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@Bob<br><br>Thank you for the enlightment, I will consider opening my wrists for misconduct in the next few days, thank you very much... :o<br><br><br><br>Ok seriously though, you guys should know that if there's one guy that could not care less about awards... it's Hans... :)I am really enjoying his season of the Crown.a big balfe influence in this season with hints of Churchil and Genius I think. Really excellent music/ it's me@ds "Ramin is also doing a lot of projects but is far, far behind in terms of styles and creativity."<br> <br>I think the same for Jablonsky, Zanelli, XL, Jackman and Mancina.@macejko<br><br>"All the time he acts like the hottest shit in town, refusing to score basically everything they offer him"<br><br>You said in another comment that you never read an interview with Powell, so not reason you take that kind of conclusion of your character.<br><br>"The man hides in a cave, doesn't evolve at all and for some mysterious reason he is still revered like a second coming of Jesus Christ."<br>Powell is a clearly talented composer. He suffered criticism at the beginning of his career by sounding like Zimmer, but soon showed substance. And much more than that created an identifiable style, which today is reference to other scores of modern animations (which may be good or bad to depend on of the point of view).<br>Today he is an established composer and it is common for these composers to move away for a few years or even close their careers without many explanations for the public. In recent years we watched the estrangement of Silvestri, Horner, Williams and in the past we saw Faltemeyer, Bill Conti and Brad Fiedel drop their careers when they were at the top of the game.<br><br>" Say anything you will about Lorne Balfe, but at least he is working his ass off and slowly getting better and better"<br><br>As they said in another comment, you're compared to newbies and veterans. Balfe's having the opportunity of his life now. Take it or leave it. There's no choice. Powell, as well as Zimmer others, on the other hand, is a "senior member" of the club. He can afford to go away for a few years to resolve comprehensible personal problems without affecting the hard work he has developed in the last 20 years. Will Balfe continue to be so creative in 10 or 15 years?<br><br>@ds<br><br>"<br>Powell has nothing to prove, he has already mastered all genres"<br><br>That's funny, but it's fair. Powell Is a good composer. Not the best, far from it. Your style really narrows your work down, but we can say that from all the composers out there. So it's not a problem.The problem is he wants to limit his work to animations and fantasy.because he abhors gratuitous violence.<br><br>@george<br><br>". Although, I hate to say it, we could say the same for Zimmer in my opinion"<br><br>Zimmer's at the end of his career. All the other composers when they arrived at 60 years (with the exception of JNH, Goldsmith and Morricone) reduced the amount of projects per year and went on to choose their work best. It's a natural way.Over the years, it tends to get worse with one exception here and there. Don't keep expectations like he's in his prime<br><br>"he has "nothing more to prove", he is creatively dead."<br><br><br>Powell will work with a little more frequently in the coming years (or not) that only depends on his ambitions. However, frankly, he's never going to do three again. 4.5. 6 projects in a year. It takes a lot of motivation for that.<br><br><br><br><br><br><br><br><br><br>
Just listened to the whole thing, kind of a let down. Nothing interessting except for some action moments. Donít even recall hearing some sort of theme. Overall it was like listening to Cars 4: Spanish World Cup.I have already listened to The Jumanji Overture and I must say it sounds really great. Let's see how the rest of the score sounds.Tracklist with track duration:<br>01. The Jumanji Overture (03:20)<br>02. Digging Up The Past (01:43)<br>03. Brantfort High (01:09)<br>04. Into The Jungle (01:23)<br>05. Out of Character (02:31)<br>06. The Legend of the Jewel (02:23)<br>07. The Adventure Begins (01:40)<br>08. Special Abilities (01:16)<br>09. The Bikers (03:44)<br>10. Van Pelt (01:00)<br>11. A Test Of Friendship (01:22)<br>12. The Bazaar (01:16)<br>13. Snake Charmer (03:41)<br>14. The Power of Bravestone (01:04)<br>15. Seaplane McDonough (02:17)<br>16. The Missing Piece (01:46)<br>17. Lost In Time (01:18)<br>18. Flirting With Danger (01:36)<br>19. Albino Rhinos (03:44)<br>20. Retrieving the Emerald (01:54)<br>21. Out of Lives (01:49)<br>22. First Kiss (01:22)<br>23. The Jaguars (03:03)<br>24. Ring of Fire (02:07)<br>25. Begin The Climb (01:56)<br>26. Call Out Its Name (02:23)<br>27. leaving Jumanji (03:03)<br>28. An Older Friend (02:40)<br>29. Back To School (01:53)@ds the same for desplat's victory with Budapest Hotel.Maybe. I'd sure be happy for you lot ;) And I'd definitely rather see Powell attached to a project than, say, RGW, Junkie or Desplat. <br><br>That Solo movie is going to be a disaster, though.
