When Will John Powell Start Making Good Career Choices?

[Vaderbait1 1]

The consensus I seem to understand from most posters on here (and music lovers in general) is that John Powell is developing nicely into a more traditional composer, including leitmotifs and other things that have pretty much been dying out. His scores are generally excellent, and generally more complex than that overly simplistic, "subtle" scores of the past decade. For a moment it seemed X-Men: The Last Stand would be his breakout moment.

But he appears to be continuing his run of kids movies and movies that have no use for a score, let alone a good one.

Now, if he likes scoring kids movies, then more power to him. But my self-consciousness just can't justify buying a score to a children's movie. I'm a grown up. And his scores for such non-deserving movies like the Bourne films are lackluster because there's really no point of having a thought out score in them.

Is he at a point in his career where he is doing what he wants, or is he still trying to prove himself, and we can hope to find a beautiful, complex, theme-ridden score sometime in the future?

Or let me pose another question. Are films nowadays just not deserving of scores? I know many people here like scores to romantic comedies, and things like that, 30 minute scores of a three note theme over and over. But is there simply a lack of big films deserving of a romantic score?

[Mr. Breathmask 555]

My self-consciousness just can't justify buying a score to a children's movie. I'm a grown up. And his scores for such non-deserving movies like the Bourne films are lackluster because there's really no point of having a thought out score in them.

Rubbish. Absolute rubbish.

If the music is good, then why not by it?

And his work on the Bourne films is excellent. I first noticed him on The Bourne Identity, and The Bourne Supremacy is one of my favorites.

And what is this about films "not deserving" a score, or a "thought-out one"? You think this music is just random?

Seriously, what are you on about?

[#SnowyVernalSpringsEternal 10,265]

I'm forced to agree with my fellow dutchie.

[Panthera 0]

I look forward to his kiddie scores more than his regular scores.

[Vaderbait1 1]

If the music is good, then why not by it?

Well, I may be wrong, but how long are his scores for movies like Happy Feet? I just saw the movie for the first time yesterday, and I'm thinking there's only like 5 minutes of score in it.

And what I meant by movies not deserving a score, is that so many movies these days are either song-ridden, or so small in scale, that the only score necessary is a subtle "background filler". The truly epic film (in plot, not in explosions) is disappearing, and with it, most of the interesting scores.

I personally would love to see Powell tackle movies like Lincoln (if Williams can't do it, for whatever reason), or perhaps the next big adventure saga, instead of children's movies or forgettable action films. The guy has such great talent, he needs a forum where he can show it off a bit more.

[Mr. Breathmask 555]

Yeah, I'm just gonna say I disagree, and leave it at that.

[Quintus 5,399]

Yeah, that kiddie score to Hook was awful.

[Vaderbait1 1]

Yeah, I'm just gonna say I disagree, and leave it at that.

Well don't get upset over it, it just seems like most of the things he's done is "samples" of his work, and he needs something a little....more. You wouldn't want to hear a big, grand score attempt by Powell?

[King Mark 3,631]

Who?

[Mr. Breathmask 555]

Yeah, I'm just gonna say I disagree, and leave it at that.

Well don't get upset over it, it just seems like most of the things he's done is "samples" of his work, and he needs something a little....more. You wouldn't want to hear a big, grand score attempt by Powell?

I've heard it.

It's called X-Men: The Last Stand.

And it's awesome.

But I also look forward what he'll do with The Bourne Ultimatum this summer. Why would I want him to write in only one mode (big, epic and huge), which seems to be almost something you're asking for.

[Vaderbait1 1]

The Last Stand IS amazing. That's why I want more.

[Mr. Breathmask 555]

But would you rather he kept writing just stuff like X3, or do a little more diverse projects than just gargantuan summer movies?

[Vaderbait1 1]

But would you rather he kept writing just stuff like X3, or do a little more diverse projects than just gargantuan summer movies?

Ah, I see. I should have stated my case more clearly. I just want opportunities for complex scores. I like them epic in plot (they don't have to be big blockbusters, but a smaller movie needs to need a real, complex, thought out score). In fact, if all he did was big summer blockbusters, he'd become part of the problem of scores becoming merely noise. But he should definitely do more than one.

[King Mark 3,631]

X Men 3 sounded like noise to me,and i listened to that full 2 c.d. boot

[robthehand 3]

Don't know about noise, but I just found it extremely uninteresting.

[Mr. Breathmask 555]

But would you rather he kept writing just stuff like X3, or do a little more diverse projects than just gargantuan summer movies?

Ah, I see. I should have stated my case more clearly. I just want opportunities for complex scores. I like them epic in plot (they don't have to be big blockbusters, but a smaller movie needs to need a real, complex, thought out score). In fact, if all he did was big summer blockbusters, he'd become part of the problem of scores becoming merely noise. But he should definitely do more than one.

Ah, alright then. In that case, I agree. But I don't think Powell is to fault for making "bad career choices" or anything. He's going quite well in building his career, I'd say. Otherwise, we probably wouldn't be discussing him the way we are!

[Panthera 0]

If the music is good, then why not by it?

Well, I may be wrong, but how long are his scores for movies like Happy Feet? I just saw the movie for the first time yesterday, and I'm thinking there's only like 5 minutes of score in it.

Over 60 minutes of score on the Happy Feet score album.

[Morlock 11]

Powell is a terrific and exciting film composer. I love his children stuff (Ice Age 2 is great fun, with very nice themes), his dramatic stuff, his big stuff (X3), and his action stuff. His work on the Bourne films is superb, and I personally love The Italian Job. Such a cool score, perhaps it has a lot of techno age electronics, but it has a Schifrin-esque groovy 70's vibe about it.

