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what about the music when batman makes it back to the cave and lex opens the case of kryptonite. cant find it in theseYeah I can't agree that Inception or Interstellar are superior pieces of scoring. Certainly not in structure, thematic development, etc. <br><br>What defined those scores is the vision behind them more so than the execution. In so many ways, that is opposite of The World's End. Interstellar is a brilliant score that managed to provide each scene with a simplistic tone, but one that captured the atmosphere behind the scenes perfectly, such as the unique use of the organ. Same with Inception with the guitars. <br><br>With a World's End, the vision is nothing special. It is a rock and roll twist to classic music. But the execution brings enormous power and gravitas to the movie.<br><br>I would sum it up by saying that in Interstellar and Inception, the creation of the music drives the movie's ideas while in At World's End, the movie drives the creation of the music.Nazg&#251;l for Azog I will never forgive. It's not a Servant of Sauron theme, it's a Ringwraith theme, and Azog's not a Ringwraith, he's a goddam Orc, and that theme doesn't belong there, full stop. It was just put there because it sounds "epic" and would "pump up the action scene". Gondor Restored at the end is just as stupid. And the Dreaming of Bag End theme for Bilbo is indeed lovely, and would have been lovelier still if it actually appeared in the movie. Instead it just gets replaced by copy/pasted Hobbit music from LOTR instead because Peter Jackson desperately wants his audience to remember how good those movies were in lieu of the Hobbit ones being any good on their own. Needless to say it goes missing entirely from the second and third score...along with the Misty Mountains melody (the strongest theme of the first one). I still really like those scores overall but they got absolutely butchered in terms of their thematic usage in the films. Then again those movies were an absolute clusterfuck so I shouldn't be surprised.<br><br>WRT Harry Potter, the 3 note theme does work okay for Voldemort, except that there's already a longer, separate Voldemort theme in Philosopher's, one that I like even more, and which only gets used once in Chamber (when Riddle rearranges the letters). I can understand liking Chamber better than Philosopher when you compare the albums, but in terms of the complete scores there's no contest at all, Philosopher wins by a country mile because of Chamber's rehash issues (and there are some good cues missing from the album, such as the Troll and Forbidden Forest scenes).@Edmund<br>The thing with the Nolan scores (at least Interstellar/Inception) is that they are repetitive, in as much as being built heavily around the suites that Iím guessing they use to edit and temp the film. <br>And while the themes are simple I do think they are structured in a unique enough way which builds emotional resonance through the gradual increase in chords/volume/speed/etc. Even Dunkirk is a relatively simple score theme wise, but is so technically complex.<br><br>And personally Iíve never been in love with Inception. I admire it on a technical level, but outside of ďTimeĒ I find it to be a fairly cold score. Obviously what it was meant to do so not a complaint, more of a personal preference thing.You know, I actually like Chamber of Secrets much more than Philosopher's Stone. It has the best moments from that score with improved themes. (I actually like the 3 note motif for Voldemort better than it being used for the stone, it already sounded like the Sith theme from Star Wars so might as well go all the way with it.) It felt more tight, better paced, and had an overall more energetic feel to it.<br><br>The Hobbit, I'm not entirely sure where you're getting heartbreaking from. If you mean the state of its release I absolutely agree, if you're talking about its reprisals the only one I had any issue with was the Return of the King/Gondor Restored theme which had nothing to do with Thorin and Bilbo's relationship. <br><br>The Nazghul theme being used for Azog I thought was fine as he was a servant of Sauron in the movies, History of the Ring and Gollum's themes were used effectively, and the new thematic material for the first film, I thought was wonderful. The themes A Baggins of Bag-End and The Lonely Mountain song being used as a Fellowship type of theme are the greatest highlights for me.
See, I don't find Inception or Interstellar (or Thin Red Line) all that "complex". Especially not compared to At World's End (how many themes are in that score, like 15? 20? Pretty much all of which show up in rapid succession during the Maelstrom battle?). The Nolan scores are more about building up around very simple conceptual ideas.