengthy two day sessions and such. But I think it's probably the best Production Report we've ever released, and one of the best episodes of the podcast.
 
(For those who just want an audio version even though the video is awesome, that will follow later this month.)
 
Yavar

For anyone who doesn’t know why this score by a relatively little-known composer is a holy grail for many including myself, I give you the most powerfully scored sequence in the film:
 
(Obviously if you’ve never seen the film and you’re willing to just watch the whole thing on Criterion or whatever, do THAT instead of playing the above clip!)
 
Yavar