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Great. Thx.<br><br>Score has much similarities with Sherlock, so there is many of Lorne's cues...Known credits are Runaway Train for Mazzaro (was on his website), for Andrew K : The Rangers, Cannibal, Dead Rangers & Finish Him (on his Soundcloud). Geoff is the only guy with Ann Marie Simpson that got the privilege of cuesheet credit.
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<br>Battle of Aughrim arrangement (so everything lifted from "Silver") is Hans & Ann Marie.
<br>
<br>Geoff did a good part of the score, every other classical pieces arrangements are his (so, everywhere the William Tell Overture appears). Train Chase, the End Credits, This Is A Robbery.
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<br>The stuff that sounds more or less like Sherlock have definitely Lorne. And I suspect a bit more epic drama have RGW.Hello there!<br>Hybrid, do we have some composer's credits on this score?<br>Or this is situation like on Transformers score?<br><br>Somewhere I read that Geoff Zanelli helped Hans on Train Chase (pts 1&2), Mazzaro did Runaway Train and Kawczynski did like 2 or 3 tracks (the rangers, finish him). Is that correct?<br><br>btw good score, not genius, but pretty good action score.<br><br>Made in Italy<br><br>Beautiful new score by Alex Belcher, check it out!Oh, yes.<br><br>Maybe this month, right?
The album is ready. Just waiting for legal to settle it... It'll happen.And about The Rhythm Section?, Mazzaro said the score is mastered...If there'd only been the first movie prior, I think I'd get it a bit more. But the 2nd film did have a proper score release, so the only reason at this point is that it just isn't on Nick's mind after all the delays.Whoa, why not? Every obscure random shit gets released these days but a Hans Zimmer score to a fairly big mainstream movie doesn't?I doubt there'll be a score release.
The Spongebob movie is being released next Friday here in Canada, could we see a release of the album soon? Assuming of course that there will be an album at all /:I gotta say that short film was spectacular even with I Phone 11, the score by Lorne Balfe fitted very well with the scenes introduced.I'd say that this anthem was pretty great for Zimmer to score a soccer team that has been alive for 25 years.Cheers guys, much appreciated!<br>In my mind I had some video interview though, as I always like watching those as well. I do wonder if there was an extra section on the home release of the movie where ideally there might be.Hans Zimmer is one of the biggest film composers working in the industry today.  He won an Academy Award for his work on The Lion King, and has been nominated for six other films including Gladiator, The Thin Red Line, and As Good As It Gets. With The Last Samurai he celebrates his 100th film score, and SoundtrackNet had an opportunity to talk with Hans a few weeks ago during a rare break in his busy schedule working on Something's Gotta Give.<br><br>You've scored many projects during your career, and The Last Samurai is being touted as your 100th film score…<br><br>Well, I'm terrible with math, so I'm not doing the counting. It could be more, it could be less – but apparently it's the 100th.<br><br>So how did you get involved with the project?<br><br>If you're lucky enough to get nominated for an Oscar, you get invited to the Oscar nominee's luncheon where they hand out these little nomination certificates. There are usually 150 people standing there, and people are invited up in alphabetical order, starting with the As. By the time they get to the Cs, everybody's already back at their table chatting and eating, and while the first people called get thunderous applause, you can imagine what it's like when your name starts with Z!<br><br>So Ed Zwick and I were standing there, waiting at one of these luncheons about four years ago, and we started talking to each other. I asked him what he was working on and he told me about this movie called The Last Samurai, which I thought sounded interesting and I asked him to send me a script. After the script arrived, I didn't hear from him for a long time and I thought he'd forgotten about me, not thinking about how difficult it is to set up a samurai movie these days. The other thing I liked about the project was that Tom Cruise was involved, so it was like returning home, since I've scored a bunch of his movies – I knew we were going to have a good time.<br><br>Did it end up that way?<br><br>Ed and his editor Steve Rosenblum are such gentlemen, so together and professional, and they basically did one cut of the film, screened it, and everyone loved their work. So after this, they had plenty of time to come and hang with me, and while I usually love the re-cutting process because it's a diversionary tactic to keep the director and editor out of my life, these guys were great to have around. <br><br>Of course, my sense of paranoia made me think that something was going wrong all the time, waiting for the other shoe to drop, as it were, but it never happened. Ed phoned this morning and I thought, "Oh my god – rewrite!" It's just how my brain works. But I think he and I feel a bit odd now: we've been seeing each other every day for months, and suddenly we're done. I completely understand why people have a problem finishing a movie, because there's something really nice about the process – completion is far more boring.