Composer Threads John Powell kicks ass

[Jay 30944]

I just realized.

 

2014 was the last year we got two Powell scores (Rio 2 and HTTYD 2).

Since then, the cadence has been exactly 1 per year

 

2015 - Pan

2016 - Bourne 5

2017 - Ferdinand

2018 - Solo

2019 - HTTYD3

2020 - Call of the Wild

2021 - Locked Down

2022 - Don't Worry Darling

What do we think of this?

[Luka 206]

He indeed said in an (or more than one) interview that he only wanted to concentrate on one film per year from now on.

 

And that's if we can even consider Locked Down as a project worth mentioning 

[Jay 30944]

I like that score a lot!

[Luka 206]

Haven't heard it and I don't feel like watching the movie as it seems like a waste of time 

 

Maybe I could try and find a scene that Powell scored on YouTube 

Edit: I tried and couldn't find any 🙁 Next step: scroll through the movie until I hear a scene that has Powell music 

[Edmilson 4480]

1 hour ago, Jay said:

What do we think of this?

I think it is pretty sad and disappointing.

[A Farewell to Kings 3540]

Lol.

 

Only on JWfan.

[Anthony 562]

6 hours ago, Jay said:

I just realized.

 

2014 was the last year we got two Powell scores (Rio 2 and HTTYD 2).

Since then, the cadence has been exactly 1 per year

 

2015 - Pan

2016 - Bourne 5

2017 - Ferdinand

2018 - Solo

2019 - HTTYD3

2020 - Call of the Wild

2021 - Locked Down

2022 - Don't Worry Darling

What do we think of this?

 

It's not enough. But if it's what it takes to get scores the quality of Solo, HTTYD3 and Call Of The Wild, I'll put up with it.

 

I do wish we were still getting 3-4 action scores a year like in the early 2000's.

[Docteur Qui 1418]

9 hours ago, Jay said:

I just realized.

 

2014 was the last year we got two Powell scores (Rio 2 and HTTYD 2).

Since then, the cadence has been exactly 1 per year

 

2015 - Pan

2016 - Bourne 5

2017 - Ferdinand

2018 - Solo

2019 - HTTYD3

2020 - Call of the Wild

2021 - Locked Down

2022 - Don't Worry Darling

What do we think of this?

 

I think it's great that Powell has built enough of a career for himself that he can pick which films he wants to do, and how much he wants to work!

[Kasey Kockroach 2304]

On 07/01/2022 at 10:11 AM, Jay said:

I just realized.

 

2014 was the last year we got two Powell scores (Rio 2 and HTTYD 2).

Since then, the cadence has been exactly 1 per year

 

2015 - Pan

2016 - Bourne 5

2017 - Ferdinand

2018 - Solo

2019 - HTTYD3

2020 - Call of the Wild

2021 - Locked Down

2022 - Don't Worry Darling

What do we think of this?

Quality over quantity.

[LSH 775]

2 hours ago, Kasey Kockroach said:

Quality over quantity.

 

Exactly. Still a far better average per year output than most.

[PrayodiBA 352]

Yesterday, when I was on my usual Spotify playlist, somehow, I craved for a Timpani music

(just to clarify, I'm really not that fond of classical music, so spare me if I'm bit late in acknowledging these "classical" music) .

I searched for Timpani concertos, and long story short, I was directed to Miklos Rozsa's page.

 

There I heard this particular music of his Top Song list, especially the theme:

 

That Sneaky Powell!

Because that famous theme is really similar to one of Powell's themes in Ice Age 4, just hear it here:

(I'm sorry again if maybe someone here have already noticed this first)

 

Again, Powell sometimes is famous for adapting classical theme, if I remember correctly, Puccini for Solo's love theme, and Gustav Holst for Ice Age 3's end credits. But I don't know if it's this often, again so sneaky of him 😄 

make me want to hear Powell's theme again and if somehow Powell adapted those from classical tunes

(perhaps someone here have already found other examples?)

[A Farewell to Kings 3540]

Somone said that one of his HTTYD2 themes sounded like a theme from another of Rozsa's scores.