One more thing: if indeed the reason for Powell's semi-hiatus was to be with his family as much as possible, we may well see his activity increase again in coming years now that his wife has passed away and his son is close to graduating high school (I couldn't find an exact date of birth for him but I think he's 16 or 17). Him taking on a project as big and ambitious as Star Wars isn't exactly the sign of someone who wants to take it easy. It's too early to say yet though.hans should win the oscar for best sound effects and not for the best music/score. just as a statement.And it's also unfair to use Balfe to criticize Powell. He started working on American projects in 2005 with Batman Begins, and only after 2010 did he receive individual projects. Is it accurate to compare someone who entered the party at the last minute with two others who are in it for 20 (Powell) and 30 (Zimmer)?<br><br>I'm in a hurry and I put everything into a translator. Forgive the many mistakes.<br> <br><br><br>Composers do not need to worry about the attention, acceptance of the public of the same or the same intensity as pop music artists do. There's no need to do that. Occasionally some name draws attention to the public and causes many people to be in the genre, Williams and Zimmer are the main examples that I can bring the table. However it is not because Williams or Zimmer are extremely popular and perhaps worry about the material they are offering to the public who adores them that all the composers of the world need to do equal. Most of these men and women even enxeega as "celebrity". They are more like artisans or the rest of the crew of a film that occupies with the lights, effects and costumes and that will never have the same response from the public as the main actor. And they don't even expect it. So I think it's foolish to wait for Powell to occupy himself in 2,3 movies a year to please a fanbase.<br><br>I'll agree with you when it says it's deplorable to see CPR composers who talk so much about building a single voice and giving emerging talent the opportunity to use so many additional composers (many of them with a possible promise that in the future they will work with Zimmer and thus have the opportunity to show his face in Hollywood.The sense is almost always these.You start with a secondary composer, he arrives at Zimmer and gains some kind of notoriety). But Powell is not the only one who does this. So he should not be the only one criticized.Well...it's a film score. It has no obligation to provide a pleasant or enjoyable listening experience, and for an award like this that doesn't really come into consideration. So if it works in the film, it did its job and that's all that matters.<br><br>For me personally, as someone who cares about music first and films second, a score like Dunkirk has little value. A few years ago I probably would have been pretty mad about this score winning awards and acclaim (you should have seen how salty I got when The Social Network beat out HTTYD), but these days... *shrug*. I know what I like, Dunkirk isn't it, and that's fine. It wasn't written for me. Do I wish Hans still wrote the kind of music I like? Of course. But he gets to make his own choices as an artist, just as I get to choose what to listen to as a fan.
The score is already on itunes.This score... so many mixed emotions. Does it work for the film? Heck yeah. Does it improve the film? So much so. Did Hans do what he set out to do? Totally. Is it an award winning masterpiece? Um, not so fast.<br><br>Dunkirk, while super effective within the context of the film (I wouldnít change a thing about it), I must admit, it doesnít have nearly the same effect as a stand-alone listen. Itís literally the same textures and notes over and over again, just slightly rising and falling in pitch and tempo. Does that make it ďawardĒ worthy? Iím not sure. If based solely on the film, you betcha. If based purely on the music itself, I donít think so. Thatís where Interstellar succeeds so far and away over Dunkirk. As a pure listening experience, Interstellar is interesting, multi-layered and emotional. Whereas Dunkirk is just flat, void of any sort of feeling or ďactualĒ music (again, works IN the film). Itís glorified sound FX (save for the end, which, no doubt, is in large part to Ben).<br><br>Hmm... Iíve never had a score tear me apart more than this one. I both love it and hate it. Maybe it did itís job... lol.<br><br>Excuse me while I go listen to No Time for Caution yet again.I think most of us agree that he should've won for Interstellar but I think Dunkirk deserves it too. The work Hans and the music department did on this movie is just incredible. Must've been a lot of hard work. <br>An award is an award, Hans' 2nd Oscar is long overdue so I'd be glad to see him win. But it would be weird to see him win for THAT score, after all the greatnesses of the past 20 years. Same thing with Morricone who won his only Oscar for his very light and insignificant work on Hateful Eight. Good for the man, good for the fans, but doesn't really make sense. But have Oscars ever made sense? :-phaha hybrid :D made my day
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Mini biography from IMDB