<br><br>For Samurai, you used Japanese percussions and ethnic woodwinds, without getting too 'Japanese'.<br><br>My problem is that I feel Japanese music is really inaccessible to Western ears, and I was really struggling with this film initially, trying to figure out what I was doing. This idea popped into my head for using Western-style themes, but applying a Japanese aesthetic to them, which sounds great of course, until I had to ask myself what I meant! Actually, I think it's just my way of not overloading certain things with too many colors, or being geometrically precise about my cues and not making them too flowery.<br><br>The Tom Cruise character is one of those nasty drunks at the beginning, who obviously has some serious problems he's trying to deal with, or not deal with. He's obnoxious and restless, suffering sleepless nights and is very un-Tom. For me, this character's journey was about his need to earn tranquility and peace, so within the score there's this very romantic, overblown and passionate theme. It's like a juvenile way of dealing with life and death – the pain and liebestod.<br><br>However, to contrast with these very relentless themes, there are a number of stark, formal and sober pieces, because I wanted to take Tom's character on a journey. He comes from America and ends up in this foreign place where he doesn't speak the language or understand the culture. But at the end of the movie, I want the audience to think that there isn't a more beautiful place for him to be, that he is at home in Japan and finally at peace.<br><br>There are many useless acts of bravery we do out of misguided romanticism, and this movie is full of courageous and dignified acts of bravery. So I wanted to play off these acts, since both the American and Japanese cultures have a concept of heroism, and I just wanted to see if I could play with the nature of the two different concepts.<br><br>So you didn't want to do the stereotypical Japanese thing...<br><br>Absolutely not! Take Akira Kurosawa's Ran, for example, which has this brilliant score where Takemitsu writes Western music, but with an Eastern accent. Somebody asked me a few days ago why As Good As It Gets was European – why did I write a European score for a quintessentially American story? For me, it's because Jack Nicholson was crazy in the movie, and I felt one of the great things about America is how they always think we Europeans are crazy. So by writing a European-styled score, it's my way of saying that Jack is crazy, but it's alright!<br><br>How do you feel about people who criticize your work for not fitting into the time period, like Gladiator?<br><br>The reason I take these jobs is because I'm interested in foreign cultures, and every time I get to work on a movie I'm thrown into the adventure of whatever that culture is, the time, and wherever the story's taking place. So one of the things I'm very careful about is not to be historically correct to the culture, but, on the other hand, not to insult the underlying aesthetics of that culture either. I remember watching Chariots of Fire and thinking how brilliantly the music worked, never missing that it wasn't period instruments! I grew up listening to Bach played by a symphony orchestra – it's the wrong sized orchestra with the wrong instruments, but I don't think that's the point.<br><br>With Gladiator, Pietro Scalia brought in a CD saying "this is Ancient Roman music," and I said, "Says who? You went to the Ancient Roman music store and bought an Ancient Roman music CD? Bullshit!" We're not anthropologists. Look at he costumes Ridley Scott had: they were more Napoleonic than Roman, which was perhaps fitting since Napoleon had stolen all of his good ideas from the Romans regarding how to make his generals look cool – and so did Hitler! So I got criticized for making the "Entry into Rome" cue too Leni Riefenstahl – but that was the joke! I am allowed to have a sense of humor in my music!<br><br>Earlier this summer your credit on Pirates of the Caribbean was "Score Overproduced by". What was the deal with that?<br><br>Well, I thought honesty was a virtue! But seriously, Jerry Bruckheimer quite rightly asked me not to give him "that old-fashioned Pirate music," and Gore Verbinski, who I adore and did The Ring with, said, "Well, it is a pirate movie, so we have to disguise it." In the end, I spent a day and a half writing tunes, Klaus Badelt wrote a lot of stuff, and we rolled up our sleeves, got drunk, behaved in a debauched way, and produced a score!<br><br>There was a lot of criticism regarding that score, but in the end it had to serve the film - which it did. You seem to get a lot of criticism on any project you do.