[A Farewell to Kings 3540]

https://www.instagram.com/p/CaSW7j2JxUT/?utm_medium=copy_link

[Luke Skywalker 1438]

A little insight on why Solo has no "end credits" propper and has only and edited track?

 

Roque Baños said this on his facebook:

Quote

I’ll never forget when we recorded this piece, at the end of all things and against some objections that considered it not necessary for being only in the end credits. Now, watching this beautiful video by Liliana, and some other uses fulfilled, I think it must be*, and it was.

https://www.facebook.com/search/top?q=roque banos

 

He is talking about "In the Heart of the Sea" which RON HOWARD directed and produced. Maybe he doesnt like to spend money in useless End credit pieces...

 

*i think he makes a mistake translating his own words. He meant: "I think it had to exist/was meant to exist, and it did".

[Jurassic Shark 9316]

On 07/01/2022 at 5:11 PM, Jay said:

I just realized.

 

2014 was the last year we got two Powell scores (Rio 2 and HTTYD 2).

Since then, the cadence has been exactly 1 per year

 

2015 - Pan

2016 - Bourne 5

2017 - Ferdinand

2018 - Solo

2019 - HTTYD3

2020 - Call of the Wild

2021 - Locked Down

2022 - Don't Worry Darling

What do we think of this?

 

He's gradually becoming John Williams.

[crocodile 6848]

Wasn't that HTTYD2 DE supposed to be coming out this month? 🤔 

 

Karol

[JNHFan2000 1358]

31 minutes ago, crocodile said:

Wasn't that HTTYD2 DE supposed to be coming out this month? 🤔 

 

Karol

I believe that's the book.

The album is somewhere is spring I believe

[Jay 30944]

5 hours ago, crocodile said:

Wasn't that HTTYD2 DE supposed to be coming out this month? 🤔 

 

Karol

 

No, they never told us a month for that. Only a year. 

[crocodile 6848]

Ah I must have comfused it with the book. Thanks chaps!

 

Karol

[Bofur01 244]

I don’t know why, but I have March 11th in my calendar for the album.. could be wrong

[Jay 30944]

March 11 is when the sheet music book comes out

 

https://omnimusicpublishing.com/product/john-powells-how-to-train-your-dragon-2-full-orchestral-score/

[crocodile 6848]

Can't wait for this. If memory serves, this one is going to benefit the most by adding extra music.

 

Karol

[Tallguy 1505]

I was listening to HTTYD2 the other day. I still can't decide if Dragon Racing is a shameless needle drop or a genius reintroduction to most of the themes. (Astrid's theme is a genius reintroduction to the theme. Wheeeee!) 

[Tom Guernsey 1419]

34 minutes ago, Tallguy said:

I was listening to HTTYD2 the other day. I still can't decide if Dragon Racing is a shameless needle drop or a genius reintroduction to most of the themes. (Astrid's theme is a genius reintroduction to the theme. Wheeeee!) 

It's JP, I'll go with genius ;-) But in all seriousness, the first film opens with what is effectively a suite of all of the main themes for the rest of the score as the setting and characters are introduced, it's just a bit more obvious in the second one as you're already familiar with them by then.

[Tallguy 1505]

32 minutes ago, Tom Guernsey said:

But in all seriousness, the first film opens with what is effectively a suite of all of the main themes for the rest of the score as the setting and characters are introduced, it's just a bit more obvious in the second one as you're already familiar with them by then.

 

That's what led to my question though. It's the same suite! Actually, I should check that. What are the difference between This is Berk and Dragon Racing?

 

Anyway, Flying with Mother is still out of this world.

[Luka 206]

28 minutes ago, Tallguy said:

 

That's what led to my question though. It's the same suite! Actually, I should check that. What are the difference between This is Berk and Dragon Racing?

 

Anyway, Flying with Mother is still out of this world.

 

So many tracks are out of this world for me! I actually think the HTTYD 2 score is my favourite out of the three!

[Luke Skywalker 1438]

seriously...i bumped this thread with some information... and then nobody talks about it yet the thread is alive again...

 

 

[Anthony 562]

"Dragon Racing" is one of Powell's best tracks ever. Not only in how many themes it incorporates, but how every one syncs up with the picture perfectly. The level of effort that went into that must have been immense.

