NewsHans' BiographyTeam (Present & Past)DiscographyMediaArchivesJukeboxFan CoversAbout/Feedback
 SEARCH
 

 FAN COMMENTS
Most of the album is comprised of suites, with one consistent tempo per track. <br><br>The material that was scored to picture was scored using the risset rhythm technique, which gave a lot of those tracks their "infinitely getting faster" feeling in the film, so the tempo is always climbing in the film versions. The suites have a stable tempo (except for a couple normal tempo changes, which are different)Not really any... "Nothing Out There" contains the sad piano theme from Begins and Dark Knight, but otherwise the themes that get reprised are pretty much Hans stuff. <br><br>Speaking of credits, any chance the complete score page could be updated with what's out there and official?Could somebody tell me in what cues JNH's themes appear on album?Thanks MIKE, Any ideas of how can I Google it?Yeah, that cue was either a last minute rewrite or one of the music editors did it.... As for where you can find it...Google is your friend. But it's not going to be available anywhere officially.
I think it will be in between NOT ORDINARY CITIZEN / THE SLOW KNIFE and IMAGINE THE FIRE, Does anybody know where can I find it?<br>I noticed that this score doesn't has the soundtrack of the part where Blake is taking the people to the bridge and he is discusing with the other police officer before he blows the bridgeThat's right, I forgot about that... And I totally agree about the score vs. the album. I had no use for this score on album at first, but now that I've watched the movie a few times, I can really hear the logic behind the score and I "get it." <br><br>I still don't get the music as heard on album, though. Are the longer pieces some early suites Hans wrote? Or did he specifically make these arrangements for the album? Do you know the answer to that one, Hybrid?I wanna say I heard the full Cat Suite somewhere... I can't remember if it was legit, but it was 15:39 and it was indeed quite repetitive. It was basically the Selina Kyle Suite from the Z+ app, along with demos of several of the Catwoman-related cues in the final score. If you've listened through the score, you've basically heard the unreleased stuff.@Mike<br>Zimmer has said in interviews that he “mapped out” the film with one long piece of music to establish the changing tempo of the story, and apparently the script was written to capture the rhythmic feel of the film. So from the very beginning the story was always split up between the three.<br><br>I think a big part of the initial disappointment with the score was the album presentation, which gives off the impression that the music is just some sound design that Zimmer threw together (this is how I personally felt when I first gave it a listen). In actuality it’s a technically impressive score, I really can’t think of any other film score that is so synchronized with a film’s tempo and flows as one long piece of music. Apparently it was a nightmare for Hans, especially when the smallest edits to the film would ruin the flow.<br><br>Doing the 59-minute album was a pretty big disservice to the whole purpose of the music. If you remove one piece the whole thing falls apart, which is part of the reason the album feels so disjointed.
Anyone here listened "The Predator" FYC score? <br>Any chance to compare tracklist and running time with official release?These versions suites haven't been officially released, but maybe you can find them somewhere around the Internet unofficially.<br><br>As for the Cat Suite, the most important parts of it can be found in "Selina Kyle" (it's a shortened version of it actually) and "Mind if I cut in?" from the OST. I remember that Hybrid once said that the 15mins Cat Suite was too repetitive, that's why a 5min only version was released, so maybe you are just fine with those two.<br>Where can I listen to the Cat Suite? Or is it literally: Selina Kyle Theme? <br>The Mole P1 (0-1:57)<br>Regimental Brothers P1 (0-1:19)<br>The Mole P2 (1:57-3:44)<br>Regimental Brothers P3 (2:44 onward)<br>We Need Our Army Back<br>Shivering Soldier<br>Supermarine P1 (0-2:47)<br>The Mole P3 (3:45 onward)<br>We Need Our Army Back (again) <br>Supermarine P2 (*5:33)<br>Impulse<br>The Tide<br>Home <br>The Oil <br>Variation 15<br>End Credits <br><br>As everyone said already, the album is made up of suites that combine several cues and several "sounds" used in various places. For example, the is a sound in The Mole (At 2:05) that sounds like a fuse being ignited. This sound is actually right after The Tide in the film.<br>The only tracks that are almost identical to the film are: The Tide, Variation 15 and End Credits, the rest is different. <br><br>So if you were to order the tracks as first heard in the film it would be: <br>The Mole <br>Regimental Brothers <br>We Need Our Army Back<br>Shivering Soldier <br>Supermarine <br>Impluse <br>The Tide <br>Home <br>The Oil<br>Variation 15<br>End credits<br><br>As much as I enjoyed listening to this release, I wish they didn't butcher the score the way they did. I like the suites but there are so many great cues in this film that weren't released. If only they released an isolated score track on Blu-ray. Listening to film extracts is just not enough.I noticed that as well — the ticking goes all through the movie, except for the boat scenes, and only stops when they get on the train. <br><br>I wonder...could the film have originally been shot so that the beach, sea, and air sequences were there own arcs, and the longer album tracks were written for that? And then Nolan went in and turned the movie into the frenetic, constantly cutting-back-and-forth final product? <br><br>While the album is fine, I personally don't understand why we couldn't have just gotten the film cues. They might have had to stitch several together for each track, but it could have worked.
Does anyone know where you can get a digital version of the Japanese versions 2 bonus tracks?Comparing it to YFM’s sfx edit this is what I’ve got;<br><br>“The Mole” seems to be an alternate of the opening sequence. The first minute or so is used, while the rest isn’t. “We Need Our Army Back/Regimental Brothers” are both made up of several cues from different points in the film. <br>“Home” is completely different in the film, which makes me think it may have been recorded specifically for the album. Similar situation with “Oil”. <br>“Supermarine” is definitely a suite. The rest is chronological.<br><br>Interesting thing to note, it seems like a lot of the tempo changes/ticking effects/bass overlays were removed from the album release, making almost every track sound different from the actual film versions. The music in context has a constant pulse going, especially in the way cues segue into each other and change tempo.It's not really possible to chronologically order the album because the album doesn't use the same tracks as the movie. Plus, the album is more or less chronological anyway, given the areas where they are the same.<br>With the complete cue sheet out now. Does anyone know what the chronological order of the album would be?Movie credits:<br><br>Music Composed and Mixed by:<br>TOM HOLKENBORG<br><br>Additional Music:<br>ANTONIO DI IORIO<br><br>Music Supervisor:<br>DAVE JORDAN<br><br>Music Editor:<br>PETER MYLES<br><br>Score Conducted by:<br>CONRAD POPE<br><br>Score Orchestrated by:<br>EDWARD TRYBEK, HENRI WILKINSON, JONATHAN BEARD, TOM HOLKENBORG<br>Score Copied by:<br>EDWARD TRYBEK, HENRI WILKINSON<br><br>Score Contracted by:<br>PETER ROTTER<br><br>Choir Contracted by:<br>JASPER RANDALL<br><br>Score Recorded by:<br>ALAN MEYERSON, BRAD HAEHNEL<br><br>Digital Recording by:<br>KEVIN GLOBERMAN<br><br>Technical Score Engineers:<br>ALEX RUGER, EMILY RICE,<br><br>Synth Programming by:<br>JACOPO TRIFONE, JONAS FRIEDMAN, MAX KARMAZYN<br><br>Score Recorded at:<br>NEWMAN RECORDING STAGE<br><br>Music Production Services by:<br>MICHIEL GROENEVELD<br><br>Score Mixed at:<br>COMPUTER HELL CABIN<br><br>Newman Stage Engineer:<br>MARC GEBAUER<br><br>Newman Recordist:<br>TIM LAUBER<br><br>Newman Stage Managers:<br>DAMON TEDESCO, PETER NELSON
Latest