<br><br>Unless you're talking about emotional complexity, which is a very different thing and not really possible to objectively judge...You know, I don't think I've ever really gotten the full story surrounding that score. I've heard conflicting reports. My personal belief is that Ross did little to no substantial composition and that all the new stuff (themes, suites, new cues and also significantly fresh arrangements of old material) is pure Williams, but that film is full of reused music from the first film (it's actually quite frustrating, not as bad as On Stranger Tides or as heartbreaking as The Hobbit, but a bit of a rehashy mess and it makes the key error of using the Philosopher's Stone motif as a Voldemort theme). That's where I think Ross comes in and was responsible for taking those cues verbatim from the first film and tweaking/rearranging them just enough to match the timings of the scenes without actually adding any of his "own" notes. His role is likely somewhere between additional music, arrangement and music editing (but as Hybrid likes to point out, oftentimes those sorts of roles are really blurred and overlapping anyways).<br><br>A guy at jwfan did an analysis that helps understand the nature of that score, but be warned, it goes *really* deep:<br><br>www.jwfan.com/forums/index.php?/topic/27619-finished-chamber -of-secrets-thematic-and-originality-analysis/I'm trying to be objective* (sorry haha)@Anonymous Zimmer's best? Well... I'm trying to be subjective:<br>IMO The Thin Red Line remains the pinnacle of Hans' career from an artistic point of view. It's a turning point, though we've been used to this kind of writing since (so many scores have copied TTRL).<br><br>Inception and (especially) Interstellar are superior pieces of scoring as well. Their level of complexity is unmatched in Zimmer's discography.<br>Gladiator is another impressive score, as it combines some of the best action music, best drama and deepest emotions Hans has ever composed for a movie.<br><br>Seems like I'm quite objective here, as none of my favorites scores are on this list ! ;)Interesting you mention William Ross' role in Chamber of Secrets because I've never fully understood what his exact involvement was. Was he just an additional music composer? Or did he actually compose most of the score with John Williams only writing the suites? Just curious if you know.
I mean, the thematic situation *is* a bit messy. You've got new themes by Powell, one new Williams theme adapted by Powell, and then existing Star Wars themes adapted by Powell. I agree the credits are a bit long-winded but I can't think of a more concise way to convey all that information.<br><br>What does bother me (and maybe this is my inner fanboy talking) is that it seems to downplay Powell's role a bit, listing him second and with the use of the word "adapted" which makes him feel a bit second fiddle. Remember how William Ross "adapted" Williams' music for Chamber of Secrets, by which was meant largely copying and pasting bits from Sorcerer's Stone? I have no doubt that Powell has done a far, far more substantial job here (and they do say "composed and adapted", to be fair). Then again, it's a Star Wars score, and of course they're going to put Williams' name front and center as much as possible no matter what.<br><br>This is all such nitpicking of the highest order :pHans for Star Wars ?<br><br><br>Never.<br><br><br>Ron probably asked him first and Hans probably was like "JOHN POWELL !!"What would have happened if Ron Howard would have been the first choice to direct Solo? He would have chosen James Horner (if he wasn't dead) or try to convince Hans Zimmer to do the music. The only collaboration between Howard and maestro Williams was in the movie Far And Away.Poster in SpainA Star Wars score that sounds like a Powell score? I'm in.<br><br>From what I've heard of many people, the score is really great and apart from the Williams theme, I heard Powell also had a lot of great themes.<br><br>I cannot wait for it!
Your source?Just saw the film, really fun and faced paced movie. The score is great, it has a solid main theme by John Williams (not as great as Rey theme though) but still memorable and john powell adapts this main theme in various variations throughout the film. Star Wars fan might be dissapointed by the score because this overall sounds like a typical Powell score which doesnít really sound like a typical Star Wars movie. Still fans of Powell will love this new score.La La-Land is going to release the scorePowell adapted ideas from Williams (i think in one interview, he saids the new themes come from tunes by Williams)Music providen by additional composers, mean like, diferent version or re-arranged parts from a cue
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John PowellBatu SenerPaul MounseyAnthony B. Willis
ComposerAdditional MusicAdditional MusicAdditional Music
Solo - A Star Wars Story
Label: Walt Disney Records
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HZimmer.com rating:        Not yet rated
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  1. The Adventure Of Han (John Williams)
  2. Meet Han
  3. Corellia Chase
  4. Spaceport
  5. Flying With Chewie
  6. Train Heist
  7. Marauders Arrive
  8. Chicken In The Pot
  9. Is This Seat Taken?
  10. L3 & Millennium Falcon
  11. Landoís Closet
  12. Mine Mission
  13. Break Out
  14. The Good Guy
  15. Reminiscence Therapy
  16. Into The Maw
  17. Savareen Stand-Off
  18. Good Thin You Were Listening
  19. Testing Allegiance
  20. Dice & Roll
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Mike (OTM) reply Replies: 6 || 2018-05-23 16:28:32
Anyone else think the credits are too complicated? Why not just have "Han Solo theme by John Williams" and "Score by John Powell"? I know that Powell directly quotes some Williams cues, but I dunno. That's an overly complicated cover, in my opinion.


