Powell vs. Giacchino

[David Coscina 3]

Simple question. Amazingly, as much as I love LOST and The incredibles, I would say for film work, I would go with Powell. I really like the sound he's carved out and Hancock, Paycheck, The Bourne series, Kung Fu Panda (yeah, it's mostly Powell, seriously), Shrek (the Powell parts) are all enjoyable and fun. Even The Italian Job has its moments. In fact, I think I have most of his scores. I like his use of harmony especially. While I think Giacchino has a more natural sound (more acoustic) and Powell can get a little bit too frenetic at times, I do like the body of his work a wee bit more.

however, Trek is coming out and if that kicks, on top of ROAR! which is a lot of fun, it could balance the scale more. I would submit that Powell has more of an identifiable style. He does himself. Giacchino is a massively talented guy but LOST seems to be his only vehicle that brings out his own sound. Now don't get me wrong, I have mad respect for Giacchino.

[Ollie 1,059]

Sorry Dave, gotta go with Giacchino.

Powell's music is ok but a tad bit too generic at times. I agree that he is the driving force behind scores like Shrek & Chicken Run but some of his music leaves me unimpressed.

I will say Giacchino is more original than people give him credit for.

[Morlock 11]

I'm going with Powell. More for the quantity and variety than for quality, though. Powell has given me several interesting pieces of work, while with Giacchino it comes down to The Incredibles and his incredible work on Lost. Of course, neither is too shabby, and I'm probably more excited to hear what Giacchino does next than Powell, if only because Powell seems to get a lot of the same assignments (and often knocks them out of the park, I might add).

[ChuckM 1]

Giacchino is certainly one of the best composers working right now, but Powell still surpasses him by quite a bit.

I think it's his quality of re-listen-ability that I like most of all. It seems that I simply cannot get tired of a Powell score no matter how often I listen to it.

If nothing else, just the sheer quantity of his scores is notable. Once Giacchino has done a few more film scores we'll be able to see better how they stack up against each other.

[Neimoidian 14]

So far I prefer Giacchino's music, maybe except Lost series. Powell writes great cues, though, but some of his albums (like Hancock, for example) tend not to impress me, even in spite of highlights that are there. Sometimes, his music is also too frenetic and chaotic for me.

[222max 1]

I'm going MG. I really like of lot of Powell's work, particularly his high energy, rhythmic writing such as the Bourne movies and The Italian Job. But when he gets into more pure orchestral writing Giacchino leaves him behind. For me Giacchino is more a composer and less a stylist while Powell is less a composer and more a stylist. Powell's X-men score, for instance, has its moments but fails as an example of good compositional writing. I see tremendously more potential in Giacchino than Powell.

I would even say that I think a few of Powell's contemporaries are even better composers than he... Klaus Badelt for example.

[Neimoidian 14]

I'd like Powell to take a break of scoring animated features and concentrate more on drama. I am looking forward to what he could pull off there (I haven't heard United 93 so far, at least outside the movie).

[BLUMENKOHL 1,068]

Michael Giacchino, over this past 6-7 years has redefined himself in many crucial ways. He has gone from being the Medal of Honor composer (a great title in an of itself) to becoming the finest composer working today. He stands even above the current "edition" of John William if you will. His skills are proliferating at a rate unmatched by any other composer.

John Powell over the past few years has redefined himself as well. He has stepped outside of the bubble of Media Ventures and explored his own talents. He is certainly talented, but ultimately, Giacchino is few dozen steps ahead in the talent department. There is something innately long-lasting about what Giacchino writes. One can listen to "Locked Out Again" over and over for a month without losing connection with it. John Powell's best generally tends to be a seasonal thing.

Giacchino is the first of the new breed of composers whose music sounds great to the ears, but at the same time manages to be unpredictable. That feeling that one gets when listening to a new soundtrack, hearing a theme that sounds so natural and one thinks they can tell what the next note will be, but he gets a completely different note....which is even better than what you were thinking.