Please install Flash®
and turn on Javascript.


Rate those CD:
Top 50





John PowellBatu SenerPaul MounseyAnthony Willis
ComposerAdditional MusicAdditional MusicAdditional Music
Ferdinand
Label: La-La Land Records / 5 Cat Studios
Length: 61'20
HZimmer.com rating:        Not yet rated
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (1173 votes)
  1. Bees And Bulls (2:30)
    John Powell, Batu Sener
  2. Selection Process (2:00)
    John Powell
  3. Father And Son (2:06)
    John Powell, Anthony B. Willis
  4. Finding Home (5:32)
    John Powell, Batu Sener, Anthony B. Willis
  5. A New Day (2:52)
    John Powell
  6. Flower Festival (4:46)
    John Powell
  7. There's Been A Mistake (2:28)
    John Powell
  8. Lupe And Ferdinand (2:28)
    John Powell, Batu Sener
  9. Lipizzaners And Ferraris (2:50)
    John Powell
  10. Ferdinand And Nina (3:24)
    John Powell, Batu Sener
  11. Bull Olympics (3:42)
    John Powell, Anthony B. Willis
  12. Sunsets In The Training Yard (3:14)
    John Powell
  13. Escape From "The Spa" (3:32)
    John Powell, Batu Sener, Anthony B. Willis
  14. Highway Chase (3:16)
    John Powell, Batu Sener
  15. From Train Station To Arena (5:04)
    John Powell, Anthony B. Willis, Paul Mounsey
  16. Madrid Finale (12:14)
    John Powell
Create Topic

