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 Posted:   Jan 25, 2020 - 7:09 AM   
 By:   Replicant006   (Member)

I agree that Williams' scores for this last trilogy were more on the serviceable side than the memorable side, aside from a few marvelous new themes. But I wonder how much much of that can be laid at his feet, or if it speaks more to the material and finished product he had to work with. It makes me wonder that if the last film had been of the same caliber as, say, A New Hope or Empire, where there were bigger "set pieces" or the scenes were way less frenetic and allowed to breathe a little more, would it have resulted in a much better score.

With exceptions, of course, I think that while many films owe much of their success to the score, the scores also are only as good as the film allows.

 Posted:   Jan 25, 2020 - 7:29 AM   
 By:   solium   (Member)

Powell did a great job on Solo, but admitted himself that it was like working with some kind of Higher Being when he watched him at work up close. And don't forget Williams supplied a lot of the meat on the bones of the Solo score.
JNH and Joel McNeely would write fine scores, even if the latter would just be fed through the JW algorithms super computer.
And I'll dance on your grave, you cheeky young Newb.

True I don't know how far Williams involvement was on Solo. Though there are some marvelous cues (in Solo) with the kind of depth I haven't heard since A New Hope and Empire. I think Powell's work on HTTYD shows he has the chops for this franchise.

 Posted:   Jan 25, 2020 - 8:02 AM   
 By:   Michael Scorefan   (Member)

I see the JW's cultists are out in full force. The last three scores are serviceable but hardly memorable or classics. The well has run dry and the spark is no longer there.

Powell could've done a bang up job. So could Joel McNeely, Jame Newton Howard, probably ten other composers.

Sure, they could all have done a great job. And you could say the same thing about every other score in existence. There are always plenty of talented contemporaries who could theoretically produce greatness. Nobody exclusively owns lightning in a bottle. Such conjecture is especially persuasive if you are underwhelmed by what was actually produced. But comparing something that exists with a hypothetical seems a bit silly. Much like comparing apples with something that doesn't exist but seems enticing.

 Posted:   Jan 25, 2020 - 8:05 AM   
 By:   Kev McGann   (Member)

You're preaching to the converted, sol, when you praise the film work of John Powell.
I think he's one of the finest of the newer generation.
But Williams' DNA ran right through the Solo score for me, embellished by that more modern/percussive sound of Powell.
I think Williams' more cohesive sound and style was compromised by the way the sequel trilogy films were made, wherein JJA makes the films as he goes along in bits and pieces and Rian Johnson talked a good 'blank canvas' talk but ended up falling back on existing stuff and sticking close to the SW temp track.
Williams used to go away for a few weeks, write up a storm, then come back and layer in the music with some slight/additional tweaks on the scoring/recording stage.
Oh for those days of composer freedom, trust and creativity.

 Posted:   Jan 25, 2020 - 9:53 AM   
 By:   Octoberman   (Member)

Powell was GREAT on the Dragon movies.

 Posted:   Jan 25, 2020 - 10:06 AM   
 By:   leagolfer   (Member)

Powell was GREAT on the Dragon movies.

I hate remakes the one thing I took from the Italian Job was Powell's effort although its not as refreshing as Q's - it still has that cool detail of rich synthetic material I enjoy it, I'll give Dragons ago.

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