I know John Powell is regarded as one of the best (if not the best) composers to emerge from the music factory known as RC, but I've had a hard time getting to enjoy his music. I own HTTYD2 but couldn't make it past the 1st track. I also have a few of his cues on the various V/S Anniversary sets, of which I enjoy X-Men TLS. The Lorax, Robots, Shrek, Kung Fu Panda aren't my scene. I've heard bits of the Bourne scores and find them insufferable (although they are probably fine in the films). Any suggestions on where to start?
Well, since you just lambasted the BOURNE scores (which are some of my favourites -- and some of the most important scores in the 21st century), I know I shouldn't start there.
His first few scores -- like FACE/OFF -- are great, but bear the Zimmer influence to a great extent.
Personal favourites are UNITED 93, HTTYD, CHICKEN RUN (and the BOURNEs).
It took me awhile to really get into his music. EVOLUTION was the first score of his where I sat up and took notice (The Mall Chase, while watching the film). Then ROBOTS had moments that just blew me away. After that, the first HTTYD was excellent, with the Forbidden Friendship cue almost bringing me to tears. I didn't really notice his music in the film HANCOCK, but after everyone on here was raving about the last few cues, I revisited it on CD and now find it absolutely stunning! I still don't love everything he does and tend to like bits and pieces of his scores over the whole thing, but he is a composer who I look forward to hearing new scores from and can't wait to hear his efforts on SOLO (with a main theme by John Williams).
Not the biggest fan of Powell - the first HTTYD is his best score.
Aside from that one I tend to mostly just like parts of his score rather than something as a whole. I don't think I can add much apart from recommending the first HTTYD score which is a good score. It is the only score from him that have made my end of the year list from a particular year I think...
I like parts of the three Bourne scores, Endurance and Hancock too to mention a few, but these scores pale as a whole when compared to the first HTTYD.
GIGLI has got some lovely laid back tracks and a catchy main theme, plus a track near the end (Nice Weather) which makes me think of a western scored by Powell. Again, it's too long and needs major whittling, but it's good bits are errrr, good
The scores for the four Bourne films starring Mat Damon are the highlights for me. To a lesser degree I also like Knight and Day and Paycheck. I bought HTTYD 1 and 2 plus various others on the back of these and have just listened to excerpts from Ferdinand but I just can't get into them.
I think for me it is because they sound like compositions for a big band orchestra rather than going for a symphonic orchestral sound, if that makes sense?
I think I get what you mean Michael. There's a rhythm to his writing that comes off almost as a dance track. I'd say that's why he's been so successful in action thrillers and animated films. His style fits them perfectly.
I think I get what you mean Michael. There's a rhythm to his writing that comes off almost as a dance track. I'd say that's why he's been so successful in action thrillers and animated films. His style fits them perfectly.
Yes, that's it, plus a lightness to the orchestration.
I am hoping to hear more of a 'symphonic sound' from him as I know he is quite capable of it, especially if the SW news is to be believed.
I remember reading an interview with him wherein he said he thinks it's really important to listen to ALL types of music, from rock, pop, dance, hip-hop etc, to absorb the different styles and rhythms going on. He uses that as a continual learning curve. It's also obvious, with some of his recent compositions, that he's gotten heavily into the work of the Russian classical composers. His two sequel scores (Happy Feet 2 and HTTYD2) are certainly evidence of this and that Requiem piece he did.
DEATH AND TRANSFIGURATION THE MOON AND THE SUPERHERO
That’s all he’ll ever need to put on his resume as far as I’m concerned. Tremendous, soaring theme preceded by a powerful cue that scores the perfect version of a severely imperfect scene and movie.
He does wiff some scores, like the current Ferdinand, it is inconsequential musically or thematically.
Almost no one saw the film Pan in 2015 which Powell did a replacement score. I didn't get it fully when watching the film, but once I got the extensive Sony CD of the score I was impressed, it is a pretty great fantasy score with some rather massive orchestral pieces in it, and it has real themes to it. It is a delightful and adventurous score.
I think for me it is because they sound like compositions for a big band orchestra rather than going for a symphonic orchestral sound, if that makes sense?
Yes, that makes perfect sense, and probably explains why I struggle to listen to him. I also find a lot of his stuff very busy and frenetic and ultimately fatiguing to listen to. I hope Solo will be more in the JW vein established for the franchise.
He does wiff some scores, like the current Ferdinand, it is inconsequential musically or thematically.
Almost no one saw the film Pan in 2015 which Powell did a replacement score. I didn't get it fully when watching the film, but once I got the extensive Sony CD of the score I was impressed, it is a pretty great fantasy score with some rather massive orchestral pieces in it, and it has real themes to it. It is a delightful and adventurous score.
NOW this is something. I went to iTunes and listened to excerpts from the score (10 in all). Very impressive large orchestral pieces with chorus as well. Two action tracks slipped into animation mode with 'dance rhythms' percussion etc. Strange. Then back into 'symphonic orchestral' mode etc. I have ordered the CD on the back of what I have heard.
This, plus his serious symphonic output, is good news for the SW film. I hope Powell steps up to the fully symphonic plate with that one.
I waffle with Powell - I've tried getting into a variety of his scores, but the only ones that stick are (and don't judge me): Horton Hears A Who, which while stylistically is all OVER the place, but has some really lovely melodies; and Mr. And Mrs. Smith (not typically a fan of Latin American-styled music, but this one hit the target for me for some reason). Otherwise, like some others have said, I like parts of his scores much more than the whole.
Hard to convince somebody to like something they don't. I happen to love the Bourne scores (2 and 3 especially), which I think are a lot more substantive and well constructive than some here give them credit for. Other action scores of his I like a lot are "The Italian Job" and "Mr. & Mrs. Smith." For a quirky drama score, give "I Am Sam" a try.
I know John Powell is regarded as one of the best (if not the best) composers to emerge from the music factory known as RC, but I've had a hard time getting to enjoy his music. I own HTTYD2 but couldn't make it past the 1st track. I also have a few of his cues on the various V/S Anniversary sets, of which I enjoy X-Men TLS. The Lorax, Robots, Shrek, Kung Fu Panda aren't my scene. I've heard bits of the Bourne scores and find them insufferable (although they are probably fine in the films). Any suggestions on where to start?
I think he's partly hamstrung by doing so many animation scores that require him to bounce all over the place stylistically and often within only very short cues. That said, if you just don't warm to that "John Powell sound" given the examples above, you might like some other scores--or at least cues--where he stretches his legs in slightly different directions.
He released a preview for another piece called "The Prize Is Still Mine" that was available on his SoundCloud page for a time but has been taken down. I can't find it streaming anywhere at the moment but he is supposed to be releasing an album of his choral works.