Some would say Giacchino wrote/writes a lot of pastiche. Good! We stand on the shoulders of giants....which makes us taller. Giacchino is the tallest composer out there. And when he breaks out (as he did with Lost) his creative energy and skill are unparalleled.

Regardless, if the future is John Powell and Giacchino, I say bring it on!

[JoeinAR 1,949]

this is difficult, neither composer has done anything really outstanding. Neither has shown the ability to go much beyond standard underscoring. Both borrow way too much. Williams on his most unispired day still casts a huge shadow over both of these moderately talented minor film composers.

[publicist 4,643]

I'm going MG. I really like of lot of Powell's work, particularly his high energy, rhythmic writing such as the Bourne movies and The Italian Job. But when he gets into more pure orchestral writing Giacchino leaves him behind. For me Giacchino is more a composer and less a stylist while Powell is less a composer and more a stylist. Powell's X-men score, for instance, has its moments but fails as an example of good compositional writing. I see tremendously more potential in Giacchino than Powell.

I would even say that I think a few of Powell's contemporaries are even better composers than he... Klaus Badelt for example.

If i take 'MI III' as an example of Giacchino's writing, i'm rather less impressed, the same goes for 'Lost'. I kind of liked 'Ratatouille' and some of his earlier videogame work (which was highly derivative), but on the whole, Powell is much more adept at rekindling my lust for new film music. At least my iTunes library shows more than 40 pieces for Powell, whereas G. has around 10.

this is difficult, neither composer has done anything really outstanding. Neither has shown the ability to go much beyond standard underscoring. Both borrow way too much. Williams on his most unispired day still casts a huge shadow over both of these moderately talented minor film composers.

Rubbish. Williams on his most uninspired day bores the tears out of everyone while a juicy Powell animation track can get you alive and kicking for an hour.

[JoeinAR 1,949]

nothing Powell has ever done makes me alive and kicking, but then I haven't liked a single movie that powell composed. I'll reluctantly go with Giachinno.

[publicist 4,643]

nothing Powell has ever done makes me alive and kicking, but then I haven't liked a single movie that powell composed. I'll reluctantly go with Giachinno.

I haven't even seen them but i somehow doubt you even bothered to listen to Powell's stuff. Powell may not be a very 'deep' composer (which means so much to some), but to deny him his catchiness is absurd. Just listen to his inventive instrumental ideas and decisions. The last time Williams got that playful was...well... a long time ago ('Prisoner of Azkaban' has at least some of this).

[JoeinAR 1,949]

nothing Powell has ever done makes me alive and kicking, but then I haven't liked a single movie that powell composed. I'll reluctantly go with Giachinno.

I haven't even seen them but i somehow doubt you even bothered to listen to Powell's stuff. Powell may not be a very 'deep' composer (which means so much to some), but to deny him his catchiness is absurd. Just listen to his inventive instrumental ideas and decisions. The last time Williams got that playful was...well... a long time ago ('Prisoner of Azkaban' has at least some of this).

the only powell scores I own are antz and evolution, neither of which has been played in years. they were gifts I did not purchase them nor would I have. I seem to recall I thought evolution was not too bad.

I remember thinking how bad the music was in X3. I listened hard for the music in Hancock, trying to decide if this black superman might have a unique sound, he didn't. I came out of Bolt thinking that was an ineffective score.

Uinted 93 is a score that I thought was purely manipulative (which is fine, thats what its for) but in a way that pushed me away. I'm not familiar with Shrek or Kung fu panda, they are movies I would never waste my $$ on.

[BurgaFlippinMan 7]

i like MG's sound more, but so far I've liked more Powell scores overall. If that makes any sense.

[Red 75]

Giacchino, but I do like Powell.

[Charlie Brigden 7]

Giacchino. The Powell material I've heard on its own doesn't interest me thus far, although I like KUNG FU PANDA, but I don't know how much is Powell and how much is Zimmer.