MrZimmerFan2018-05-23 16:46:20
Powell adapted ideas from Williams (i think in one interview, he saids the new themes come from tunes by Williams)


Edmund Meinerts2018-05-24 00:39:56
I mean, the thematic situation *is* a bit messy. You've got new themes by Powell, one new Williams theme adapted by Powell, and then existing Star Wars themes adapted by Powell. I agree the credits are a bit long-winded but I can't think of a more concise way to convey all that information.

What does bother me (and maybe this is my inner fanboy talking) is that it seems to downplay Powell's role a bit, listing him second and with the use of the word "adapted" which makes him feel a bit second fiddle. Remember how William Ross "adapted" Williams' music for Chamber of Secrets, by which was meant largely copying and pasting bits from Sorcerer's Stone? I have no doubt that Powell has done a far, far more substantial job here (and they do say "composed and adapted", to be fair). Then again, it's a Star Wars score, and of course they're going to put Williams' name front and center as much as possible no matter what.

This is all such nitpicking of the highest order :p


superultramegaa2018-05-24 00:49:10
Interesting you mention William Ross' role in Chamber of Secrets because I've never fully understood what his exact involvement was. Was he just an additional music composer? Or did he actually compose most of the score with John Williams only writing the suites? Just curious if you know.


Edmund Meinerts2018-05-24 01:08:07
You know, I don't think I've ever really gotten the full story surrounding that score. I've heard conflicting reports. My personal belief is that Ross did little to no substantial composition and that all the new stuff (themes, suites, new cues and also significantly fresh arrangements of old material) is pure Williams, but that film is full of reused music from the first film (it's actually quite frustrating, not as bad as On Stranger Tides or as heartbreaking as The Hobbit, but a bit of a rehashy mess and it makes the key error of using the Philosopher's Stone motif as a Voldemort theme). That's where I think Ross comes in and was responsible for taking those cues verbatim from the first film and tweaking/rearranging them just enough to match the timings of the scenes without actually adding any of his "own" notes. His role is likely somewhere between additional music, arrangement and music editing (but as Hybrid likes to point out, oftentimes those sorts of roles are really blurred and overlapping anyways).

A guy at jwfan did an analysis that helps understand the nature of that score, but be warned, it goes *really* deep:

www.jwfan.com/forums/index.php?/topic/27619-finished-chamber -of-secrets-thematic-and-originality-analysis/


superultramegaa2018-05-24 02:32:07
You know, I actually like Chamber of Secrets much more than Philosopher's Stone. It has the best moments from that score with improved themes. (I actually like the 3 note motif for Voldemort better than it being used for the stone, it already sounded like the Sith theme from Star Wars so might as well go all the way with it.) It felt more tight, better paced, and had an overall more energetic feel to it.

The Hobbit, I'm not entirely sure where you're getting heartbreaking from. If you mean the state of its release I absolutely agree, if you're talking about its reprisals the only one I had any issue with was the Return of the King/Gondor Restored theme which had nothing to do with Thorin and Bilbo's relationship.

The Nazghul theme being used for Azog I thought was fine as he was a servant of Sauron in the movies, History of the Ring and Gollum's themes were used effectively, and the new thematic material for the first film, I thought was wonderful. The themes A Baggins of Bag-End and The Lonely Mountain song being used as a Fellowship type of theme are the greatest highlights for me.


Edmund Meinerts2018-05-24 03:28:33
Nazg&#251;l for Azog I will never forgive. It's not a Servant of Sauron theme, it's a Ringwraith theme, and Azog's not a Ringwraith, he's a goddam Orc, and that theme doesn't belong there, full stop. It was just put there because it sounds "epic" and would "pump up the action scene". Gondor Restored at the end is just as stupid. And the Dreaming of Bag End theme for Bilbo is indeed lovely, and would have been lovelier still if it actually appeared in the movie. Instead it just gets replaced by copy/pasted Hobbit music from LOTR instead because Peter Jackson desperately wants his audience to remember how good those movies were in lieu of the Hobbit ones being any good on their own. Needless to say it goes missing entirely from the second and third score...along with the Misty Mountains melody (the strongest theme of the first one). I still really like those scores overall but they got absolutely butchered in terms of their thematic usage in the films. Then again those movies were an absolute clusterfuck so I shouldn't be surprised.

WRT Harry Potter, the 3 note theme does work okay for Voldemort, except that there's already a longer, separate Voldemort theme in Philosopher's, one that I like even more, and which only gets used once in Chamber (when Riddle rearranges the letters). I can understand liking Chamber better than Philosopher when you compare the albums, but in terms of the complete scores there's no contest at all, Philosopher wins by a country mile because of Chamber's rehash issues (and there are some good cues missing from the album, such as the Troll and Forbidden Forest scenes).

