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The Composers, Scores, and the Chewers Who Love Them Thread - Page 21

post #1001 of 1226
Has Powell EVER been nominated for an Oscar?
post #1002 of 1226
Nope.
post #1003 of 1226
Quote:
Originally Posted by Richard Dickson View Post
True, but if you look at their solo scoring efforts, it kind of becomes obvious who did the heavy lifting in their collaborations.
Would you say the same for Shrek? Honestly, I think they worked very well together and in the spirit of their collaboration I'm not going to take an unfair jab at Gregson-Williams. Plus, that's opinion. Unless you were at the scoring sessions, then I'm extremely interested.

Do I think Powell is a better? No doubt.
post #1004 of 1226
Ridiculous.

EDIT: In regards to Powell never having been nominated.

Hearing both Powell and Gregson-Williams' solo efforts, I'm also feel that Powell's sensibilities seem to pop the freshest when I hear them work together. But I do love Gregson-Williams' work on Kingdom of Heaven.
post #1005 of 1226
Quote:
Originally Posted by TaylorF View Post
Would you say the same for Shrek? Honestly, I think they worked very well together and in the spirit of their collaboration I'm not going to take an unfair jab at Gregson-Williams. Plus, that's opinion. Unless you were at the scoring sessions, then I'm extremely interested.
No, it's just that, based on the scores I've heard from both of them, I hear a lot more Powell in their collaborations than I do Gregson-Williams. Wasn't meant as a jab.
post #1006 of 1226
I'm interested, then, what is a Powell sounding score to you?
post #1007 of 1226
I know you're asking Dickson, but I wanna jump in here!

Since I'm not articulate when it comes to discussing the intricacies of film scoring, I can really only say that over both of their careers, I've always been much more attracted to listening to Powell's solo efforts over that of Gregson-Williams. So it could very well be a case of confirmation bias when I say I hear the former's voice more than the latter's when they work together. But I don't think so... Hahaha.

Powell's scores always feel a lot more fun, propulsive, and alive. Gregson-Williams usually comes across just 'cool' without much life to anything (KoH excepted).
post #1008 of 1226
The "Fairy Tale" theme from Shrek and most of Chicken Run sound a lot like Powell to me.
post #1009 of 1226
I am not good at articulation either so bear with me.

I think Gregson-Williams is much more apart of the machine that is Remote Control, than Powell ever was. Therefore I think Powell's sound does tend to stand out a little more.

What I love about Powell is that he is a percussionist that isn't afraid to use the snare drum whenever he can. It's basically a staple of the Powell sound that he uses the snare drum. His percussion always sounds great. I also enjoy his use of the brass section. The other love I have for Powell is his ability to write thematically and blend his themes in and out of other pieces within the film. He has the ability to write wonderfully, rousing pieces and yet can dial it back and really pull emotion from the music such as in "Forbidden Friendship".

And yeah, the question is open to anyone that might like to respond.
post #1010 of 1226
What mcnooj said probably applies as well.
post #1011 of 1226
I guess what I'm looking for is if you guys think Powell has a unique sound. There is an ongoing argument about the newer composers lacking a unique sound like Goldsmith or Williams among others. I think Powell has the ability to create a very unique sound, and has already begun to carve it out.
post #1012 of 1226
I wouldn't say completely unique, but more a fresh take on some of the older tropes.

There are moments in the Dragons score that sound a LOT like the Chicken Run score. Like almost Horner-esque in their similarity.
post #1013 of 1226
I would even go as far as saying "Forbidden Friendship" is similar to a couple tracks in Shrek. But I won't put the Horner ripping label on him yet.
post #1014 of 1226
Powell is also responsible for giving my generation its very own Bond theme with the Bourne series. I can hear those rising and falling cellos any time and my adrenaline get pumping.

He has his moments of being unfortunately--his score for X-Men 3 left no imprint at all--but by and large he's one of the more consistently interesting composers out there. I don't think he'll ever hit iconic status like Giacchino is headed for, but in addition to the Goldsmiths and Williams, we also need people being David Shire.
post #1015 of 1226
I disagree about X-Men: The Last Stand. The movie let him down, but I think the soundtrack album is pretty stellar. I actually think that the Phoenix tracks are among his best work.
post #1016 of 1226
Quote:
Originally Posted by MichaelM View Post
I've loved Lifeforce's main theme for a long time, and have it electronically, thanks to a compilation CD from the local library. It's a fantastic fanfare - rousing, adventurous, and great fun.
That deluxe edition CD set that was put out a couple of years ago was pretty awesome.

Also, the movie's on Hulu at the moment. Gotta check it out.
post #1017 of 1226
Quote:
Originally Posted by TaylorF View Post
I've been contrary as long as I can. For me, Elfman's Batman theme has represented more the Batman the movie, than Batman the character. There are multiple reasons why, but there it is. Suffice to say, I'm not a huge fan of Elfman's Batman score.

Spider-Man does have a lot of similarity.