Michael Fields reply Replies: 0 || 2018-08-09 07:38:48
MOVIE CREDITS:

Music Composed And Conducted By
JOHN POWELL

Additional Music And Arrangmements By
BATU SENER
ANTHONY B. WILLIS
PAUL MOUNSEY

Supervising Orchestrator
JOHN ASHTON THOMAS

Orchestrations By
PETE ANTHONY
RICK GIOVINAZZO
RANDY KERBER
ANDREW KINNEY
JON KULL

Music Contractors
GINA ZIMMITTI
WHITNEY MARTIN

Singers Contracted By
EDIE LEHMANN BODDICKER

Music Preparation By
MARK GRAHAM (JO ANN KANE MUSIC SERVICE)

Score Recorded And Mixed By
SHAWN MURPHY

Additional Recording And Mixing By
JOHN TRAUNWIESER

Scoring Editor
DAVID CHANNING

Digital Score Recordist
ERIK SWANSON

Stage Engineer
DENIS ST. AMAND

Stage Recordist
TIM LAUBER

Stage Managers
DAMON TEDESCO
PETER NELSON

Score Recorded At
THE NEWMAN SCORING STAGE;
5 CAT STUDIOS

Score Mixed At
5 CAT STUDIOS

Score Production Assistant
SOYA SOO

Music Editor
TOM CARLSON

Additional Music Editor
TERRY WILSON

"HOME" (FILM VERSION)

Written By
NICK JONAS
JUSTIN TRANTER
NICK MONSON

Performed By
NICK JONAS

Produced By
JOHN POWELL
NICK MONSON

Arranged By
JOHN POWELL

Courtesy Of
ISLAND RECORDS
Under License From
UNIVERSAL MUSIC ENTERPRISES

"HOME"

Written By
NICK JONAS
JUSTIN TRANTER
NICK MONSON

Performed By
NICK JONAS

Produced By
NICK MONSON

Courtesy Of
ISLAND RECORDS
Under License From
UNIVERSAL MUSIC ENTERPRISES

Iamtommie reply Replies: 0 || 2018-03-23 21:56:22
John Powell to receive Henry Mancini Award.

Look it up at filmmusicreporter.

Congrats John

Mike (OTM) reply Replies: 15 || 2018-02-23 21:47:17
So, next year we have HTTYD 3 (which will almost certainly be great work by Powell) and Hans' new Lion King (which will hopefully be noteworthy).

A shame we have to wait a year for something that will put them into "prominent score" territory again. But I hope it will be worth the wait.


Edmund Meinerts2018-02-23 22:45:14
You seem to have forgotten Solo!


Mike (OTM)2018-02-23 22:52:42
Wow...So I have! I think I'm trying to forget about that movie, so that might be why.

I hope that John Williams' theme doesn't limit Powell too much. I love John Williams as much as the next guy, but I wonder if his name and theme will overshadow everything else. But hey, there are worse composer combinations!


Edmund Meinerts2018-02-23 23:33:43
I have the same concern, but at the same time I'm really really excited and curious to hear what Williams' sensibilities filtered through Powell's voice will sound like. Those are two of my absolute favorite composers (like, honestly, those two and Hans, top three). I just hope Powell can figure out a way to make it sound natural and organic and not forced/awkward. And maybe if Powell doesn't have to worry about coming up with a main theme it leaves him more time to fine-tune the balance between the two composers' voices (or else write cool secondary material). Giacchino only had four weeks on Rogue One and while he did a decent job, it wasn't as smooth an adaptation as I'd have hoped, especially coming from the composer of Medal of Honor. My expectations are higher for Solo.

I couldn't give two shits about the movie itself but I'm grateful it exists if only because it will give us this exciting, one-of-a-kind score situation. :)

Also, there's gonna be a Star Wars score with a page on hans-zimmer.com - who'd ever have thought?


Mike (OTM)2018-02-23 23:57:57
A Star Wars score that John Williams himself worked on, however briefly. An interesting time to be a film music fan indeed.