<br><br>I had the misfortune of going onto the Film Score Monthly web site recently to look something up and vanity made me type in my own name. I suddenly realized that you can't ever get it right. Who do people want me to be? The guy that writes Matchstick Men? Or the guy that writes The Rock? Or the guy that writes Driving Miss Daisy? My need is ultimately to write for myself. I mock myself and I'm ironic about the way I speak about it because if I take it too seriously, it would be a pompous and boring thing to do. But at the same time I take each note I write very seriously – none of them are random.<br><br>The Internet Movie Database always lists you as being attached to multiple projects, so I was curious, what's Sharktail?<br><br>I complained to Jeffrey Katzenberg that I couldn't cross any more Red Seas, or deal with any more horses that can't speak – I wanted to do one of the fun animated movies instead. There's also a hip-hop element in Sharktail, and I haven't been there yet, so it's new territory! King Arthur is still in production, and I literally just got the first bits of footage just before you came here.<br><br>Are you working on all of these projects simultaneously?<br><br>I'm thinking about them! I'm also working with Jim Brooks on his new comedy, Spanglish.<br><br>And speaking of comedies, you recently did Matchstick Men for Ridley, which had a very Nino Rota vibe to it....<br><br>And I gave him credit! I thought, what if Nino had written the theme and I was just doing the variations? But I bet I'm going to get criticized for that because it's not like Gladiator.<br><br>So when did you last have a vacation?<br><br>Well, I went to Japan for a couple of days at the end of November for the Japanese premiere of Samurai, but look, I love what I do! In January I'll travel to Morocco because Ridley will be shooting his next movie, Kingdom of Heaven, so that's like a holiday!<br><br>My family and I are going away at Christmas, and what we used to do would be to rent a house in the mountains and go on these skiing holidays. It would be a crappy house, not as nice as the one we live in, my wife was still going to the market, and we're still washing our plates – so it wasn't a vacation, it was a lot of work! It's taken us a long time, but we just figured it out: we're not practical with vacations – we're staying at hotels! But while the Zimmer family isn't talented when it comes to vacations, we're talented when it comes to work!<br><br>I sat through Samurai the other day, and for the first time watched the whole movie from top to tail with everything finished and completed. It felt really good, better than a vacation. But luckily there were enough things wrong for me to think that I learned something from the experience, and now I can't wait for the next project to try these new ideas out.<br><br>The soundtrack to The Last Samurai is available from Elektra Records, and the film is currently in theaters. Matchstick Men is available on Varese Sarabande Records.<br><br>With thanks to Chet Mehta at Chasen & Co, Jason Cienkus at Warner Brothers, and Nina Lynch and Mark Wherry at Media Ventures for helping with this interview. And, of course, special thanks to Hans.
Mulan get his release... through Disney+, 4th September.Mulan is being released on sept 4th. Can't wait to hear Harry's score!!!!Here's an interview about Last Samurai from Soundtrack.net https: //www.soundtrack. net/content/article/?id=112You can find an interview with Hans on his process for TLS on soundtrack.net somewhere, back in 2003 or 2004The tracklist they posted has 58 tracks and yours contains only 54
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John PowellBatu SenerPaul MounseyAnthony Willis
ComposerAdditional MusicAdditional MusicAdditional Music
Solo - A Star Wars Story
Label: Walt Disney Records
Length: 76'42
HZimmer.com rating:        Not yet rated
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   2/5 (2080 votes)
  1. The Adventures Of Han (3:47)
    John Williams
  2. Meet Han (2:18)
    John Powell
  3. Corellia Chase (3:32)
    John Powell, Batu Sener
  4. Spaceport (4:05)
    John Powell
  5. Flying With Chewie (3:28)
    John Powell
  6. Train Heist (4:46)
    John Powell
  7. Marauders Arrive (5:13)
    John Powell
  8. Chicken In The Pot (2:07)
    John Powell
  9. Is This Seat Taken? (2:34)
    John Powell
  10. L3 & Millennium Falcon (3:15)
    John Powell
  11. Lando's Closet (2:11)
    John Powell, Anthony B. Willis
  12. Mine Mission (4:09)
    John Powell
  13. Break Out (6:13)
    John Powell
  14. The Good Guy (5:23)
    John Powell, Anthony B. Willis
  15. Reminiscence Therapy (6:11)
    John Powell
  16. Into The Maw (4:47)
    John Powell, Batu Sener
  17. Savareen Stand-Off (4:24)
    John Powell
  18. Good Thing You Were Listening (2:06)
    John Powell
  19. Testing Allegiance (4:19)
    John Powell
  20. Dice & Roll (1:54)
    John Powell, John Williams
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Kleius reply Replies: 1 || 2020-05-04 19:03:16
What a fantastic score!