[Tallguy 1505]

8 hours ago, Luke Skywalker said:

A little insight on why Solo has no "end credits" propper and has only and edited track?

 

Roque Baños said this on his facebook:

https://www.facebook.com/search/top?q=roque banos

 

He is talking about "In the Heart of the Sea" which RON HOWARD directed and produced. Maybe he doesnt like to spend money in useless End credit pieces...

 

*i think he makes a mistake translating his own words. He meant: "I think it had to exist/was meant to exist, and it did".

 

I know it's 20 years previous, but Howard definitely used an original end credits suite on Apollo 13. Don't know if that means much. 

 

EDIT:

@Luke Skywalker Maybe I'm missing the nuance (or just don't know enough about Solo). How is Solo different from, say, Rogue One? Is it because Rogue One has suites?

 

Come to that, was the Star Wars end credits recorded for Solo? I just listened to it and frankly it's the most natural transition from the Star Wars section to the film's original music since... Empire? (Jedi is OK, but I never liked the way Williams structured his credits suites in the prequels or the sequels. And the transition from the Rebel Fanfare to the uptempo Yoda's theme is AMAAAAAAZING.)

[Once 550]

44 minutes ago, Tallguy said:

 

I know it's 20 years previous, but Howard definitely used an original end credits suite on Apollo 13. Don't know if that means much. 

And on Far and Away.

[Richard Penna 2499]

Not wanting to pay time and resources for end credits would seem a strange approach anyway given that sessions make time for alternates and revisions.

[JNHFan2000 1358]

I love Dragon Racing. And Powell said once in an interview they used all the themes from the 1st film on purpose. In that way you're re-introduced to the Dragons world in the first 5 minutes.

 

After that the themes from the first film are used more sparingly. He then takes his time to introduce the new themes for the 2nd film. It's very clever. And the whole track is brilliantly put together. As is 'Armada Battle' from the 3rd score for me. A 9 minute cue full of thematic brilliance with grand statements off themes from all 3 films

[Edmilson 4480]

Dragon Racing was one of my very favorite cues of 2014. It's just so epic and fun! 

[Luke Skywalker 1438]

2 hours ago, Tallguy said:

 

I know it's 20 years previous, but Howard definitely used an original end credits suite on Apollo 13. Don't know if that means much. 

 

EDIT:

@Luke Skywalker Maybe I'm missing the nuance (or just don't know enough about Solo). How is Solo different from, say, Rogue One? Is it because Rogue One has suites?

 

Come to that, was the Star Wars end credits recorded for Solo? I just listened to it and frankly it's the most natural transition from the Star Wars section to the film's original music since... Empire? (Jedi is OK, but I never liked the way Williams structured his credits suites in the prequels or the sequels. And the transition from the Rebel Fanfare to the uptempo Yoda's theme is AMAAAAAAZING.)

Oh i was not making a comparison with rogue one there... But i think solo uses score tracks from the film yes, not concert version that could have written as end credits. 

 

 

What are the end credits of other ron howard films? The da vinci films for example

 

[scallenger 424]

It's funny how Powell's Dragon scores have grown on me in nearly the same way every time. With the first score for some reason it didn't connect with me right away... but over a short time it became my favorite score of that year. Same with the second score... I was initially disappointed and preferred the first score but over a short period of time I loved it even more! Then the third... "oh, it was alright but I still vastly prefer the second score", yet while I STILL may prefer the second score overall, the third one has seriously creeped up on me for being potentially even better. I think he certainly improved on his orchestrations, and the new themes are great and powerful.

 

It's just interesting to me that his Dragon scores were all like that to me. Usually scores either connect with me right away or they never really do. So I wonder what, for me at least, has a disconnect at first but then over time somehow beckons me to revisit then fall in love with it for all time?

 

NOTE: The Jonsi songs for me are easily ranked in this order, however: 1) Where No One Goes [Gee, I wonder why?], 2) Together From Afar [A very close second, it resonates with me.], 3) Sticks And Stones [A distant third; fluff, but good fluff.]. Btw, I will always love that they got the guy who did the amazing Hoppípolla song that I was blown away by years prior when it was used in a trailer for the "Planet Earth" documentary series.

