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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. Don’t 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 wouldn’t change a thing about it), I must admit, it doesn’t have nearly the same effect as a stand-alone listen. It’s literally the same textures and notes over and over again, just slightly rising and falling in pitch and tempo. Does that make it “award” worthy? I’m not sure. If based solely on the film, you betcha. If based purely on the music itself, I don’t think so. That’s 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 “actual” music (again, works IN the film). It’s glorified sound FX (save for the end, which, no doubt, is in large part to Ben).<br><br>Hmm... I’ve never had a score tear me apart more than this one. I both love it and hate it. Maybe it did it’s 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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Harry Gregson-WilliamsJohn PowellJames McKee SmithSteve Jablonsky
ComposerComposerAdditional MusicAdditional Music
Chicken Run
Label: RCA Victor
Length: 62'28 (Score: 59'52)
HZimmer.com rating:        5/5
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   3/5 (5673 votes)
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  1. Opening Escape (3:39)
    John Powell
  2. Main Titles (3:24)
    John Powell
  3. The Evil Mrs. Tweedy (4:22)
    John Powell
  4. Rats! (1:09)
    Harry Gregson-Williams
  5. Chickens Are Not Organized (1:01)
    John Powell
  6. We Need A Miracle (2:03)
    John Powell
  7. Rocky And The Circus (3:51)
    John Powell
  8. Flight Training (3:39)
    John Powell
  9. A Really Big Truck Arrives (5:56)
    Harry Gregson-Williams
  10. Cocktails And Flighty Thoughts (1:58)
    Harry Gregson-Williams
  11. Babs' Big Break (1:40)
    John Powell
  12. Flip Flip And Fly - Ellis Hall (2:09)
  13. Up On The Roof (3:08)
    Harry Gregson-Williams
  14. Into The Pie Machine (3:10)
    John Powell
  15. Rocky‚ A Fake All Along (3:28)
    Harry Gregson-Williams
  16. Building The Crate (3:32)
    John Powell
  17. The Wanderer - Dion (2:47)
  18. The Chickens Are Revolting (2:45)
    John Powell, Gavin Greenaway
  19. Lift Off (3:41)
    Harry Gregson-Williams
  20. Escape To Paradise (4:59)
    John Powell, Gavin Greenaway, James McKee Smith
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Edmund Meinerts reply Replies: 4 || 2013-11-17 15:21:00
How come there are some guys like Jablonsky and Zanelli who are listed as additionals here, but don't have any cues credited to them?


Frisbee2013-11-17 16:34:20
Two possibilities:

1) The parts they wrote didn't make it to the album program, or

2) It is known that these guys did write some music for this film, but the exact cues are not known.


Edmund Meinerts2013-11-17 16:42:36
Not sure about #1, because I honestly don't think there's much more music in the film than there is on this album.


Mike2013-11-19 04:15:54
Perhaps they did source music not included here...I know that was what Zanelli did on Antz.


Mr Tweedy2013-11-19 22:24:11
Actually Edmund there are a few tracks in the film that didn't make it to the album (5 minutes or so I think).
This could be an explanation. Perhaps some additional composers just helped here and there but didn't earn credits because their contribution was meager too much ?

I don't remember if there was any source music in the film apart from "The Wanderer" (that was not composed by the score team, of course).

MacArthur reply Replies: 1 || 2013-08-11 19:30:05
I Kinda Sounds Like the Great Escape Theme by Elmer Bernstein


Edmund Meinerts2013-08-11 22:40:22
Well, considering the movie is essentially The Great Escape except with chickens, I think that was the general idea. ;)

Anonymous reply Replies: 0 || 2013-06-25 07:55:05
So then, I take it JP was the primary guy here?

Ele reply Replies: 1 || 2009-12-16 00:00:00
There's mistake. Geoff Zanelli did not write additional music here.


Mike2013-04-10 04:59:28
Apparently he did. The film is listed on his site.

Mike reply Replies: 0 || 2012-12-28 09:26:05
Steve Jablonsky worked on this score! Wow!