Hybrid, do you know if Powell was already hired before the director switch on Solo?


Mephariel2018-02-24 06:25:21
Zimmer got X-Men: Dark Phoenix this year. And I have a hard time believing he is only scoring that film this year. Zimmer always does more than 1 film a year.


Ian2018-02-25 05:33:34
Edmund - given the rationality you've displayed in your comments, I'm disappointed Goldsmith isn't in your top three. ;)

In all seriousness, I'd put money on Powell fucking nailing the integration of Williams's theme. While Giacchino did a solid job on Jurassic World and Rogue One (I tend to think my assessment of the latter is a bit more positive than most), frankly I just think Powell is a far better composer - a genuine A-level guy, whereas Giacchino is moreso very competent without that spark of pure talent seen in Williams, Goldsmith, Elfman, Zimmer etc


Edmund Meinerts2018-02-25 10:27:59
Probably the only reason Goldsmith isn't in my top 3 is I haven't heard enough of his music. :p


MrZimmerFan2018-02-25 10:59:36
Ian - I prefer Rogue One over Jurassic World. The movie and the score.

Edmund - You have missing a lot of great stuff by Goldsmith! :D


Edmund Meinerts2018-02-25 12:10:47
Oh I know! I'd say I've heard maybe 20 scores or so by him, so not totally useless, but he's definitely someone I still need to explore more.


Miguel2018-02-25 12:13:53
His KPM and Extreme library tracks are excellent


Backbiter2018-02-25 17:24:10
Ian
I would rather choose Giacchino over Powell any day.
Don't get me wrong, Powell is great but always found Giacchino's Scores much more memorable.
The only score made by Powell that i keep listening is Bourne's Supremacy.


Backbiter2018-02-25 17:24:10
Ian
I would rather choose Giacchino over Powell any day.
Don't get me wrong, Powell is great but always found Giacchino's Scores much more memorable.
The only score made by Powell that i keep listening is Bourne's Supremacy.


Olive2018-02-25 18:23:39
Giacchino has some points about Powell because of the variety of his work. The man works on several beloved franchises through the pubic and every year makes some score for Pixar. From Powell, so far we've only had Bourne and the animated films from Dreamworks and Blue Sky. That's the only problem with him. The lack of a good agent to get projects beyond the territory conquered by him in the mid-00's.


Edmund Meinerts2018-02-25 18:39:19
An agent isn't the problem. Powell is choosing to work less, and only on certain types of movies.


Olive2018-02-25 21:43:10
I know this story... It would be good if JP were like HZ in his public promises. xD


FunnyML reply Replies: 1 || 2017-12-09 05:01:56
promo tracklist (there's no entry for this here yet):
01. Opening / Fantasy
02. No Fight / Selection
03. Father And Son
04. Waiting / Casa Escape 1
05. Storm / Finding Home
06. New Day / You Can't Go
07. Flower Festival
08. China Shop
09. Caught / Drive
10. Hysterical Lupe
11. New Digs / Hedgehogs Parts 1-3
12. New Digs / Hedgehogs Parts 4-6
13. Horses Parts 1-2
14. Lupe Freakout Parts 1-2
15. El Primero
16. Bull Olympics
17. Chopped Guapo
18. Thinking Of Nina / Allergies
19. Training / Bunny Parts 1-2
20. Angus And Ferdinand
21. Valiente Argues
22. Mission / Sneak Out 1
23. Mission / Sneak Out 2
24. Trophy Hall / Valiente Fight
25. Moo Parts 1-2
26. Chop House
27. Casa Escape 2 / Highway Chase
28. Train Escape / Death March
29. Intro To Bullfight
30. Bullfight
31. Ferdinand Returns


Edmund Meinerts2018-02-16 15:50:11
Hybrid, do you have credits for this version by any chance?

