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Far from it, IMO. At times it's pretty out there. But the edge it has is what makes it such a great score. And it's not edgy if it doesn't cut every once in a while.

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As long as Williams, Elfman, Goldenthal, Arnold, Newman, Howard, Shore and a few others are still alive, Powell doesn't qualify as genius or extraordinarily brilliant; and even after they died, he'll only get pushed there because no one's left.

You know, up until the other day I firmly believed that Goldenthal was dead - then I realized I've been confusing his death with Pouledouris.

It seems Goldenthal wrote 2 brass quintets, one of which was published, I may have to order it..

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I still don't get why Arnold is particularly great. His career has been remarkably sporadic. (...)

So is Williams' recently. Or Goldenthal's, at least as far as film music is concerned.

While Arnold don't write music that can be considered art, it's still one of the most ass-kicking and thematically interesting thesedays. Too bad that he has been involved in lesser projects for so long and many of his scores weren't even properly released (e.g. The Stepford Wives).

John Powell on the other hand is more in demand in major MP today and that gives him credit. As for his music, it's also far from the art level, but - as well as in Arnold's case - it's a really good and properly written entertainment.

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I like some of Powell's work, but, more often than not, his scores tend to be a thousand ideas and no coherency at all. It's all nice, I just wish he had a little bit more focus.

Karol

Try Hancock. I personally think it's Powell's most accomplished action score to date. It introduces a few cogent themes, varies them throughout the course of the score and like Morlock said, it recaps the main theme in one helluva exciting way in Death and Transfiguration (penultimate track). The score goes through a variety of styles and genres but they always have the three main themes in there in some form of melodic or harmonic variation.

I like Powell a lot which is something for me since I disdain anything close to MV sound. I think Powell is growing further away from his MV roots with every score he does.

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I like some of Powell's work, but, more often than not, his scores tend to be a thousand ideas and no coherency at all. It's all nice, I just wish he had a little bit more focus.

Karol

Try Hancock. I personally think it's Powell's most accomplished action score to date. It introduces a few cogent themes, varies them throughout the course of the score and like Morlock said, it recaps the main theme in one helluva exciting way in Death and Transfiguration (penultimate track). The score goes through a variety of styles and genres but they always have the three main themes in there in some form of melodic or harmonic variation.

I'm actually familiar with this score. Some portions of it I really nice, some - not so much. But I like the first and the last two (or three) tracks very much.

I like his Ice Age 2 and The Bourne Ultimatum. The latter is certainly the strongest of the trilogy. I really like the idea of music being more and more acoustic as the story progress and the character learns who he is. X-Men: The Last Stand is fine, even if a bit overblown.

Karol

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Jay Rifkin and Hans Zimmer co-founded Media Ventures back in the day. In 2003, Rifkin filed a $10 million dollar lawsuit against Zimmer for conspiring to take business for himself. Rifkin took the name with him, and thus Remote Control Productions was born.

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You know, up until the other day I firmly believed that Goldenthal was dead - then I realized I've been confusing his death with Pouledouris.

He came close a few years ago. He suffered a serious head injury but appears to have recovered.

Powell is ok but at times still carries that RC sound with him.

He's nowhere near being great at the moment.

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You know, up until the other day I firmly believed that Goldenthal was dead - then I realized I've been confusing his death with Pouledouris.

He came close a few years ago. He suffered a serious head injury but appears to have recovered.

And seemingly semi-retired, unfortunately.

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I like some of Powell's work, but, more often than not, his scores tend to be a thousand ideas and no coherency at all. It's all nice, I just wish he had a little bit more focus.

Karol

Try Hancock. I personally think it's Powell's most accomplished action score to date. It introduces a few cogent themes, varies them throughout the course of the score and like Morlock said, it recaps the main theme in one helluva exciting way in Death and Transfiguration (penultimate track). The score goes through a variety of styles and genres but they always have the three main themes in there in some form of melodic or harmonic variation.

I'm actually familiar with this score. Some portions of it I really nice, some - not so much. But I like the first and the last two (or three) tracks very much.

I like his Ice Age 2 and The Bourne Ultimatum. The latter is certainly the strongest of the trilogy. I really like the idea of music being more and more acoustic as the story progress and the character learns who he is. X-Men: The Last Stand is fine, even if a bit overblown.

Karol

I actually think Hancock really lacks the coherency and is overall a mediocre effort... except the final tracks, but that's too few for me to make it a good album.

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I like some of Powell's work, but, more often than not, his scores tend to be a thousand ideas and no coherency at all. It's all nice, I just wish he had a little bit more focus.

