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Posts posted by Knight of Ren
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Watched the movie and it wasn't as bad as many people is saying. Nothing really original but a lot of fun. The score fits well into the movie, but I wish in some action scenes they had let it shine a bit more. The softer parts have much more presence in the film mix. As for the album presentation, is mostly chronological, just with one track being out of order from what I remember, that being The Good Guy which I think goes after Into the Maw.
Most of the interesting music is here but there are still some nice missing cues. Spoilers:
Spoiler-Both Imperial March versions when Han is at the Spaceport and when he is fighting for the Empire.
-Some more softer variations of the Love theme from the beginning of the movie, and later when Han and Qi'ra meet again.
-Duel of the Fates variation for Darth Maul's big return!
I really like the score and each time I listen to the album again I love it even more! Marauders Arrive is an instant classic, as well as Reminiscence Therapy.
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JNH in his top form doing a Star Wars score would be a dream come true. I hope they hear our prayers.
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It has a nice rendition of Han's theme before it segues in what it would be the end credits.
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Is there any important missing music, for those who have seen the movie?
EDIT: I made a mistake
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I have just finished listening to the whole album and I really like it. I'm still waiting to hear it in context, and by some comments I have read, it looks like its buried under SFX for the most part, and that's too bad, because this one is really great. Powell uses Williams material (not just Han's new theme, but all the classic material) as his own and arranges it into the score in the most natural ways. And his material is also really great, but I still have to give it a few listens to recognize each theme properly but for now the one that stands out the most is the Enfy Nest theme because of its original instrumentation.
There's just one thing i don't like and that is that they didn't include the end credits fanfare and the following suite, as they did with Rogue One, but that's just a small nitpick. Overall, a really great entry into the saga!
About the love theme, I think that in Testing Allegiance, around the half of the track, the theme appears in a piano solo (sorry for the pun) version. I think that's the theme, but it could be a different theme.
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Oh my God! That female choir (I think is Enfy Nest theme). Did someone say Na'vi? And also, Reminiscence Theraphy. Wht a great track!
- Bilbo and Taikomochi
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Just now, Alan said:
The new Han themes are very quickly becoming favourites of mine since the return of Star Wars to the big screen. Powell nails their usage in the body of the score.
As for comparisons to Rogue One, I'm one of the (seemingly few) that enjoyed Giacchino's score, but it doesn't hold a candle to this.
I also liked Giacchino's score, but I don't know if it was the lack of time or that maybe he was trying too hard to sound like Williams, but this ends up being better, because Powell is able to introduce his style, but without leaving the Star Wars sound, and that's what I think Giacchino should have done. (Well, he did that in a few cues, but for most of the score is like he is trying to sound like Williams, not like himself).
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I'm just a few tracks in, and I'm loving what I'm hearing by far. Has anyone noticed some kind of action arrangement of one of the Empire motifs from ANH in the track Train Heist at around 3:35? It's a coincidence or is it the real theme?
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I guess I will wait. I will just listen to Adventures of Han in loop.
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What I mean is, is it well represented in the album or it's better in the movie? For TFA and TLJ I watched the movie first and the albums were kind of a disappointment because of some of the missing music, especially with TLJ, but i did the same with Rogue One and it was more the other way around, so I don't know...
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Should I listen to the whole album before the movie or it's better to listen to the score first in the movie and then alone?
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I have just listened to the album track and it's fantastic! It has that pure sense of adventure that Williams is able to bring. It's not a theme that is that memorable, in the sense that you probably need a few listens to be able to hum it, but I think that the Part B, the Searching Theme is even better that the main part. Anyway, I still have to watch the movie and listen to the album score, but I'm sure Powell's adaptations of the theme, as well as his original material are going to be awesome!
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10 Cloverfield Lane by Bear McCreary: I don't really know how I discovered, but I loved it the first time I listened to it. Especially in context, this makes one of the best thriller scores of the last years. With a wonderful main theme that is constructed and deconstructed through all the score making you feel anxious and tense. The score lurks around for many moments keeping you on edge, and from time to time it bursts with pure energy, with the full orchestral power. McCreary did a wonderful job with this one (and he used the Blaster Beam!)
The Cloverfield Paradox by Bear McCreary: At first I was hoping that the theme from 10CL would return in this one so when I didn't hear it I felt a bit disappointed. But after listening to the whole album, I must say that this is on ar with this first one, but this time in the sci-fi horror genre. The main theme reminds me of some kind of mix between the Cloverfield Lane theme and the Giacchino's Roar! Overture. And there is a bit of the more emotional themes that almost sound like Cloverfield Lane, so it's a nice connection.
How to Train Your Dragon 1 & 2 by John Powell: I have recently listened to these, but I had to come back because I love them so much. I don't need to say a lot about this ones because they speak for themselves. Powell's best scores to date (I prefer the second). Full of memorable themes that play with each other, change and adapt themselves to make jump and dance of joy, but can also make you cry with their pure emotions. And the way Powell handles the orchestra and lets the instruments shine for their own is magnific and something that is becoming more and more rare nowadays. But we still have him and a few others who keep this orchestral magic alive.