Edmund Meinerts reply Replies: 2 || 2018-01-04 17:16:44
Believe it or not I only now got around to listening to this one. A lovely, pleasant score that's perhaps notable mostly for being the most low-key Powell animated score ever (a lot of passages for just acoustic guitar for example that could be out of Gigli or P.S. I Love You). After another two years of nothing (I don't count Jason Bourne) the temptation to overhype anything new from Powell is hard to resist, but realistically this was never going to be some sort of masterpiece. It's a relatively minor score in the grand scheme of things, consistently "nice" without many standout moments (nothing even remotely on the level of "Bull Run" from Knight and Day, which is kind of what I was hoping for). Even the "Madrid Finale" disappointingly feels like a lot of shorter cues edited together rather than a true single long track like James Horner used to write...or like Powell's own "Final Race" from Endurance for that matter. Still, I like it more than eg. Ice Age 4, Happy Feet Two or Rio 2. It has its own personality stronger than any of those sequels, and a number of

As for the Williams writing a theme for Han Solo thing...bring it. My ears are so ready to hear what Powell playing around with a new Williams theme is going to sound like. I'm super super curious. (Am I a tad disappointed that Powell won't get to write his own main theme? Sure - but it's Williams. Who better to write a Star Wars theme than Williams? Plus it'll make up for the lack of notable new themes in The Last Jedi...)


Olive2018-01-04 22:54:22
He's on the list of last year's scores that are on my list of things to do in 2017.

It's not bad to know that Williams will do the theme for Han Solo. It's just weird. But I believe they are in agreement to do this from the beginning, many months before the announcement. May JW and JP not disappoint.


Olive2018-01-04 23:04:27
It's***

Joshua reply Replies: 1 || 2017-12-30 19:55:26
Boo....

h t t p://filmmusicreporter.com/2017/12/30/john-williams-to-compos e-theme-for-solo-a-star-wars-story/


I wanted an all Powell score.


aldan2017-12-31 12:58:34
Well, the very thing that made John Powell decided to score this in the first place is John Williams's offer and blessings, perhaps

BerkianWarrior reply Replies: 4 || 2017-12-18 08:39:10
WHAT THE HELL JOHN POWELL IS ACTUALLY WRITING FOR THE NEXT Star Wars MOVIE????????? Gosh I'm having a heart attack literally


AaronOvedur2017-12-19 09:39:46
I always thought his music would fit well with the Star Wars style... and I'm glad he is getting a bigger budget movie for once. I just hope he doesn't quit last minute. John Powell is an amazing composer, one of the (if not the) best film composers out there, but he's not exactly the most reliable person. Where the heck is his symphony that was supposed to come out late 2016? Whatever... even that the case John Powell's music, past and present has given to me so much. John Powell pushed me to pursue composing, and now I've actually found a decent amount of success! I have a good life and I think John Powell helped a lot with that. Composing isn't my main job yet... but I'm working towards that goal. Who gives two f+cks if John Powell is feeding us new soundtracks on a regular basis... he has already given more than I could ever give back. And who set the standards for film scoring? Even if somehow people required composers to be constantly evolving and changing their writing style, why should we care? John Powell is living his life and making money to support himself and live happily.... and by that we are still benefited. He's walked paths other people haven't... and honestly the fact he won't write for action movies is a huge example of what a honest and good man he is, and even if you (like me) tend to like those things, thats hard to deny. I've always felt blessed to be alive in the times of such a great composer, someone with such an understanding of simple human emotion. I'm excited for Star Wars and honestly I don't care that the soundtrack for a Blue Sky movie about a bull that likes flowers isn't the next Mozart Symphony in G. Johny has already proved he can take the stupidest of movies like the Lorax... and give them heart wrenching and thought provoking scores. I'm excited for John whatever he decides to do... and this Star Wars thing is honestly the best thing in my mind. Pan was huge for me too cause I'm such a fan of the series... but Star Wars is legend and John Powell is actually the 3rd to join this group of (probably soon to be many unfortunately) composers.


James (now James Callahan)2017-12-19 17:58:33
@berkianwarrior: MUSIC!!!


BerkianWarrior2017-12-20 05:15:38
lol what?


Valka12017-12-20 19:11:58
AaronOvedur Well said!

aldan reply Replies: 1 || 2017-12-15 15:18:07
Now, what do you thinnk anout the score?

There are two things that made me underappreciate the score: first these full credits (upset that perhaps a good track might havenot been written by POwell himself) and the fact that Powell will score Han Solo (expectation that this might be a trial score)

But,

"Madrid Finale" is clearly 5 star track, and so many nods to classical era of film score.

There are 4 themes that i can gather:
Ferdinand theme
Flower Theme
"Caring" theme
and "bad guy" theme
and all of them are good ( not as powerful as HTTYD though)

But, i find some action writing to be quite generic ( Anthony B Willis is to blame i guess)

Suffice to say that this is already a 4 star score because this is as subtle as you can get from hyperactive Powell's animation scores


Mephariel2017-12-18 09:01:43
Kind of agree for the most part. Nice, pleasant, music with a Spanish kick. But nothing spectacular.