Would you mind explaining how it is more complex? I will say that I'm not a big fan of Goldenthal's Batman either, but the theme does represent Batman the character better for me.

Taylor,

Sorry for not replying sooner. Glad to hear you can sort of relate to my feelings about the Elfman score in some ways, and as to my notion that the Goldenthal score is more complex... I quite simply lack the vocabulary to explain what I mean by that statement. I've taken courses in music history, but not music theory. I know what I'm hearing but can't really communicate it to you verbally. I'm sorry.

It's cool to know you too feel it's more 'Batman-y' though.
post #1018 of 1226
Quote:
Originally Posted by Princess Kate View Post
Taylor,

Sorry for not replying sooner. Glad to hear you can sort of relate to my feelings about the Elfman score in some ways, and as to my notion that the Goldenthal score is more complex... I quite simply lack the vocabulary to explain what I mean by that statement. I've taken courses in music history, but not music theory. I know what I'm hearing but can't really communicate it to you verbally. I'm sorry.

It's cool to know you too feel it's more 'Batman-y' though.
It's cool PK.
post #1019 of 1226
Quote:
Originally Posted by TaylorF View Post
It's cool PK.
Well, I can't really describe what I hear with the notes but to elaborate on Batman-y, I guess it sounds darker, weirder, kind of malevolent. It sounds like the kind of music a nut like Batman might skulk around a city like Gotham listening to. The Elfman music, while not exactly lightness and sunshine, is bounding and adventurous. I know there are different interpretations of Batman, but I've always preferred the weird-fiction detective to the caped crusader.
post #1020 of 1226
Princess Kate, You are...correct! Danny Elfman, does re-use similar themes from his superhero series/films. Batman, Batman Returns, The Spider-Man films, Hellboy II etc! Shirley Walker's The Flash sounds very similar to Elfman's Batman score as well.
post #1021 of 1226
The Vangelis 1492:COP score is wonderful, and the music as Columbus walks out of the surf and into the New World is full of frightening and full of portent

EDIT: @ Mr Fleed

Glad you and I see eye to eye! Have not heard the FLASH score, will have to look it up sometime
post #1022 of 1226
Finally, it's released: http://www.lalalandrecords.com/HumanTarget.html and (at risk of being a shill) very reasonable at $24.98 (plus $4.00 for S&H)!


ETA: Shipping cost.
post #1023 of 1226
So I finally got to see How To Train Your Dragon. Before the end credits had wrapped up, I was on Amazon buying the soundtrack as MP3 downloads. And "Test Drive" is now in my iPod's Top 25 Most Played list.

Powell may not be the next Williams or Goldsmith just yet, but he's moving up the list.
post #1024 of 1226
Powell just continues to put out solid work consistently while giving us stuff like How to Train Your Dragon here and there. Is it just me, or does it seem like he doesn't get all that much attention despite the great work he does? Is that the price he must pay for scoring Gigli!?

Hope you post in the thread for the movie itself too, Greg.
post #1025 of 1226
For all of us How To Train Your Dragon fans out there, a suite of the music was played at Concert for CARE. Not only that, but to actually see Powell conduct is very rare! Enjoy it. I know I did.

http://www.youtube.com/watch?v=o1VZ_DZl0nw
- PART 1
http://www.youtube.com/watch?v=soUcux5_spU - PART 2
post #1026 of 1226
That's awesome. Thanks for the link. I've never seen Powell conduct.
post #1027 of 1226
By the way, I know the film itself isn't held in high esteem, but if you're a Powell fan, I highly recommend picking up the soundtrack for Evolution. For some reason, they decided to score it as a western. It fits in alongside The Magnificent Seven.
post #1028 of 1226
Yeah, I have that one. Very good score.
post #1029 of 1226
Any fellow Alexandre Desplat fans here? I'm thrilled by how his career outside of France has been progressing (yes, he did score New Moon, but Carter Burwell scored Twilight and I'm not holding it on him), and he's worked with a lot of good directors, from Roman Polanski to Terrence Malick.
post #1030 of 1226
I'm somewhat of Desplat fan. He has a a good chance to win an OSCAR this year, with The King's Speech and HP7. The samples from Potter sound great!
post #1031 of 1226
So he IS scoring Harry Potter 7? Both parts? Whatever happened to Williams coming back to finish it off?

I think I first really caught onto Desplat's work on Fantastic Mr. Fox.
post #1032 of 1226
Quote:
Originally Posted by mcnooj82 View Post
So he IS scoring Harry Potter 7? Both parts? Whatever happened to Williams coming back to finish it off?

I think I first really caught onto Desplat's work on Fantastic Mr. Fox.
Desplat has only scored Part I so far. There have been no announcements yet for Part 2, but rumor is that Warner is trying for Williams to finish off the franchise. Given the samples that I've heard from Desplat's work, though, I wouldn't be totally heartbroken if they couldn't get Williams to do it on time, although considering how long Part II will in post, I think there's a good chance of Warner getting a deal with him.