[Red 75]

Powell's X-Men: The Last Stand is very good.

[Trent B 337]

I voted Powell simply because I enjoy his music a lot more than Giacchnio's. Giacchnio's music doesn't click with me like Powell's does.

[Marian Schedenig 8,193]

Powell has done some nice stuff, Chicken Run is outstanding and X3 is really good as well, and he seems to have quite a bit of skill to do more than the just run-of-the-mill MV stuff I remember hearing in some of his earlier scores. I'm not very familiar with his output as a whole.

But Giacchino has flexibility, an obvious joy in experimentation, a knack for excellent spotting, and also quite a bit of brains. I'm more excited about him than any other "young" Hollywood composer.

[222max 1]

X-Men is one of Powell's weakest scores in my opinion. The main title is good and so are a couple of the themes such as the ones for Angel and Phoenix but a lot of it is just busy, formless bombast to me. And there is more than one moment where I felt like I was hearing Danny Elfman in the score. As I said, I like Powell's style more than his actual composition. For example, he does a good job of synthesizing middle eastern rhythms into his scores, even in Antz.

But I also feel that Powell has kind of congealed into the composer he is. I don't think that 5 years from now he will have leaped beyond himself whereas I think Giacchino is a vast well who's depth is only now starting to be mined. In 5 years I think he will be a phenomenal talent the same way we knew Goldsmith and Williams would be in their blooming years.

[crocodile 8,013]

So far I prefer Giacchino's music, maybe except Lost series.

How dare you?

Karol - who likesthem both equally

[ChuckM 1]

I certainly hope that Powell has not "leaped beyond himself" in 5 years. His music is amazing right now. I do not want to see his music go the way of Williams.

Giacchino still has plenty of room for improvement through.

[Charlie Brigden 7]

For those who are Powell fans, what would you recommend to convert a non-believer?

Bear in mind I do not like his X3 score.

[Neimoidian 14]

So far I prefer Giacchino's music, maybe except Lost series.

How dare you?

Karol - who likesthem both equally

I found the first soundtrack OK, but I was bored to death by the second and third ones.

[ChuckM 1]

For those who are Powell fans, what would you recommend to convert a non-believer?

Bear in mind I do not like his X3 score.

Hancock (particularly the tracks at the end of the score), Happy Feet, Bolt (FYC Promo), Evolution, Rat Race, Mr. and Mrs. Smith.

[Neimoidian 14]

For those who are Powell fans, what would you recommend to convert a non-believer?

Bear in mind I do not like his X3 score.

Hancock (particularly the tracks at the end of the score), Happy Feet, Bolt (FYC Promo), Evolution, Rat Race, Mr. and Mrs. Smith.

I'd say Bourne Supremacy or/and Ultimatum.

[BLUMENKOHL 1,068]

I would not recommend any Bourne except Supremacy.

[Richard Penna 3,690]

I'm not a 'fan' of either, in that I won't automatically investigate a new score from either unless I know something about the film.

Problem is, Powell has such a unique sound that when he tries any genre outside comedic action, it just sounds to me like Powell, and not like a serious score. I think Giacchino's palette is quite a bit wider - I mean Ratatouille couldn't be more different from MI:3. But... his sound doesn't click with me as much.

So my problem is, I think Giacchino is a more rounded composer, but I like listening more to Powell's music. So I have to go with who I think is better, or who I like more.

Powell it is.

[ChuckM 1]

I think one of my biggest problems with Giacchino, is that he does not have his own style defined very well. He is the master at imitating other styles (which is why I think he will do such an excellent job for Star Trek), but he can't seem to develop a style that is all his own.

For example:

The Incredibles - takes on an older big band style with some James Bond thrown in.

Mission Impossible III - uses mix of the styles of Lalo Shifrin and Danny Elfman (thankfully he avoided any of the Zimmer style from II).