Michael Giacchino's Coco is better than this.

aldan reply Replies: 15 || 2017-12-13 14:57:56
Wow full credits already.
(Quite surprised so many tracks are not pure Powell's)

Anyway smples on LLL sounds awesome, Powell at its quite best of course.

That Madrid Finale, omg, classical!


Macejko2017-12-13 15:17:08
I must admit I'm starting to think of Powell as sort of a pretentious douche. All the time he acts like the hottest shit in town, refusing to score basically everything they offer him, and when he finally descends from his golden throne and graces us peasants with a new score for his beloved kiddie animated genre, even then he doesn't handle the majority of the score himself.
This might be a fun score, I'm sure it's gonna be, but I'm also pretty sure that it's going to sound like every other Powell score from the last 6 or so years. The man hides in a cave, doesn't evolve at all and for some mysterious reason he is still revered like a second coming of Jesus Christ. Say anything you will about Lorne Balfe, but at least he is working his ass off and slowly getting better and better.


George2017-12-13 15:23:35
^ lol. Harsh, but he’s not wrong. Although, I hate to say it, we could say the same for Zimmer in my opinion.


Ds2017-12-13 17:37:23
Here is another comparison which to me seems more relevant than yours :
Lorne is doing a lot of projects and getting better and better in various styles.
And Ramin is also doing a lot of projects but is far, far behind in terms of styles and creativity. I'm not saying he doesn't evolve, but at this rate he will need 3 lifes to catch up on Balfe's current level.

Powell has nothing to prove, he has already mastered all genres and is now able to write the music he likes most : crazy orchestral pieces where nothing is forbidden. Today, only animated movies allow this style of scores to exist. And also Star Wars :-p


George 2017-12-13 17:55:37
Fair point. Just look at what Balfe did this year, Lego Batman, Churchill, Genius, The Crown, Geostorm... and all are somewhat different in tone. He was on fire this year for sure.


Macejko2017-12-13 18:25:53
The moment an artist thinks he has "nothing more to prove", he is creatively dead.

Also, thinking that only animation and Star Wars provide a field for any kind of innovation and experimentation is just ludicrous beyond words, Ds. SW especially is the most musically restricted franchise on the planet.


Ds2017-12-13 22:09:28
But you know he never said he has nothing to prove. I don't think he even think such a thing, actually he seems like a very humble and nice guy, much like Hans. I just tell you this based on all the great things he did in many genres throughout his career.

I guess he just want to write music he likes and the way he likes it. Many producers/directors want something more restrained for their movies, that's ok, they can get someone else. If you can afford doing what you like for a living, why the hell would you accept jobs you don't like?

And SW isn't about "creativity", it's just about this kind of busy orchestral music with lots of frenetic parts which Powell seems to really like these days.


Edmund Meinerts2017-12-13 23:09:21
Ds beat me to a few of the points I was going to make, so thanks. :) I'll try to keep this brief, but it won't be.

Macejko, the only part of your statement that I would 100%, strongly, absolutely disagree with is the "pretentious douche" part. When has he ever "acted like the hottest shit in town"? Do we have any record of him actually refusing assignments? I mean, clearly his output has slowed down since 2012, but why do you act like he's doing that because he thinks he's better than everyone else? I don't see that as pretentious. Especially not given what we know about his personal circumstances. For all we know his decision to take on less work was caused by the knowledge that his wife was sick and wanting to spend as much time with her and with their son as he could. You really still want to call him pretentious?

Now, what I do agree with is the impression that Powell is no longer really developing as an artist. He's found his niche and is writing scores that he feels comfortable with, but I haven't been "surprised" by anything he's written since probably 2010 or 2011. Is that a problem? Well, depends on what your priorities are. I don't rate innovation as highly as I do music that speaks to me on an emotional level, that I love listening to and want to hear over and over again. And with scores like Pan and HTTYD2 Powell has definitely provided that, while Hans Zimmer for all of the "pushing the envelope" and "breaking boundaries" he's done (or claimed to have done) in the last 7, 8 years has in the process left behind many of the things that made me love his music in the first place. He's written some fine and certainly interesting scores in those years (and some I never want to hear again), but I'd throw out every single one of them to hear another At World's End or King Arthur, just a big old epic larger-than-life fun time that cares more about entertaining you than trying to musically divide by zero or whatever. But now I'm turning this into a Powell vs. Zimmer argument which was never really my intention. :p