Scorefan reply Replies: 1 || 2018-05-23 20:41:15
What would have happened if Ron Howard would have been the first choice to direct Solo? He would have chosen James Horner (if he wasn't dead) or try to convince Hans Zimmer to do the music. The only collaboration between Howard and maestro Williams was in the movie Far And Away.


Hybrid Soldier2018-05-23 22:01:05
Hans for Star Wars ?


Never.


Ron probably asked him first and Hans probably was like "JOHN POWELL !!"

Andreas reply Replies: 1 || 2018-05-23 18:32:06
Just saw the film, really fun and faced paced movie. The score is great, it has a solid main theme by John Williams (not as great as Rey theme though) but still memorable and john powell adapts this main theme in various variations throughout the film. Star Wars fan might be dissapointed by the score because this overall sounds like a typical Powell score which doesnít really sound like a typical Star Wars movie. Still fans of Powell will love this new score.


JBSO992018-05-23 18:44:35
A Star Wars score that sounds like a Powell score? I'm in.

From what I've heard of many people, the score is really great and apart from the Williams theme, I heard Powell also had a lot of great themes.

I cannot wait for it!

jewen reply Replies: 1 || 2018-05-23 16:38:10
Sorry about my lack of knowledge on this...but somebody can explain me what means "Additional Music"?.

I know somebody composed the score, sometimes the same person is the arranger or orchestrator (like ussually do John Williams), but "Additional Music"??? I'm lost like always...


MrZimmerFan2018-05-23 16:45:05
Music providen by additional composers, mean like, diferent version or re-arranged parts from a cue

Michael Fields reply Replies: 2 || 2018-05-23 09:08:01
Music Credits (From The Film):

Han Solo Theme And Original Star Wars Music By
JOHN WILLIAMS

Score Composed And Adapted By
JOHN POWELL

Additional Music And Arrangements By
BATU SENER
ANTHONY B. WILLIS
PAUL MOUNSEY

Supervising Orchestrator
JOHN ASHTON THOMAS

Orchestrated By
GEOFF LAWSON
TOMMY LAURENCE
ANDREW KINNEY
RANDY KERBER
RICK GIOVINAZZO
GAVIN GREENAWAY

Additional Orchestrations By
HERBERT W. SPENCER
MARK GRAHAM
GREGORY JAMROK
VICTOR PESAVENTO
PAUL HENNING

Music Editors
JACK DOLMAN
RYAN RUBIN
RAMIRO BELGARDT
SALLY BOLDT

Orchestra Conducted By
GAVIN GREENAWAY

Orchestra Leader
EMYLIN SINGLETON

Score Recorded And Mixed By
SHAWN MURPHY

Additional Recordings By
JAKE JACKSON
NICK WOLLAGE

Additional Mixing By
JOHN TRAUNWIESER

Mix Assistant
GORDON DAVIDSON

Scoring Editor
DAVID CHANNING

Digital Score Recordist
ERIK SWANSON

Orchestra Contractor
LUCY WHALLEY
For
ISOBEL GRIFFITHS LTD

Choirs
ETHNIC BULGARIAN CHOIR "VANYA MONEVA"
SOFIA SESSION CHOIR

Choir Contractor
GEORGE STREZOV

Vocal Contractor
EDIE LEHMANN BODDICKER

Solo Vocals
BARAK MAY
REID BRUTON

Music Preparation By
MARK GRAHAM
GREGORY JAMROK
DAVE HAGE

Score Recorded At
ABBEY ROAD STUDIOS, LONDON

Abbey Road Recordists
JOHN BARRETT
STEFANO CIVETTA
GEORGE OULTON

Score Mixed At
5 CAT STUDIOS, LOS ANGELES

Score Production Assistants
NATE UNDERKUFFLER
SOYA SOO


Blu2018-05-23 10:13:49
I am increasingly seeing two separate credits for the orchestration role: one being the usual "Orchestrated By" and the other is this "Additional Orchestrations" credit. I can understand what one might mean by "additional music" but what differentiates these two orchestration roles from one another?