[Docteur Qui 1,544]

What does the complexity of the plot have to do with the score? The Last Stand had a fairy thin plot, full of holes and inconsistencies but its score was wonderfully complex and layered.

We live in an age where a composer can't afford to be choosy over projects, same with actors and crew. Only a select few are able to choose their films, but they've been doing it a lot longer than the likes of Powell. Most have to take the work that they can and do the best they possibly can with that. One epic score isn't going to change that - it's all about which offers come afterwards.

What you're asking for is better films to be made, and that isn't happening.

[Beowulf 4]

Powell needs to find a working partnership with a prolific and talented director.

I think that a strong partnership with a single director has catapulted many composers from the realms of obscurity to stardom (Elfman and Williams comes to mind).

The question is...which director would fit the bill?

[Indiana_Fett 0]

Everyone who likes Powell should really give a listen to Rat Race. It's one of my favorite scores.

[Morlock 11]

Powell needs to find a working partnership with a prolific and talented director.

I think that a strong partnership with a single director has catapulted many composers from the realms of obscurity to stardom (Elfman and Williams comes to mind).

The question is...which director would fit the bill?

Paul Greenglass, and perhaps George Miller.

[Panthera 0]

What John Powell scores are the similar to Ice Age 2, Robots, and Chicken Run?

[bondo 33]

What John Powell scores are the similar to Ice Age 2, Robots, and Chicken Run?

Antz

The Road to El Dorado

Shrek

Evolution

Rat Race

The Adventures of Pluto Nash

Agent Cody Banks

Paycheck

Happy Feet

[Mr. Breathmask 555]

Powell needs to find a working partnership with a prolific and talented director.

I think that a strong partnership with a single director has catapulted many composers from the realms of obscurity to stardom (Elfman and Williams comes to mind).

The question is...which director would fit the bill?

Paul Greenglass, and perhaps George Miller.

Yes, he seems to do well with Greengrass. They were probably just thrown together on The Bourne Supremacy, but Powell was taken along for United 93, and while that's not a score that jumps out at you either in the film or on its own, it was very effective and did its job perfectly in the film. The final chord is one of the most powerful musical moments in recent memory, I think.

[Olivier 5]

1/ Complexity has nothing to do with the genre nor the target audience. Goldsmith wrote superb scores for The Secret of N.I.M.H. and Mulan, and lots of great scores for small, so-so movies. Horner, too, wrote great scores for animated features.

If you are unsure, check the reviews on the several good review sites before buying, but by all means, do yourself a favor and listen to scores to animated features.

Or you might as well follow your argument to its logical conclusion and listen exclusively to classical music, considering film music too childish.

2/ Composers do not pick directors; it's the other way round: producers & directors pick composers. A composer can only pick among the projects he is offered. His agent may try to get something in particular, but they are not the ones who decide either.

[Ollie 1,059]

Powell seems to be moving to the front as far as composers go. It appears he is attached to more and more projects.

If you want him to get more serious then perhaps he should start scoring more independent films. Unless you are someone along the lines of Williams or Elfman I would say you take whatever assignments are thrown your way until you reach the status Williams has.

[Vaderbait1 1]

Powell seems to be moving to the front as far as composers go. It appears he is attached to more and more projects.

If you want him to get more serious then perhaps he should start scoring more independent films. Unless you are someone along the lines of Williams or Elfman I would say you take whatever assignments are thrown your way until you reach the status Williams has.

Yeah, clearly he can't be as choosy as the likes of Williams, but if he keeps at it, he may take over the reigns as the legitimate heir to film music (that is, if he keeps following the path away from MV). There are other great composers, like Danny Elfman, but they've already peaked.

Just think of what Powell could possibly cook up 10 years down the line if he keeps maturing as a composer. It's almost like sports, you can see the development happening, pretty cool.

Oh, and as far as Happy Feet goes, I'm looking for it, but all I can find is the one with the songs and a single track by Powell. Is there a score-only version? I still think there was only a few minutes of score (non-song) in the film.

[Olivier 5]

Oh, and as far as Happy Feet goes, I'm looking for it, but all I can find is the one with the songs and a single track by Powell. Is there a score-only version? I still think there was only a few minutes of score (non-song) in the film.

Here you go (direct links to the pages):

Intrada

Screen Archives Entertainment

[Elmo Lewis 6]

The Road to El Dorado

Hans Zimmer was credited for this score (which I know doesn't really mean anything). What is the backstory of this score?

[Morlock 11]

Now idea, most likely Katzenberg trying to out Disney Disney, and capitalizing on 'the musical team that brought you Lion King! (which, if you didn't know, Jeffrey Katzenberg had a huge and integral part in doing, not the other idiots who are in Disney, that vile, vile company'.

Although it was amusing to have Ken Branagh and Kevin Kline play off each other.

[bondo 33]

The Road to El Dorado

Hans Zimmer was credited for this score (which I know doesn't really mean anything). What is the backstory of this score?

Zimmer and Powell

[Richard Penna 3,694]

X Men 3 sounded like noise to me,and i listened to that full 2 c.d. boot

Noise?

Noise?????

I recently gave the boot a complete listen and it's one of the most satisfyingly thematic and inventive scores I've heard in a while.

Get off your Williams high horse and listen to some more stuff my friend

And Mark - who says you have to reach Williams' status before you can choose what to score? I can easily imagine that someone like Powell gets plenty of offers and simply chooses what he wants to do.