[A Farewell to Kings 3540]

21 hours ago, Tallguy said:

 

That's what led to my question though. It's the same suite! Actually, I should check that. What are the difference between This is Berk and Dragon Racing?

 

Anyway, Flying with Mother is still out of this world.

Obviously, the more bombastic opening (on the album), and the use of the theme from See You Tomorrow.

[Tallguy 1505]

23 hours ago, Tallguy said:

It's the same suite! Actually, I should check that. What are the difference between This is Berk and Dragon Racing?

 

Well. That was fun. I don't know what the actual theme names would be. But at any rate I'm comparing like to like, I hope. I'm ignoring the opening logos that were replaced in BOTH films!

 

This is Berk
0:28    Viking theme - soft
1:01    Menacing transition
1:12    Viking theme
1:45    Stoik
2:11    Viking theme
2:26    Stoik
3:00    ASTRID!
3:18    Hiccup
3:58    Viking
4:20    War (maybe a theme for the dragons?)
5:20    Stoik

 

Dragon Racing    
0:27    Viking theme - soft    
0:56    Upbeat transition    
1:19    Viking theme (now with bagpipes!)    
2:03    Hiccup
2:16    Toothless / Friendship    
2:19    See you tomorrow theme    
2:56    Stoik    
3:30    Viking    
3:45    Stoik    
4:03    ASTRID!    I love that silly little trumpet at 4:08!
4:14    Viking   

 

So, other than both being a glorious torrent of themes and some of the themes having similar orchestration (and some being very different) they're more emotionally similar than actually similar.

 

So, I learned a thing!

[Jay 30944]

2 minutes ago, Tallguy said:

I don't know what the actual theme names would be

 

Here you go

[Tallguy 1505]

27 minutes ago, Jay said:

 

Here you go

 

To quote Alan Bradley from Tron: "This guy's a little like Santa Claus."

[WampaRat 1095]

Just wanted to take a moment and recognize this fantastic cue. I couldn’t stop humming this swashbuckling theme ( starting at 3:07) when I saw this as a youngster. This was the first time I wanted to know who this Powell guy was! The swirling strings that build to an explosion of that same theme (3:51) is such a joyous adventurous moment. And the rocking-zimmer-esque theme at 1:43 is a great fun too. Just a great sample of his ability to tell the story musically.
 

Powell has become and even better composer since then! Man I love this guy’s music.

[Luka 206]

9 minutes ago, WampaRat said:

Just wanted to take a moment and recognize this fantastic cue. I couldn’t stop humming this swashbuckling theme ( starting at 3:07) when I saw this as a youngster. This was the first time I wanted to know who this Powell guy was! The swirling strings that build to an explosion of that same theme (3:51) is such a joyous adventurous moment. And the rocking-zimmer-esque theme at 1:43 is a great fun too. Just a great sample of his ability to tell the story musically.
 

Powell has become and even better composer since then! Man I love this guy’s music.

 

At the beginning of this cue, it's one of the most "in your face" version of the Dies Irae I have ever heard haha. In the sens that it's not only the first four notes of the motif that are used, but the whole phrase.

[WampaRat 1095]

20 minutes ago, Luka said:

 

At the beginning of this cue, it's one of the most "in your face" version of the Dies Irae I have ever heard haha. In the sens that it's not only the first four notes of the motif that are used, but the whole phrase.

OH yeah. Haha. I completely agree! 
 

Also the theme at the beginning of this cue has been used liberally in many a “media ventures” score. Badelt primarily used it in Equilibrium and later in PoTC. Not sure if Powell came up with it first or if Zimmer himself used it earlier.

 

 

[Tom Guernsey 1419]

41 minutes ago, WampaRat said:

Just wanted to take a moment and recognize this fantastic cue. I couldn’t stop humming this swashbuckling theme ( starting at 3:07) when I saw this as a youngster. This was the first time I wanted to know who this Powell guy was! The swirling strings that build to an explosion of that same theme (3:51) is such a joyous adventurous moment. And the rocking-zimmer-esque theme at 1:43 is a great fun too. Just a great sample of his ability to tell the story musically.
 

Powell has become and even better composer since then! Man I love this guy’s music.