Michael Fields2018-05-23 10:20:03
I think that credit connected with John Williams's music from the original Star Wars movies. So, Herbert Spencer was the original orchstrator on the first three movies (New Hope, The Empire Strikes Back and Return Of The Jedi). More of that, he's been credited on Rogue One: A Star Wars Story as orchestrator. All other people usually works with John Williams, except Mark Graham, who's heading music preparation in almost every Hollywood movies now (Jo Ann Kane Music Services)

Mike (OTM) reply Replies: 11 || 2018-05-04 17:41:08
John Powell posted a scene on FB. The clip reprises "The Asteroid Field" from Empire and contains, presumably, the new theme, as well as the main theme and the Rebel fanfare.


DT-20172018-05-04 18:04:19
I know people are saying 'This is an RCP score' but, at least from this little bit, it sounds an awful lot like the score will be in keeping with what came before.

I'm saying this as somebody who liked Rogue One, but Rogue One had some clunky musical moments that showed just how little time Giacchino had to score it. This bit seems much more coherent.


Meta2018-05-05 16:00:00
Hmm...Well...The Asteroid Field was a notable SOLO piece from Empire...Not exactly a theme-theme, but it made for good action scoring...Hopefully he reworks it in this film to be glorious.


MrZimmerFan2018-05-05 18:30:22
'but Rogue One had some clunky musical moments that showed just how little time Giacchino had to score it'

King Kong has the same time of recording and the score is brilliant.



Kingfannypack is the MILFcommander2018-05-05 18:42:17
Sure, King Kong was written at a moments notice after Shore departed the project, but thatís James Newton Howard. Heís known for writing great scores and finishing them really fast.


MrZimmerFan2018-05-05 19:05:10
'Heís known for writing great scores and finishing them really fast'

And compose certain things... there aren't great. Common sense now.

If someome says there is clunky moments that shows the little time score a score in Rogue One, that's really unfair, not only for the quality, Rogue One has great moments in it, if you compare with Jurassic World (more time for recording, the score and is more empty and flat)



Olive2018-05-05 21:49:40
Powell claims to have written five original themes and other minor ideas.


kingfannypack is the MILFcommander2018-05-06 08:04:28
Jurassic World flat??? Jurassic World is one of the best Giacchino scores hands DOWN. Go give the score another listen, or go find the recording sessions and listen to that.


MrZimmerFan2018-05-06 10:30:30
I listen the score four times and find it, very bland, more in the side of Ok than good. Hell, even i have more fun with Spider-Man, even that isn't one of his best. Much better writing are John Carter or The Incredibles.


Edmund Meinerts2018-05-06 11:26:12
I agree, Jurassic World is average Giacchino. Nowhere near as good as the two you mention, or Jupiter Ascending.


JBSO992018-05-06 13:49:53
I must admit that at first I didn't liked Jurassic World, but after giving more listens, it has grown on me a lot. But it's nowhere as near as his score for The Incredibles. That's my favourite of all of his scores.

BTW, about the clip. I really like the return of The Asteroid Field and the new theme sounds nice. But if I understand it correctly is a theme for Chewbacca, as he said in his Facebook post, so I guess the theme Williams compose was for Solo and that's still unheard right? Anyway, it sounds really great and I hope the rest of the score is like that.


DT-20172018-05-09 14:00:35
Jurassic World certainly wasn't his best but I quite liked it. I really hope Giacchino develops on it for Fallen Kingdom and turns it into something really good.

Giacchino actually did four scores one after another with no pause in 2016. In order, he did Zootopia, Star Trek Beyond, Doctor Strange and then straight from Doctor Strange onto Rogue One (then straight onto 2017's Spider-Man after that). I get the feeling Giacchino might not cope as well with such a demand. Out of all his scores... man, it's hard to pick between either the original Medal of Honor game score, or Star Trek Beyond... I think Yorktown Theme puts it ahead as my favourite Giacchino.

Back on topic, now that the tracklist is released, I'm looking forward to hearing it. It's interesting that John Williams not only wrote The Adventures of Han Solo but also conducted and recorded it (I'm going to guess with the same orchestra that did The Last Jedi). I can't wait to hear the themes John Powell wrote for this film.

aldan reply Replies: 0 || 2018-05-08 20:09:25
"John Williams himself suggested that John Powell would be a great candidate to not only use the classic Star Wars themes, but also the new theme that John Williams himself wrote for Han Solo. John Powell wrote a lot of great themes, including the first-ever Chewbacca theme." - Ron Howard

Wowwww! That's something
http s://movieweb.com/solo-movie-soundtrack-chewbacca-theme-song- music/

aldan reply Replies: 3 || 2018-05-08 17:16:14
The tracklist:

1.) The Adventures of Han ( Music Composed and Conducted by John Williams)
2.) Meet Han
3.) Corellia Chase
4.) Spaceport
5.) Flying With Chewie
6.) Train Heist
7.) Marauders Arrive
8.) Chicken In The Pot
9.) Is This Seat Taken?
10.) L3 & Millenium Falcon
11.) Lando's Closet
12.) Mine Mission
13.) Break out
14.) The Good Guy
15.) Reminiscence Therapy
16.) Into The Maw
17.) Savareen Stand-off
18.) Good Thing You Were Listening
19.) Testing Allegiance
20.) Dice & Roll

Will you add the runtime? :)


Edmund Meinerts2018-05-08 17:28:51
I'm glad there seems to be one track that's 100% Williams. It'll make it easier to figure out where he stops and Powell starts.


