Huh. Kind of surprised Varèse gave up this property. I'd think that Game of Thrones brand madness would sells as many units of this soundtrack as sell of anything these days. Maybe they didn't have a choice?
Huh. Kind of surprised Varèse gave up this property. I'd think that Game of Thrones brand madness would sells as many units of this soundtrack as sell of anything these days. Maybe they didn't have a choice?
My guess is Varese didn't have the option. WB owns HBO and, I would assume, saw the massive success of the show and wanted to keep all ancillary income in house. As you said, I bet the soundtracks have been really strong sellers. S4 has gotten off to a strong start musically and the ratings have been huge, so I'd bet this will be another popular title. Here's hoping.
My guess is Varese didn't have the option. WB owns HBO and, I would assume, saw the massive success of the show and wanted to keep all ancillary income in house.
Varese are hardly releasing anything these days. Even the How To Train Your Dragon sequel has gone to another label. All in the wake of that mysterious merger.
Most in-house soundtrack labels are getting their own titles to release.
Sony = Madison Gate Universal = Backlot Warner Bros/HBO/CW = Watertower DreamWorks Animated = Relativity Lakeshore = Lakeshore Disney = Disney or Intrada
And then you have this one:
20th Century Fox = Sony Music MGM = Sony Music
Varese does a lot of Paramount stuff now.
The studios got wise and are keeping their product since the digital age has exploded.
How about some older titles from Dreamworks animation? When you are doing Peacemaker, any chance Prince of Egypt and Road to Eldorado might follow one day too? Or they still keep those only to themselves?
How about some older titles from Dreamworks animation? When you are doing Peacemaker, any chance Prince of Egypt and Road to Eldorado might follow one day too? Or they still keep those only to themselves?
Most in-house soundtrack labels are getting their own titles to release.
Sony = Madison Gate Universal = Backlot Warner Bros/HBO/CW = Watertower DreamWorks Animated = Relativity Lakeshore = Lakeshore Disney = Disney or Intrada
And then you have this one:
20th Century Fox = Sony Music MGM = Sony Music
Varese does a lot of Paramount stuff now.
The studios got wise and are keeping their product since the digital age has exploded.
MV
I'm sure that this has probably been addressed before, but I haven't seen it answered, so I'll go ahead and ask. Why is it that there are essentially no archival releases that get digital releases? I've seen a very few cases where the labels have been able to get digital rights to an older title (e.g. FSM's Ron Jones Box is on iTunes). And Moviescore media seems to have a fair amount of success at doing both digital and CD releases (though those are releases for pretty small films). Is there something financial or contractual that prevents labels from negotiating for digital rights at the same time as they get the rights for a CD release?
In this age of ever rising shipping and customs costs, I'm ever more inclined to go with the digital option and would probably try out many more scores that I was completely unfamiliar with if I didn't have to plunk down $20 + $10 (for international shipping) on an unknown quantity.
Most in-house soundtrack labels are getting their own titles to release.
Sony = Madison Gate Universal = Backlot Warner Bros/HBO/CW = Watertower DreamWorks Animated = Relativity Lakeshore = Lakeshore Disney = Disney or Intrada
And then you have this one:
20th Century Fox = Sony Music MGM = Sony Music
Varese does a lot of Paramount stuff now.
The studios got wise and are keeping their product since the digital age has exploded.
MV
I'm sure that this has probably been addressed before, but I haven't seen it answered, so I'll go ahead and ask. Why is it that there are essentially no archival releases that get digital releases? I've seen a very few cases where the labels have been able to get digital rights to an older title (e.g. FSM's Ron Jones Box is on iTunes). And Moviescore media seems to have a fair amount of success at doing both digital and CD releases (though those are releases for pretty small films). Is there something financial or contractual that prevents labels from negotiating for digital rights at the same time as they get the rights for a CD release?
In this age of ever rising shipping and customs costs, I'm ever more inclined to go with the digital option and would probably try out many more scores that I was completely unfamiliar with if I didn't have to plunk down $20 + $10 (for international shipping) on an unknown quantity.
Chris
The studios tend to keep those digital rights so they can make money off of them. If and when they choose to release them online is 100% up to them. If it was up to us, we would release them immediately!