Karol

Try Hancock. I personally think it's Powell's most accomplished action score to date. It introduces a few cogent themes, varies them throughout the course of the score and like Morlock said, it recaps the main theme in one helluva exciting way in Death and Transfiguration (penultimate track). The score goes through a variety of styles and genres but they always have the three main themes in there in some form of melodic or harmonic variation.

I'm actually familiar with this score. Some portions of it I really nice, some - not so much. But I like the first and the last two (or three) tracks very much.

I like his Ice Age 2 and The Bourne Ultimatum. The latter is certainly the strongest of the trilogy. I really like the idea of music being more and more acoustic as the story progress and the character learns who he is. X-Men: The Last Stand is fine, even if a bit overblown.

Karol

I actually think Hancock really lacks the coherency and is overall a mediocre effort... except the final tracks, but that's too few for me to make it a good album.

I respectfully disagree. There is a lot of cohesion to the score. Powell just cloaks his themes in different guises but his melodic and harmonic material pervades through the entire score.

Also, Mark Olivarez, I'm a little surprised that you aren't too enthused by Powell. You and I agree on most things. Oh well, different strokes for different folks. :thumbup:

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You know, up until the other day I firmly believed that Goldenthal was dead - then I realized I've been confusing his death with Pouledouris.

He came close a few years ago. He suffered a serious head injury but appears to have recovered.

And seemingly semi-retired, unfortunately.

I don't think he's semi-retired. He simply prefers to work on projects outside the Hollywood circle.

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Also, Mark Olivarez, I'm a little surprised that you aren't too enthused by Powell. You and I agree on most things. Oh well, different strokes for different folks. :thumbup:

He's doing good, I just think people throw the word great around too much. I would like to see him distance himself away from the rest of the RC crew and not team up and work with other composers.

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Hey, Kung Fu Panda was quite an enjoyable score, and not at all an heavy MV-sounding piece. And Powell has already gone totally out of the MV world, notably on Happy Feet.

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Also, Mark Olivarez, I'm a little surprised that you aren't too enthused by Powell. You and I agree on most things. Oh well, different strokes for different folks. :thumbup:

He's doing good, I just think people throw the word great around too much. I would like to see him distance himself away from the rest of the RC crew and not team up and work with other composers.

Fair enough although he's far better than anyone else from RC. He's certainly grown more than the others have, except maybe Mark Mancina who does not seem to be at all associated with Zimmer any longer...maybe he never really was...

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Mancina....I forgot he was even out there. What's he done to catch your interest, Dave? I don't think I like any score of his outside of the limited but effective Speed.

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Twister is ok at times although there are moments that make me wonder whether or not he and Trevor Rabin hang out together and share ideas.

There are times both composer's works have too many similar sounding moments.

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I do like that the main theme in Twister is adventurous Americana on strings. But I do not recall the rest of the score. I am told, though, that Moll Flanders is quite a good score.

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Well, he did seem to have put in a lot of hours on Across The Universe. And hasn't it been anounced that he's going to be scoring Mann's Public Enemies? If it is indeed true, than I can't wait. A real gangster film, by Michael Mann, with Johnny Depp, and scored by Elliot Goldenthal? Pure bliss!

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In an older interview, he explained that he lost the ability to speak for a while, and still had a little trouble speaking fluently.

Well, he did seem to have put in a lot of hours on Across The Universe. And hasn't it been anounced that he's going to be scoring Mann's Public Enemies? If it is indeed true, than I can't wait. A real gangster film, by Michael Mann, with Johnny Depp, and scored by Elliot Goldenthal? Pure bliss!

ATU was Taymor. :thumbup: I don't recall if the Mann info was a fact or a rumour, but I do vaguely remember it now.

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I do like that the main theme in Twister is adventurous Americana on strings. But I do not recall the rest of the score. I am told, though, that Moll Flanders is quite a good score.

Moll Flanders is excellent. RCP has a thing for the UK sound. They tend to do a lot of Scotish/Irish scores, well maybe not a lot per composer, but each has like 1.

Mancina is decent, he hasn't worked on anything in a long time though, except for August Rush.

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Found it on ebay for 5 Pounds including shipping, got it. I've been waiting to come across it, I'm glad the thread reminded me of it. I'm still searching for Powell's Endurance, which seems to be quite rare.

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John Powell is clearly one of the best composers working today.

Despite his origins with MV, he has managed to keep all of his music fresh and original.

I think one of my favorite things about his music is how it always manages to sound better than the last time I listened to it, no matter how many times that may be. Most music from other composers tends to do the exact opposite.

His recent work for Horton Hears a Who is the best score I've heard in several years. And so many of his scores are completely underrated. Take The Adventures of Pluto Nash for example. Sure it came with a travesty of a movie, but the music is brilliant!

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