German-born composer Hans Zimmer is recognized as one of Hollywood’s most innovative musical talents‚ having first enjoyed success in the world of pop music as a member of The Buggles. The group’s single Video Killed the Radio Star became a worldwide hit and helped usher in a new era of global entertainment as the first music video to be aired on MTV.

Zimmer entered the world of film music in London during a long collaboration with famed composer and mentor Stanley Myers‚ which included the film My Beautiful Laundrette. He soon began work on several successful solo projects‚ including the critically acclaimed A World Apart‚ and during these years Zimmer pioneered the use of combining old and new musical technologies. Today‚ this work has earned him the reputation of being the father of integrating the electronic musical world with traditional orchestral arrangements.

A turning point in Zimmer’s career came in 1988 when he was asked to score Rain Man for director Barry Levinson. The film went on to win the Oscar for Best Picture of the Year and earned Zimmer his first Academy Award Nomination for Best Original Score. The next year‚ Zimmer composed the score for another Best Picture Oscar recipient‚ Driving Miss Daisy‚ starring Jessica Tandy and Morgan Freeman.

Having already scored two Best Picture winners‚ in the early ’90s Zimmer cemented his position as a pre-eminent talent with the award-winning score for The Lion King. The soundtrack has sold over 15 million copies to date and earned him an Academy Award for Best Original Score‚ a Golden Globe‚ an American Music Award‚ a Tony and two Grammy Awards. In total‚ Zimmer’s work has been nominated for 7 Golden Globes‚ 7 Grammys and seven Oscars for “Rainman”‚ “Gladiator”‚ “The Lion King”‚ “As good As It Gets”‚ “The Preachers Wife”‚ “The Thin Red Line‚” “The Prince Of Egypt” and “The Last Samurai.”

With his career in full swing‚ Zimmer was anxious to replicate the mentoring experience he had benefited from under Stanley Myers’ guidance. With state-of-the-art technology and a supportive creative environment‚ Zimmer was able to offer film-scoring opportunities to young composers at his Santa Monica-based musical ’think tank.’ This approach helped launch the careers of such notable composers as Mark Mancina‚ John Powell‚ Harry Gregson-Williams‚ Nick Glennie-Smith and Klaus Badelt.

In 2000 Zimmer scored the music for Gladiator‚ for which he received an Oscar nomination‚ in addition to Golden Globe and Broadcast Film Critics Awards for his epic score. It sold more than three million copies worldwide and spawned a second album “Gladiator: More Music From The Motion Picture‚” released on the Universal Classics/Decca label. Zimmer’s other scores that year included Mission: Impossible 2‚ The Road To El Dorado and An Everlasting Piece‚ directed by Barry Levinson.

Some of his other impressive scores include Pearl Harbor‚ The Ring‚4 films directed by Ridley Scott; Matchstick Men‚ Hannibal‚ Black Hawk Down and Thelma & Louise‚ Penny Marshall’s Riding In Cars With Boys and A League Of Their Own‚ Quentin Tarantino’s True Romance‚ Tears Of The Sun‚ Ron Howard’s Backdraft‚ Days Of Thunder‚ Smilla’s Sense Of Snow and the animated Spirit: Stallion Of The Cimarron for which he also co-wrote four of the songs with Bryan Adams‚ including the Golden Globe nominated “Here I Am.”

At the 27th annual Flanders International Film Festival‚ Zimmer performed live for the first time in concert with a 100-piece orchestra and a 100-piece choir. Choosing selections from his impressive body of work‚ Zimmer performed newly orchestrated concert versions of Gladiator‚ Mission: Impossible 2‚ Rain Man‚ The Lion King‚ and The Thin Red Line. The concert was recorded by Decca and released as a concert album entitled "The Wings Of A Film: The Music Of Hans Zimmer."

In 2003‚ Zimmer completed his 100th film score for the film The Last Samurai‚ starring Tom Cruise‚ for which he received both a Golden Globe and a Broadcast Film Critics nomination. Over the past year‚ Zimmer has scored Nancy Meyers’ comedy Something’s Gotta Give‚ the animated Dreamworks film‚ A Shark’s Tale (featuring voices of Will Smith‚ Renee Zellweger‚ Robert De Niro‚ Jack Black and Martin Scorsese)‚ and most recently‚ Jim Brooks’ Spanglish starring Adam Sandler and Tea Leoni (for which he also received a Golden Globe nomination). His upcoming projects include Paramount’s Weatherman starring Nicolas Cage‚ Dreamworks’ Madagascar and highly anticipated Warner Bros. summer release‚ Batman Begins.

Zimmer’s additional honors and awards include the prestigious Lifetime Achievement Award in Film Composition from the National Board of Review‚ and the Frederick Loewe Award in 2003 at the Palm Springs International Film Festival. He has also received ASCAP’s Henry Mancini Award for Lifetime Achievement. Hans and his wife live in Los Angeles and he is the father of 4.


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