Ratatoullie - is a very French sound. That's really the only way I can describe it.

Cloverfield - copies the sound of the older monster movies. King Kong, Godzilla, etc.

Speed Racer - is based on the sound of the original Speed Racer.

The closest he's gotten to his own sound is the Call of Duty/Medal of Honor/Secret Weapons over Normandy games. But even they take quite a bit from JW and other composers.

Powell, on the other hand, is absolutely unique. He sounds like John Powell. Period.

[Datameister 2,043]

I'm gonna vote for Giacchino. His work on LOST alone is enough, but on top of that, I've really enjoyed his work on The Incredibles, Disneyland's Space Mountain, and some of Ratatouille. I really don't own much of Powell's work, though I certainly get a kick out of the score to Shrek.

The funny thing about Mikey G. is that his music frequently does NOT connect with me at first. It often sounds weird or slightly annoying or not really appropriate or just uninspired. Then I give it more of a chance, and before I know it, I develop a really profound emotional connection to the music, stronger than with any other young composer I'm aware of. I dunno how the guy does it, but he makes ideas that don't seem like they should be all that special...special. I'm really looking forward to hearing how the rest of his career turns out.

(One thing that does bug me, though, is how his music tends to have that slightly claustrophobic sound quality to it. It works wonders for LOST, but sometimes I just want to hear a fuller, brighter, more "digital" sound from him. I was really hoping for that with Star Trek, but from the sound of it, that won't be happening.)

[Neimoidian 14]

I think one of my biggest problems with Giacchino, is that he does not have his own style defined very well. He is the master at imitating other styles (which is why I think he will do such an excellent job for Star Trek), but he can't seem to develop a style that is all his own.

For example:

The Incredibles - takes on an older big band style with some James Bond thrown in.

Mission Impossible III - uses mix of the styles of Lalo Shifrin and Danny Elfman (thankfully he avoided any of the Zimmer style from II).

Ratatoullie - is a very French sound. That's really the only way I can describe it.

Cloverfield - copies the sound of the older monster movies. King Kong, Godzilla, etc.

Speed Racer - is based on the sound of the original Speed Racer.

The closest he's gotten to his own sound is the Call of Duty/Medal of Honor/Secret Weapons over Normandy games. But even they take quite a bit from JW and other composers.

Powell, on the other hand, is absolutely unique. He sounds like John Powell. Period.

You are right about Powell, but as far as Giacchino is concerned, you can as well call him versatile, which is good thing, actually. While I think I understand your point, I disagree. Giacchino has certain distinct sound of his own, but he is also very capable of adapting various styles to fit the movie, without losing his 'personality' in it (either it's Medal of Honor (particularly later installments), or MI:3, or Ratatoullie ). The same applies to JW - he writes sometimes completely different music, often owing a lot to classical composers... Does it mean he doesn't have a style of his own?

With all due respect - saying "Ratatoullie - is a very French sound" is a very ridiculous argument to support your POV.

[Ollie 1,059]

Yes, the film was set in Paris so one would hope the music might have a French sound to it.

I'll say this, the only similar thing Giacchino does that Williams does is compose in a thematic style, in his own voice. The only cue that truly sounds like Williams is his Nazi theme.

If composing in that style makes him guilty of copying Williams then JW, Bruce Broughton and a whole list of composers do not have their own voice and are just as guilty for copying someone previous.

[Neimoidian 14]

I would not recommend any Bourne except Supremacy.

Huh? I thought it's Identity that is the worst (it's - next to Face Off - my least favourite score of his).

[John Crichton 4]

He is the master at imitating other styles (which is why I think he will do such an excellent job for Star Trek), but he can't seem to develop a style that is all his own.

Rubbish. While it's true that many of the jobs he's gotten have required him to channel either a specific composer or score from the past, when I listen to MoH, Lost, Roar, or anything else I hear a very distinct Giacchino sound. It's as clear as any other composer, maybe even moreso.