You know when you have a theme that comes and goes randomly from your mind but you can't quite work out where it came from... well that swashbuckling theme is the one in my head. Bits of it appear in other (mostly Zimmer or Zimmer like) scores but it either it goes off in a different direction after the opening phrase or starts differently, but this is where they come together as I have it in my head. So double thanks for solving a mystery that's been bugging me for months and reminding me what a kick arse (ass) score El Dorado is. Insert obligatory "this needs a complete release" comment here ;-)

[WampaRat 1095]

1 hour ago, Tom Guernsey said:

You know when you have a theme that comes and goes randomly from your mind but you can't quite work out where it came from... well that swashbuckling theme is the one in my head. Bits of it appear in other (mostly Zimmer or Zimmer like) scores but it either it goes off in a different direction after the opening phrase or starts differently, but this is where they come together as I have it in my head. So double thanks for solving a mystery that's been bugging me for months and reminding me what a kick arse (ass) score El Dorado is. Insert obligatory "this needs a complete release" comment here ;-)

Happy to help! Yeah this score is a blast. Perhaps a little too synth-y at times (probably due to budget, or Powell trying to blend his style to Zimmer’s) But that kinda adds to its nostalgic charm for me. 
 

I don’t think there’s ever been a composer to come out of Zimmer’s camp to have such a distinct and identifiable musical voice. Even more than HGW. 

[Tom Guernsey 1419]

10 minutes ago, WampaRat said:

Happy to help! Yeah this score is a blast. Perhaps a little too synth-y at times (probably due to budget, or Powell trying to blend his style to Zimmer’s) But that kinda adds to its nostalgic charm for me. 
 

I don’t think there’s ever been a composer to come out of Zimmer’s camp to have such a distinct and identifiable musical voice. Even more than HGW. 

Agreed and I really like the songs by Elty even if the film versions only appear on the (ahem) promo. I don’t mind the synth elements in the score and there’s enough enjoyable orchestral and vocal writing to balance it out. Agree on JP. I quite like HGW but as a melodist he’s not a patch on JP. 

[WampaRat 1095]

Also been enjoying this cue today. I mean, he instills such fun and joy into a film that…is not. He certainly earned his paycheck with this one. I’d say Powell is the heir apparent to Goldsmith for the “incredible scores to dumpster fire films” category. 

[Tom Guernsey 1419]

On 02/03/2022 at 5:18 PM, WampaRat said:

Happy to help! Yeah this score is a blast. Perhaps a little too synth-y at times (probably due to budget, or Powell trying to blend his style to Zimmer’s) But that kinda adds to its nostalgic charm for me. 
 

I don’t think there’s ever been a composer to come out of Zimmer’s camp to have such a distinct and identifiable musical voice. Even more than HGW. 

Gave the rest of Road to El Dorado a listen following the exchange and loved it. Such a great score and the songs are pretty good, even if the one song performed by the characters is slightly marred by the fact that neither Kenneth Branagh or Kevin Kline can sing for toffee. I do love that swashbuckling theme and so glad that the eternal mystery in my head has been solved (and I really mean it, it's one of those tunes I randomly hum to myself a lot and it's a huge relief to know where it came from!).

 

A few other observations... I could be reading too much into it, but I wonder if the use of the Dies irae is for the Spanish villain is meant to link his villainy to his religious beliefs somehow. I'm probably reading too much into it, but it's an effective musical sleight of hand. It also means he doesn't get specifically Spanish music, although the use of that musical language here almost feels a bit awkward given that however lighthearted this movie is meant to be in the end, the Spanish are the invaders! Having said that, from a purely musical perspective, it's an interesting musical prequel to Powell's Fernando and you can definitely hear a similar approach to his interpretation of Spanish musical idioms in both.

[Luka 206]

1 hour ago, Tom Guernsey said:

Powell's Fernando

Did you mean Ferdinand? 

[Tom Guernsey 1419]

1 hour ago, Luka said:

Did you mean Ferdinand? 

I did! My bad. 

[SilverTrumpet 514]

On 17/01/2022 at 12:01 AM, PrayodiBA said:

Puccini for Solo's love theme

 

I always thought it sounded a lot like Puccini. Where specifically was it lifted from, or based on, or whatever you want to call it?