FunnyML reply Replies: 0 || 2011-04-12 00:00:00
According to the film's credits sequence, Geoff Zanelli actually did an additional cue.

Mario Soundtrack reply Replies: 0 || 2009-07-25 00:00:00
New Actualist!!!!! John Powell and Harry Gregson-Williams is the best DUO. Yes, and with Hans Zimmer too.!

Opening Escape - Main Title - The Evil Mrs.Tweedy - Chickens Are not Organized - Flight Training -
A Really Big Truck Arrives - Cocktalis and Flighty Thoughts - Into the Pie Machine -
Building the Crate - The Chickens Are Revolting - Lift Off - Escape to Paradise !!!! 12 of 20 Goods!!

Mario Soundtrack reply Replies: 0 || 2009-02-28 00:00:00
Opening Escape - Main Titles - A really Big Truck Arrives - Into the Pie Machine - Building the Crate - Chickens Are Revolting - Lift Off & Escape to Paradise!
The best!!

Mario Soundtrack reply Replies: 0 || 2008-11-19 00:00:00
This audible band is especially good, very varied and wonderful. The by that? The name of the two authors explains it all, loves me this duo. My favourite songs of here are:
Opening Escapes, Main Titles, A Really Big Truck Arrives, Building the Crate, The Chickens Are Revolting, LIFT OFF & Escape to Paradise.

DemonStar reply Replies: 0 || 2008-07-24 00:00:00
Amazing score!

Anthony reply Replies: 0 || 2006-12-23 00:00:00
Go Hans Zimmer? Excuse me?

Anonymous reply Replies: 0 || 2006-10-24 00:00:00
Great score for an amazingly made movie. Go Aardman. Go Hans Zimmer. Go life!

Ant reply Replies: 0 || 2006-08-13 00:00:00
Heh, the kazoos are just the cherry on top!

Peter Mandelson reply Replies: 0 || 2005-01-09 00:00:00
Great score for a great film!

John Mason reply Replies: 0 || 2005-01-09 00:00:00
My excitement just couldn.t be contained when I heard that Chicken Run was being scored by Gregson-Williams/Powell after their amazing collaboration on Antz. I knew we were all in for a treat!
I heard somewhere that main title music is a good way of telling how good the rest of the score is going to be and this is no exception. The "--Opening Escape"-- and "--Main Titles"-- tracks are seven minutes of sheer excitement. The music could be easily inserted into any old-fashioned war movie like 'The Great Escape' (which the film and music obviously parodies).
The introduction of the Mrs Tweedy character, which is gloriously placed in track 3, is at first ominous and then sad to accompany the execution of a fellow chicken.
There are many other sad, heartfelt cues in the score such as "--We Need A Miracle, "--Up On The Roof"-- and "--Rocky, A Fake All Along"--.
There are also many other action filled tracks (tracks 14 and 16).
I almost forgot to mention the kazoos - they are great. They provide a perfect comical feel to the score whilst preventing it from becoming too serious.
There are two songs on the album, one existing and one original - which is very enjoyable.

A great collaboration between the two composers who will continue to produce, interesting and exciting scores for years to come.

***** out of *****

Mr.Tweedy reply Replies: 0 || 2004-12-07 00:00:00
Certainement l'oeuvre la plus aboutie écrite par John Powell et Harry Gregson-Williams.
Les deux compositeurs ont réalisé un travail excellent pour ce film des studios Aardman, déjà créateurs des courts "--Wallace &-- Gromit"--.
L'humour est omniprésent et les différents thèmes sont recherchés, et d'une énergie rare.
Du "--Main Titles"-- au "--Building the Crate"-- survitaminé, pas une seule seconde de musique n'ennuie l'auditeur. Même les deux chansons ("--Flip Flop and Fly"-- &-- "--The Wanderer"--) s'inscrive parfaitement dans le contexte.
L'utilisation des kazoos donne un son nasillard très drôle, en guise d'identité sonore de la bande originale.

Une petite perle que tous les fans de Powell et Gregson-Williams se doivent d'avoir dans leur collection. Magnifique.

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Chicken Run soundtrack - Harry Gregson-Williams - John Powell 2000