At the same time I can't pretend that it doesn't hurt to see how much Powell has slowed down. I mean his run of form from 2003-2011 is the stuff of legend, 3-4 scores a year in all sorts of different genres, all of it quality stuff. He was pretty much hitting the sweet spot: innovating, developing his style, trying out new things but not sacrificing his voice or the accessibility of his music. If he were to keep up that trajectory for a career spanning several decades he'd be in contention for greatest of all time IMO. Sadly it doesn't look like that's going to happen anymore. I think it's a fair criticism to say he's dropped off, or at the very least leveled out. I just don't think it's fair to call him pretentious for doing so. The man's a human being and he has the right to live his life however he wants.


Macejko2017-12-13 23:38:53
I was a bit over the line, I admit. I should have made it clearer that all of that "hottest shit in town" bit was meant purely as a part of my personal opinion regarding his output. I never saw or read any interviews with him.

I also know about his wife, of course... but I guess I'm just too cynical to accept it as an all-encompasing excuse while seeing such massive fanbase clamoring for his new music. I don't know, I admittedly feel a bit bad about what I'm saying myself. I AM an asshole, sure, but only to an extent.

I think that saying "he is writing scores that he feels comfortable with" and "living his life however he wants", albeit understandable, is still ignoring the fact that he is an artist with a fanbase. We are living in a time when film composers are slowly getting a mainstream recognition as a type of musicians comparable to bands or singers. And that creates a certain responsibility towards that fanbase. An artist doesn't have to fulfill it, sure, but he should at the very least acknowledge and address it.

Which brings to mind an image of Hans going on a massive tour whilst giving zero fucks about the CD presentation of his scores, but I digress.

I wouldn't dare giving Powell advices about how to deal with a pain of the loved one's loss. But on the other hand, I strongly believe in artist's responsibility towards the fans.

For example, that's why I would kick everybody saying "GRRM is not your bitch" right in the goddamn nuts.


Olive2017-12-14 11:47:43
Composers do not need to worry about the attention, acceptance of the public of the same or the same intensity as pop music artists do. There's no need to do that. Occasionally some name draws attention to the public and causes many people to be in the genre, Williams and Zimmer are the main examples that I can bring the table. However it is not because Williams or Zimmer are extremely popular and perhaps worry about the material they are offering to the public who adores them that all the composers of the world need to do equal. Most of these men and women even enxeega as "celebrity". They are more like artisans or the rest of the crew of a film that occupies with the lights, effects and costumes and that will never have the same response from the public as the main actor. And they don't even expect it. So I think it's foolish to wait for Powell to occupy himself in 2,3 movies a year to please a fanbase.

I'll agree with you when it says it's deplorable to see CPR composers who talk so much about building a single voice and giving emerging talent the opportunity to use so many additional composers (many of them with a possible promise that in the future they will work with Zimmer and thus have the opportunity to show his face in Hollywood.The sense is almost always these.You start with a secondary composer, he arrives at Zimmer and gains some kind of notoriety). But Powell is not the only one who does this. So he should not be the only one criticized.


Olive2017-12-14 11:55:08
And it's also unfair to use Balfe to criticize Powell. He started working on American projects in 2005 with Batman Begins, and only after 2010 did he receive individual projects. Is it accurate to compare someone who entered the party at the last minute with two others who are in it for 20 (Powell) and 30 (Zimmer)?

I'm in a hurry and I put everything into a translator. Forgive the many mistakes.





Edmund Meinerts2017-12-14 13:09:27
One more thing: if indeed the reason for Powell's semi-hiatus was to be with his family as much as possible, we may well see his activity increase again in coming years now that his wife has passed away and his son is close to graduating high school (I couldn't find an exact date of birth for him but I think he's 16 or 17). Him taking on a project as big and ambitious as Star Wars isn't exactly the sign of someone who wants to take it easy. It's too early to say yet though.


Macejko2017-12-14 13:22:06
Maybe. I'd sure be happy for you lot ;) And I'd definitely rather see Powell attached to a project than, say, RGW, Junkie or Desplat.

That Solo movie is going to be a disaster, though.


James2017-12-14 16:30:27
@macejko

"All the time he acts like the hottest shit in town, refusing to score basically everything they offer him"

You said in another comment that you never read an interview with Powell, so not reason you take that kind of conclusion of your character.