Mike (OTM)2018-05-08 18:06:06
"The Adventures of Han" ó classic Williams title, lol.


Mephariel2018-05-08 19:27:08
LOL, I keep imagining John Williams scoring a Hans Zimmer biopic and naming his main theme "The Adventures of Hans."

Mephariel reply Replies: 4 || 2018-05-04 19:17:16
I hope this is not a sign of the score as a whole. I am not a fan of a composer focusing on bringing back the past. It is like how Elfman tried to induce nostalgia in Justice League instead of scoring something memorable and new and the score suffered from it.

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HunterTech2018-05-04 19:32:46
Thing is: this is a movie that literally explores the past of a beloved character from the inception of the franchise. Of course it would make sense to try and rely in older themes. Now whether or not the themes actually fit with the kind of picture they're going for, as well as being over reliant on them, is another matter entirely. But if it is true that Disney is being more careful this time with the score compared to RO, then there shouldn't be much worry.

Besides, Powell will probably actually use the themes effectively, as opposed to essentially just hinting at them the way JL did it.


Mike (OTM)2018-05-04 21:10:13
Yeah, JL isn't a comparable situation. That was Elfman making a big deal of bringing back (more like "shoehorning in") old themes that, frankly, didn't fit those versions of the characters and put the axe to musical continuity.

Star Wars has always been one continuity, without any reboots, and it's always had on-the-nose statements of themes. I'm excited for this one.


Meta2018-05-05 15:53:13
Actually Elfman pretty much deconstructed his 89 Batman theme and turned it into the JL theme...

That was a decent effort, although he should have kept the actual 89 theme out of this, because it doesn't fit the film...I kept thinking about Tim Burton when I heard the theme. And Tim Burton and this new Batman don't mix.


Josiah2018-05-07 04:45:48
The difference is, is that Elfman only used the past theme in a very subtle way and wasn't powerful as it should be. Not only that is he used themes from way back then that made it feel cartoonish. John Powell on the other hand will probably do it a lot better.

Anonymous reply Replies: 0 || 2018-05-02 03:37:42
anyone think the music in the "becoming solo" featurette is score material (maybe remixed)?

Frank reply Replies: 1 || 2018-04-29 07:26:23
John Powell's concert piece finally will be release in the album: Hubris - Vocal Works by John Powell. Will you add it Hybrid?


Edmund Meinerts2018-04-29 09:21:42
I'll believe it has a release when I'm looking at it and not a moment sooner. ;p

DT-2017 reply Replies: 1 || 2018-04-25 18:08:20
This might sound like a rather... odd question, but I did ask it when it came to Rogue One. Is John Powell going to use a 'classic' arrangement of the End Credits Suite, or is he writing something entirely new? The end credits theme is pretty much a staple of all the films so far and it would be interesting to know what Powell has in mind for his score there.


Edmund Meinerts2018-04-26 00:25:44
I'm guessing that the end credits will be where we hear what Williams wrote for the film, a concert arrangement of the new theme he contributed. So it'll start with the classic fanfare and then lead into that, and then if there's any time left to fill they'll put in some of Powell's material.

Holygreg reply Replies: 0 || 2018-04-25 16:23:23
And the release date has finally come !

MAY 25th !

Will it be Powell's masterpiece ? I hope so ! But it's going difficult to sound better than HTTYD !

Anonymous reply Replies: 0 || 2018-04-25 01:50:39
I hope the Imperial March is in the score.

Kingfannypack is the MILFCommander reply Replies: 17 || 2018-04-20 22:17:21
John Powell stated on his Instagram that the album will have 19 tracks, and be over an hour!


Meta2018-04-21 05:47:50
Cant say Im 100% invested.....

This will be the first Star Wars score to go the Zimmer route...


Ds2018-04-21 07:47:30
And how is that a bad thing? :-p
John Powell is an excellent choice to have both a big sounding and fun RCP score, and an orchestral one which would fit with the previously established style.