Also, thanks for mentioning Fantastic Mr. Fox. That's a really great score, in my opinion.
post #1033 of 1226
Yeah the 1st part is already up at amazon for pre-order. And I'm pretty sure he is doing part 2 as well. All that Williams stuff, turned out to be unfounded.

You can check out the samples at the link below:

http://www.amazon.co.uk/Harry-Potter-The-Deathly-Hallows/dp/B00497ZMOE/ref=sr_1_3?ie=UTF8&qid=1288198634&sr=8-3


There is also a special collectors edition that will be released in December of the score too. It's an interesting box set to be sure.

http://www.amazon.com/Harry-Potter-D...8198575&sr=8-2
post #1034 of 1226
There have been so confirmations for Part II. It's definitely not a sure deal with Desplat, but considering how pleased Warner apparently is with his work for the first part, I'm sure he will be their choice if Williams can't return for the finale. I'm pretty sure those rumors about him aren't entirely unfounded too.
post #1035 of 1226
That's why I didn't give a solid confirmation...
post #1036 of 1226
Quote:
Originally Posted by TaylorF View Post
That's why I didn't give a solid confirmation...
Ah. It sounded like you were certain about the rumors being absolutely unfounded.

Anyway, out of those samples, The Exodus and Lovegood are two of my favorites.
post #1037 of 1226
Poledouris' Conan, newly-recorded 2-disc set!
post #1038 of 1226
Quote:
Originally Posted by Hammerhead View Post
Poledouris' Conan, newly-recorded 2-disc set!
I'm not exactly unhappy with how the original score sounds (I think the sparseness of the orchestra helps it out), but damned if that clip didn't sound great.

EDIT: And those Potter track listings at Amazon pretty much nail down where the split takes place.
post #1039 of 1226
Quote:
Originally Posted by Richard Dickson View Post
I'm not exactly unhappy with how the original score sounds (I think the sparseness of the orchestra helps it out),
Poledouris himself would disagree with you.
post #1040 of 1226
Quote:
Originally Posted by Hammerhead View Post
Poledouris' Conan, newly-recorded 2-disc set!
Awesome news!

This made me chuckle with its use of present tense since Poledouris now conducts for Crom atop the mountains in the sky:

"Basil Poledouris has never been happy with both the original performance and the recording in Rome. The composer has always been very disappointed that the Rome orchestra could not provide every desired instrument he wanted in the score. This is now corrected for this new complete recording featuring 96 musicians and a choir of 100 voices."
post #1041 of 1226
I'm a little afraid of this release, actually. I'm all for fulfilling the original artist's vision of the piece. But I love the original score so much that I'm a little leery of mucking about with it. Whether Poledouris would agree or not, I think the original version works brilliantly.
post #1042 of 1226
All those clips tell me is that the poor bastard scoring the new Conan, whoever it is, has an impossible task.
post #1043 of 1226
Quote:
Originally Posted by Greg David View Post
I'm a little afraid of this release, actually. I'm all for fulfilling the original artist's vision of the piece. But I love the original score so much that I'm a little leery of mucking about with it. Whether Poledouris would agree or not, I think the original version works brilliantly.
Seconded heartily. The original version is still one of the best film scores, period.
post #1044 of 1226
I'd been wanting to fill out my collection of western scores a little more. So I went to Screen Archives and their front page had a list of albums for which supplies are running low, which included Goldsmith's The Comancheros, and another Goldsmith called 100 Rifles. I'd never heard of it, but the samples sounded good, and come on, it's Goldsmith.

I threw them both in the cart with Broughton's Tombstone. I can't wait to hear them all.
post #1045 of 1226
I hope there is a good composer for the new...Conan (the Barbarian, not O'Brien).
post #1046 of 1226
Jerome Moross' Valley of Gwangi is one of my favorite Western scores. Unfortunately, it looks like this is all that's out there. I think it gets overlooked because (a) people don't think of it as a Western and (b) when people think Harryhausen music they think Herrmann.
post #1047 of 1226
Quote:
Originally Posted by duke fleed View Post
I hope there is a good composer for the new...Conan (the Barbarian, not O'Brien).
I think it is Tyler Bates.
post #1048 of 1226
TaylorF, Cool, Thanks for the...info.
post #1049 of 1226
I think CENTAURIAN had some stellar scoring. It really serves to elevate the film IMHO
post #1050 of 1226
Quote:
Originally Posted by Greg David View Post
I'd been wanting to fill out my collection of western scores a little more. So I went to Screen Archives and their front page had a list of albums for which supplies are running low, which included Goldsmith's The Comancheros, and another Goldsmith called 100 Rifles. I'd never heard of it, but the samples sounded good, and come on, it's Goldsmith.
The sound quality on 100 RIFLES isn't exactly pristine, but it has a couple of wonderfully aggressive action passages. Another of his westerns worth picking up, if you don't already have it, is WILD ROVERS.
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