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29 minutes ago, Ricard said:But that was a long time ago...
In a galaxy far, far away...
Sorry, I had to do it.
- Amer, Lao Che and Pieter Boelen
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I think they could be identified as two different themes, but with some relations between them. Both are in the same key (Am) but they are different melodies and they even change the tempo and the beat of the melody.
Anyway, I cannot wait to listen to it on full orchestral glory. I'm sure it's going to be great!
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All of them are around similar prices, so it's a really good deal. In euros is around 12 or 13.
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But that's a link for A New Hope. The Solo album in UK I think is £10.99.
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I haven't found any websites of my country that are selling it right now, just international. But the price I found on Amazon is $11.88.
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Horton Hears a Who by John Powell: Really variated score, full of joy and energy. And despite it does not have a recognizable main theme as other Powell scores, it has lot of great short moments that make this album go fast. One thing I really like about the album presentation is how many cues flow into each other like one big cue.
Mars Needs Moms by John Powell: Great score, a really big surprise as I haven't heard from it and it surprised me. It's full of great action cues, also some emotional cues with a main theme that appears a lot but it's very developed so it does not get boring (BTW, it reminds me a bit of one of the Dragon's themes). I also love the use of that "martian" sound that sounds like a homage to Elfman's Mars Attack!
Ferdinand by John Powell: I don't know why I hadn't listened to this until now, but I liked it a lot. This reminds me a bit of Giacchino's Coco in the sense that it's heavily influenced by spanish and latin sounds, with the use of guitars. But while that one was closer to the festive side, this one stays more in the quieter emotional parts. Which does not mean that Powell can't go full on orchestral action mode when he needs to, like in the fantastic track, Madrid Finale.
Isabel by Federico Jusid: This is the first one I listen of Jusid, and it is really impressive. It's the soundtrack to a TV series and here you only have some of the main themes that appear in the show, but within the series you can really hear all the work he did, with all the different themes interplayed with each other, and with different moods depending on the scene. Tha main theme is simply gorgeous.
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Always two there are, no more, no less.
BTW, does anyone feel like there is lot more hype for this (the score, not the movie) than it was for TLJ?
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Antz by Harry Gregson-Williams & John Powell: Really fun score, with some great themes. I especially love the tracks where both composer go full on referencing and they introduce lovely jazzy moments. It's a nice collaboration but it does not top...
Chicken Run by Harry Gregson-Williams & John Powell: This score is fantastic. From start to finish you're engaged. The main theme (clearly referencing Bernstein's The Great Escape) appears through all the score but it never gets old because it's adapted to the different mood of the scene with such an energy and care that it stays with you long after you have finished listen to the album. Probably the best score of all of the Powell's collaborations for an animated movie.
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Chicken Run, Horton and Ferdinand. And I have already listened to both Dragons and Kung Fu Panda, but I will revisit them again.
And it's not that I don't like mickey-mousing, it's that sometimes it's a bit excessive. But I think Williams uses that very often and I really like Williams is not that I have nothing against that.
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Fernando Velazquez is one of my favorite composers. His Zipi & Zape scores are fantastic! And I also love Crimson Peak.
Anyway, leading up to Solo I'm listening to several John Powell scores and I'm discovering really great stuff.
Pan: I would say this is almost a perfect score, with a great album presentation that only would need some tracks to be deleted (apart from the songs, obviously) and would be perfect. Is a great theme-filled score with some truly beautiful moments (Origins Story or Transfiguration for example) and some action cues that are part of the very best of Powell (like Kidnapped/Dog Fight or Flying Ship Fight)
Shrek: Powell collaborated in this one with Harry Gregson-Williams and it's a nice score. I love both main themes a lot, especially the apparitions of Fiona's theme in Fairytale and Transformation/The End, and the big heroic rendition of Shrek's theme in Ride The Dragon is also really great. My issue with this score is that maybe there is a bit too much of the usual mickey-mousing of this scores, which fits within the movie, but it's not really interesting out of it.
BTW, what are some other great Powell scores? I haven't heard all of his scores and I'm wondering what do you think are his bests.
John Powell's SOLO: A STAR WARS STORY (2018) - Deluxe Edition release coming November 2020
in General Discussion
Posted
I think there is a softer variation almost at the begining when Han & Qi'ra kiss just before the Corellia Chase track
It starts with the usual end credits fanfare but it segues to the Han's theme sooner than in other end credits. The list of themes would be something like this. It's not 100% accurate but I think is pretty much like this:
-End Credits Fanfare
-Han Heroic Theme (Similar to Adventures of Han)
-L3 Theme (Similar to Break Out version)
-Han Heroic Theme (Similar to Adventures of Han)
-Love Theme (similar to The Good Guy version)
-L3 Theme (Softer version like the beginning of L3 & The Millenium Falcon, before it starts in the military setting of Mine Mission)
-More Han's Theme (Something like Corellia Chase)
-Searching Theme (I think is the Corellia Chase version)
-Some Crew's theme (Maybe Train Heist)
-More Han's Theme (I think this is the most similar to Adventures of Han)
-Chewbacca's Theme (Flying with Chewie version)