"The man hides in a cave, doesn't evolve at all and for some mysterious reason he is still revered like a second coming of Jesus Christ."
Powell is a clearly talented composer. He suffered criticism at the beginning of his career by sounding like Zimmer, but soon showed substance. And much more than that created an identifiable style, which today is reference to other scores of modern animations (which may be good or bad to depend on of the point of view).
Today he is an established composer and it is common for these composers to move away for a few years or even close their careers without many explanations for the public. In recent years we watched the estrangement of Silvestri, Horner, Williams and in the past we saw Faltemeyer, Bill Conti and Brad Fiedel drop their careers when they were at the top of the game.

" Say anything you will about Lorne Balfe, but at least he is working his ass off and slowly getting better and better"

As they said in another comment, you're compared to newbies and veterans. Balfe's having the opportunity of his life now. Take it or leave it. There's no choice. Powell, as well as Zimmer others, on the other hand, is a "senior member" of the club. He can afford to go away for a few years to resolve comprehensible personal problems without affecting the hard work he has developed in the last 20 years. Will Balfe continue to be so creative in 10 or 15 years?

@ds

"
Powell has nothing to prove, he has already mastered all genres"

That's funny, but it's fair. Powell Is a good composer. Not the best, far from it. Your style really narrows your work down, but we can say that from all the composers out there. So it's not a problem.The problem is he wants to limit his work to animations and fantasy.because he abhors gratuitous violence.

@george

". Although, I hate to say it, we could say the same for Zimmer in my opinion"

Zimmer's at the end of his career. All the other composers when they arrived at 60 years (with the exception of JNH, Goldsmith and Morricone) reduced the amount of projects per year and went on to choose their work best. It's a natural way.Over the years, it tends to get worse with one exception here and there. Don't keep expectations like he's in his prime

"he has "nothing more to prove", he is creatively dead."


Powell will work with a little more frequently in the coming years (or not) that only depends on his ambitions. However, frankly, he's never going to do three again. 4.5. 6 projects in a year. It takes a lot of motivation for that.











Anonymous2017-12-14 16:54:46
@ds "Ramin is also doing a lot of projects but is far, far behind in terms of styles and creativity."

I think the same for Jablonsky, Zanelli, XL, Jackman and Mancina.


James2017-12-14 16:56:23
/ it's me

Andreas reply Replies: 1 || 2017-12-14 10:16:22
The score is already on itunes.


Andreas2017-12-14 15:25:42
Just listened to the whole thing, kind of a let down. Nothing interessting except for some action moments. Don’t even recall hearing some sort of theme. Overall it was like listening to Cars 4: Spanish World Cup.

jrej3555 reply Replies: 0 || 2017-12-08 04:45:35
It appears that the film version of the song "Home" by Nick Jonas was produced/arranged by Powell: https://www.you tube. com /watch?v=eop2HDygtfQ

Hybrid Soldier reply Replies: 6 || 2017-11-23 00:17:52
Edmund ! For YOU !! lol


Lynk2017-11-23 05:00:12
And I thought Varese Sarabande will pick this one up. Whatever happened to those guys I will never know.

A Little off-topic here but might I ask if there any computer geeks around here who know how I can calculate total duration of albums using Excel or some simple web service (other than Soundtrack Collector)?


Kusi2017-11-23 08:34:09
Based on what you'd like to calculate it? MP3, CD....?


Lynk2017-11-23 09:50:55
@Kusi

Each time Film Music Reporter or similar websites reveal full album details I see individual track lengths but usually total running time is not provided. I am often curious to find out what the total running time is. It is fairly straightforward to do the math myself, of course, but it takes time. What I am looking for is some web service, Excel template/formula or whatever quick and easy-to-use tool one can suggest that allows me to type in individual track-lengths and get the total running times as the output.


Edmund Meinerts2017-11-23 11:38:10
Lynk, you should be able to just type the individual times into a column or row in Excel, select them all and the sum will be given at the bottom. Alternatively I use this sometimes: calculator. net/time-calculator

Also...HOOOOOOOOOOOLY shit that last track. My entire mouth just filled with saliva. :O


James2017-11-23 13:39:31
A "spanish" score. This is great!


FORZA2017-11-23 22:43:18
Cannot freaking wait!

 HANS-ZIMMER.com© 2001-2018 OST 
Ferdinand soundtrack - John Powell 2017