[ChuckM 1]

I'll say this, the only similar thing Giacchino does that Williams does is compose in a thematic style, in his own voice. The only cue that truly sounds like Williams is his Nazi theme.

Listen to "The Radar Train" from Medal of Honor, then listen to "The Battle of Endor" (Into the Trap) from Return of the Jedi.

I would not recommend any Bourne except Supremacy.

Huh? I thought it's Identity that is the worst (it's - next to Face Off - my least favourite score of his).

If you want a Powell score to put you to sleep, just listed to United 93. But that type of score is (thankfully) Powell's exceptions.

[Hitch 57]

I think one of my biggest problems with Giacchino, is that he does not have his own style defined very well. He is the master at imitating other styles (which is why I think he will do such an excellent job for Star Trek), but he can't seem to develop a style that is all his own.

For example:

The Incredibles - takes on an older big band style with some James Bond thrown in.

Mission Impossible III - uses mix of the styles of Lalo Shifrin and Danny Elfman (thankfully he avoided any of the Zimmer style from II).

Ratatoullie - is a very French sound. That's really the only way I can describe it.

Cloverfield - copies the sound of the older monster movies. King Kong, Godzilla, etc.

Speed Racer - is based on the sound of the original Speed Racer.

Star Trek - is based on the sound of the original Star Trek

[ChuckM 1]

Star Trek - is based on the sound of the original Star Trek

Yes, exactly, and there is nothing wrong with that. Nor am I trying to say that there is anything wrong with the way Giacchino does it in his previous scores. It just seems like all of Giacchino's scores are based on some imitation like that. He has not yet had a chance to express his own style without working in the framework of something else. He may well (and most likely does) have his own distinct Giacchino style. I am simply saying that I have not heard it yet.

[QMM 4]

It's harder to hear in Medal of Honor, but Giacchino's got a pretty distinct sound, so much so that I'm pretty sure from the 20 secs or so of music in the latest UP trailer is his.

[Datameister 2,043]

It just seems like all of Giacchino's scores are based on some imitation like that. He has not yet had a chance to express his own style without working in the framework of something else. He may well (and most likely does) have his own distinct Giacchino style. I am simply saying that I have not heard it yet.

What about Lost?

[Neimoidian 14]

It's harder to hear in Medal of Honor, but Giacchino's got a pretty distinct sound, so much so that I'm pretty sure from the 20 secs or so of music in the latest UP trailer is his.

Yep (I am saying about distinct sound, not the trailer). However, he also makes use of already-established palette of sounds to larger extent than Powell, who, on the other hand, is stuck in his own sound so much that it slowly makes his scores sound very similar to each other, at least for my taste. After last year I'm quite fed up with his fluffy, whimisical melodies from animated features/comedies and I'm waiting for something more serious and ballsier. Not that the scores were bad, not at all. They just weren't my cup of tea

Back to Giacchino, I think too that Lost may be the most original of his work, which doesn't mean one cannot notice his touch in his - if I may call it this way - genre scores.

[Koray Savas 2,251]

The two best composers working today. I voted for Powell. Morlock put it nicely:

I'm going with Powell. More for the quantity and variety than for quality, though. Powell has given me several interesting pieces of work. Of course, neither is too shabby, and I'm probably more excited to hear what Giacchino does next than Powell.

Both have instantly identifiable sounds to my ears. I enjoy both composers immensely, but Giacchino really does have a small body of work. I still like Giacchino more, but I decided to help JoPo in the poll.

[Luke Skywalker 1,795]

With all due respect - saying "Ratatoullie - is a very French sound" is a very ridiculous argument to support your POV.

Super-definately. 100% agreed.

It's harder to hear in Medal of Honor, but Giacchino's got a pretty distinct sound, so much so that I'm pretty sure from the 20 secs or so of music in the latest UP trailer is his.

Same here. I can't do this with many composers.