Edmund Meinerts2018-04-21 09:04:34
You can't call Powell "the Zimmer route". He's written some of the densest, flashiest orchestral film music of the last 10+ years!


Mr Tweedy2018-04-21 10:01:01
IMO, though Powell was Hans'protegee 20 years ago, he always had his very own style. And this style evolved so much through these decades you can't really connect any more his mannerisms to those of people at RCP!


JBSO992018-04-21 11:39:24
Of all RCP members, I think he is the one closest to Williams and Star Wars sound, so I think this score will be pure orchestral fun, like most of his scores usually are.

I cannot wait to listen to it!


superultramegaa2018-04-21 12:21:28
People like Harry Gregson, Jablonsky and Zanelli, despite their melodic tendinsies, would be people chosen for going the Zimmer route. I think Jablonsky's is the closest to Star Wars but even then there's a ton of power themes, and Zimmer hallmarks that keep him away from this sort of style.

Powell is the last person I would associate with Zimmer. His techniques are very much in vain with the Williams-like composers, like Alexandre Desplat and Michael Giacchino. The complex underscore, the rapid notes, the restraint on drums, instrument variety, the jazz techniques, etc. He's the perfect RCP composer for the job.


Meta2018-04-21 15:30:24
Restraint on drums?

Have you listened to Green Zone? The Bourne movies? Hancock?

Cmon...Yeah he's not Zimmer, but this isn't a Williams product we are talking about. It's an RC product. This is what I am talking about.


superultramegaa2018-04-21 16:27:16
Ok, not restraint on drums, but I still don't really see how exactly his music for animated films comes even close to being an RC product. When I think of RC I think of the music for the Pirates movies, the early Bay and Bruckheimer films, etc. The work on Shrek, Antz, Ice Age, and How to Train Your Dragon is much closer to a traditional Williams score than any RC product.

Plus he's working on Star Wars so he's obviously going to try his damnedest to stick to that kind of music, and to avoid the Zimmer style. I just don't understand why you think Powell, of all people is going to be the one to dilute the Star Wars sound.

Hell, I think Giacchino's score for Rogue One was pretty much nothing more than an unmemorable, and bland version of Star Wars with very little going on besides broken down notes of the Star Wars theme playing and generic Williams copy. Just like Jurassic World. I don't know how Giacchino makes Williams' style bland but he finds a way. At least with Powell we'll get more style and memorability on top of a Williams imitation.


mpolonest123 2018-04-21 18:59:43
@superultramega Itís funny you should say that about Rogue One because, even though I do like the themes, I will agree that it definitely is weaker than any Star Wars score and seems to lack the life Giacchino normally puts into his music.

Even weirder, his music for Jupiter Ascending (another big space opera) is far more aggressive and developed, and probably one of his best. It makes me wonder if the Star Wars team wanted the safe route....


Mephariel2018-04-21 19:23:15
While John Powell is usually far more melodic and classical than your usual RCP composer, I don't see the Williams similarity. His music doesn't really sounds like Williams' scores. But I think he is perfect for Star Wars. I am much more excited about this than Giacchino's Rogue One.


superultramegaa2018-04-21 19:45:01
I wasn't saying Powell sounds like Williams. I'm saying he's closer in sound to Williams than he is to Zimmer for his animated movies.


Olive2018-04-22 02:13:13
Powell is heavily influenced by Zimmer. The only thing that differs him from the others is that he really has a style of his own that matches the traces of the career he shared with Zimmer. If you listen to any of your action scores, you will notice that they are clearly RCP scores. Even the orchestral, especially "Pan" have some passages that are very reminiscent of Pirates, Prince of Egypt and Gladiator.


meta2018-04-22 05:25:15
@superultramegaa and others

Honestly, if you take an objective look back, you can still see RC written all over Powell...And thats all well and good, because I like Powell. Well, maybe not since Hancock, but I like his style.

That being said, This will be the official first Star Wars outing with an RC score. Sure, Williams phoned in a theme...But going forward I expect RC influence to be the norm.

And, as for Giacchino...Jesus Christ. For someone who practically MADE his career apeing Williams (Jurassic Park and Medal of Honor video games spring to mind), his Rogue One was dreadful...I cant disagree with you.




Edmund Meinerts2018-04-22 17:32:01
Wait, Meta, you haven't liked Powell since Hancock? This despite putting out his career peak in the How to Train Your Dragon scores? I mean, if there's anything that proves he's got the chops for Star Wars style orchestral and thematic music, it's those two (and X-Men: The Last Stand, and Pan).