It just seems like all of Giacchino's scores are based on some imitation like that. He has not yet had a chance to express his own style without working in the framework of something else. He may well (and most likely does) have his own distinct Giacchino style. I am simply saying that I have not heard it yet.

That's the point. It 'seems'. It a cliche that is going to be attached to him forever, because many of its detractors had this notion in their minds when he started composing. Now it is difficult to erase that.

What is the Giacchino style?

Rattatouille, MI:III action cues, MOH airborne, Call of duty, Turning point, The family stone (now you will saw that is just a imitation of some christmas score, now i say, ALL christmas scores sound very similar and no composers is critisized as a norm)...

And really, most of his 'based on stablished themes' scores dont sound like the original composer. Giacchino has a gift of using material from others and make it his own, i mean that i dont hear any elfman or schriffrin in MI:III, or 60's cartoon in Speed racer.

[Koray Savas 2,251]

There's Schifrin in M:i:III, but only the theme and Factory Rescue.

It's impossible not to hear Giacchino's sound. Seriously, how could one NOT hear it? Once you hear the strings, it's a dead give away.

[Datameister 2,043]

Well, the sound quality of the strings is a dead giveaway. Not quite so much the style of the writing, though it certainly has certain recognizable characteristics.

[Luke Skywalker 1,795]

There's Schifrin in M:i:III, but only the theme and Factory Rescue.

Mm, yeah, i thought it was not neccesary for me to explain that. Of course other composers' themes are used. But most people translate it on being a derivative score imitating the composer who created the theme.

That could be true for 'the incredibles' but it was forced to him. They wanted Barry.

But the MI:III does not sound like a schiffrin score at all, and the arrangements neither.

And Speed racer does not sound liek the old cartoon, it just has one or two 'classic' renditions.

And star trek will be the same

[Koray Savas 2,251]

Yeah exactly. He may be working with non-completely original material, but they are his scores. The Incredibles oozes Giacchino.

[David Coscina 3]

The two best composers working today. I voted for Powell. Morlock put it nicely:

I'm going with Powell. More for the quantity and variety than for quality, though. Powell has given me several interesting pieces of work. Of course, neither is too shabby, and I'm probably more excited to hear what Giacchino does next than Powell.

Both have instantly identifiable sounds to my ears. I enjoy both composers immensely, but Giacchino really does have a small body of work. I still like Giacchino more, but I decided to help JoPo in the poll.

Wow, I honestly thought you would have gone for Powell more. but it's good you respect Gia. I do too. People who say he does not have a style have but to listen to Alias and Lost to hear his trademark sound. Alias was actually very underrated in terms of its music score. in fact, after season 2, the whole series went downhill EXCEPT for Michael's music which kept me tuning in week after week.

the only thing I can say about Giacchino's music is that, for me, it must have a context for me to enjoy it. It's hard for me to appreciate his music without having seen its filmic counterpart, especially his feature film scores. I was very cold to The Incredibles score until I saw the movie. Williams' music can blow me away without ever having seen its film counterpart. But Williams is a god so that's not fair to compare.

that said, ROAR is the one Giacchino that is balls to the walls great without any scene reference. And his MOH work has some beautiful moving moments (like Arnham).

[ChuckM 1]

What about Lost?

Lost is relatively bland and repetitive. Not unoriginal, but (with the exception of a few cues here and there) it's just boring to listen to on its own.

[Datameister 2,043]

Lost is relatively bland and repetitive. Not unoriginal, but (with the exception of a few cues here and there) it's just boring to listen to on it's own.

You sound like I did at first. Before you know it, I'm writing the Lostpedia article on the leitmotifs of Lost. Maybe if you're fortunate, you'll see the light like I eventually did.

[Neimoidian 14]

What about Lost?

Lost is relatively bland and repetitive. Not unoriginal, but (with the exception of a few cues here and there) it's just boring to listen to on its own.

This time I agree