Meta2018-04-22 22:03:38
@Edmund

actually i wasn't interested in the Dragon scores...or Pan, for that matter. Xmen 3 wasn't too bad, but he still had that tight RCP score techniques...Yeah, I think he must have changed his methods since Hancock/Green Zone...Because I'm not interested in hsi work after that. Must be those pesky drums he doesnt use anymore?


Mephariel2018-04-23 05:48:31
How to Train Your Dragon is one of his best. You are missing out.

But I may be the only person who thinks Face/Off is one of his best scores. I love that score more than nearly any John Powell scores.


MrZimmerFan2018-04-23 11:42:56
Nop, you're not the only one.

I can say everything i listen John Powell is something with quality and personality.


kingfannypack is the MILFcommander reply Replies: 3 || 2018-04-10 22:55:46
So I keep hearing that John Williams is contributing a theme. Does this mean he wrote a whole new Solo theme, or that the new film will use an old Han Solo cue?


Hybrid Soldier2018-04-10 22:56:56
He did write something new, which JP & team use & arrange in various ways, as well as some old themes from the franchise.


Olive2018-04-10 23:00:09
A "new" theme for Han Solo and previous themes of the franchise.


Kingfannypack is the MILFcommander2018-04-12 08:20:19
Thanks Hybrid! I am very excited for this soundtrack, I donít listen to John Powell nearly enough.

Hari Haran reply Replies: 4 || 2018-04-10 21:14:08
*upon listing John Williams on the website as a member of RCP*

Zimmer: "The circle is now complete. When I first heard about you, I was but the learner, now, I am the Master!"

Williams: "Only a master of synthesizers, Hans!"


Mike (OTM)2018-04-10 21:20:23
lol....I know they know each other, but I wonder how much of Zimmer's music Williams has even listened to. He tends to be kind of intentionally insulated.


Olive2018-04-10 23:01:33
Probably very little, almost anything.


Mephariel2018-04-11 02:11:52
I have a hard time seeing Williams being a Zimmer fan. But he did wrote Zimmer a letter about Man of Steel saying he can't wait to listen to his score right?



MichaelFilm72018-04-11 15:26:35
Hey Yo - howís your composing career doing !!!

jjstarA113 reply Replies: 0 || 2018-04-11 03:33:41
https://static2. thesbcommunity. com/uploads/monthly_2017_10/dreamsdocometrue.gif.7c95583b370 40212ce959cb063579f78.gif

superultramegaa reply Replies: 1 || 2018-04-10 21:12:27
Considering all of the production problems with this movie, I really hope Powell's score doesn't succumb to whatever mess this movie emerges as.


Olive2018-04-10 23:02:55
I also keep my foot behind with everything about this movie.

mpolonest123 reply Replies: 2 || 2018-04-10 18:24:41
Shame he couldnít team up with Harry Gregson-Williams again lol

Honestly John Powell is one of the best working composers today, seeing him do a Star Wars film while including a theme by John Williams himself is just unreal...


MrZimmerFan2018-04-10 19:04:52
Harry was scoring The Meg, altough John Powell is a great choice for this movie.


mpolonest123 2018-04-10 21:26:04
My favorite HGW scores (apart from Narnia and the Martian) have always been his collabs with Powell. Antz is probably one of my favorite animated RCP/MV scores and I practically grew up with Shrek.

As for Solo, Iím genuinely curious as to what sound JP is going to write in. Will it be a mixture of his trademark style? Will it be him emulating John Williams? Will it be a combination? Whatever the result Iím sure it will be amazing!

... reply Replies: 4 || 2018-04-10 12:18:30
You should add Williams to HZ.com


Hybrid Soldier2018-04-10 12:34:13
It would probably provoke a black hole that would suck the Earth up into oblivion... So maybe I should be careful ! lol


Mike (OTM)2018-04-10 19:09:52
I dunno, Hybrid....there is a Harry Potter score here already... ;)


Olive2018-04-10 19:55:59
Greenaway!


Mephariel2018-04-10 20:37:15
Have to say, I am not familiar with Batu Sener's work. Hope we will see some contribution credits in the future.

Backbiter reply Replies: 0 || 2018-04-10 14:05:55
An RCP Star Wars Score? This should be interesting.

Hybrid Soldier reply Replies: 2 || 2018-04-10 10:04:52
And so it's coming...


Edmund Meinerts2018-04-10 10:36:32
My playground for the next couple months... :D


MrZimmerFan2018-04-10 12:18:57
I can't wait for this.

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Solo - A Star Wars Story soundtrack - John Powell 2018