Edmund Meinerts2020-05-05 16:54:00
Yep; bears repeating, frequently.

Knight reply Replies: 0 || 2020-04-03 14:13:30
Hmmm, according to Batu's website he worked on the first half of L3 & Millennium Falcon

superultramegaa reply Replies: 1 || 2019-06-13 23:08:14
Just finished watching the movie, and while it's not much more than fine, it's sure as hell better than every other Star Wars movie that's come out since The Force Awakens (minus the ugly fucking visuals).

However the score is absolutely amazing. Powell's adaptation and development of the new Han Solo theme from Williams is flawless, the callbacks to other themes from the series are mostly appropriate (and good on him for not using the Force theme once!) and Powell's original material is fresh and exciting in a way that even Williams himself hasn't been able to pull off with the new films.

Powell might very well be up there with the greatest film composers if he continues to produce work like this from now on (which from HTTYD 3 seems very possible!)


Ian Brown McCarthy2019-06-14 01:56:27
Not to disagree for its own sake, but I think Powell has been up there with the greatest film composers since the first HTTYD score. I just wish he'd take on more projects.

Iamtommie reply Replies: 0 || 2019-03-26 21:31:35
I don't know what it is but with every Star Wars score I'm kinda getting bored after a while.
But this one, it's just wooow. The musoc stays spectacular every time I listen to it. From the know SW element in Reminiscence Therapy & I to The Maw to the new theme for Han, Chewie, Qi'ra, L3 & Enfys Nest.

It doesn't happen a lot a lot that a movke that I don't like a lot, some parts, but the rest was meh, that the score is still my number 1 of 2018 and one of the best of the last 10 years!!! Hatts off Mr. Powell

Knight reply Replies: 3 || 2019-03-10 17:24:12
Solo: A Star Wars Story album cuesheet credits (from ASCAP)

MEET HAN
JOHN POWELL
JOHN WILLIAMS

CORELLIA CHASE
JOHN POWELL
JOHN WILLIAMS
BATU SENER

SPACEPORT
JOHN POWELL
JOHN WILLIAMS
ANTHONY WILLIS

FLYING WITH CHEWIE
JOHN POWELL
JOHN WILLIAMS
ANTHONY WILLIS

TRAIN HEIST
JOHN POWELL
JOHN WILLIAMS

MARAUDERS ARRIVE
JOHN POWELL
JOHN WILLIAMS
BATU SENER

CHICKEN IN THE POT
JOHN POWELL

IS THIS SEAT TAKEN?
JOHN POWELL
JOHN WILLIAMS

L3 & MILLENNIUM FALCON
JOHN POWELL
JOHN WILLIAMS

LANDO'S CLOSET
JOHN POWELL

MINE MISSION
JOHN POWELL
JOHN WILLIAMS

BREAK OUT
JOHN POWELL
JOHN WILLIAMS

THE GOOD GUY
JOHN POWELL
JOHN WILLIAMS
PAUL MOUNSEY
ANTHONY WILLIS

REMINISCENCE THERAPY
JOHN POWELL
JOHN WILLIAMS

INTO THE MAW
JOHN POWELL
JOHN WILLIAMS
BATU SENER

SAVAREEN STAND OFF
JOHN POWELL
JOHN WILLIAMS

GOOD THING YOU WERE LISTENING
JOHN POWELL

TESTING ALLEGIANCE
JOHN POWELL
JOHN WILLIAMS
ANTHONY WILLIS

DICE & ROLL
JOHN POWELL
JOHN WILLIAMS


Edmund Meinerts2019-03-11 08:47:48
Hm, so, a lot here that contradicts Hybrid's credits above...


Mike2019-03-11 15:06:05
Doesn’t Hybrid usually offer more accurate credits though where the cuesheet may be a bit dodgy?


Knight2019-03-11 15:32:07
Yep but this was the first time where I've seen the additional lads on a score credited almost opposite of where they were on Hybrid's credits.

Iamtommie reply Replies: 1 || 2018-05-24 16:16:54
This score is awesome!! Powell did a great job at making a score that's differet than all the other SW scores, but still you know it's a SW score. He reprised Williams' theme brilliantly and I can't stop to listen to it!!!


Bookman2018-09-16 06:01:45
At 3 minutes into the film there is a great little cue for Qira and Han (when we first meet her). Is that anywhere on the soundtrack?

mpolonest123 reply Replies: 1 || 2018-09-15 02:30:23
So I finally caved in to watching this last night; honestly I was pleasantly surprised. Sure it’s not the greatest film ever (more like “just good”) but I had far more fun with the world building and performances than I had anticipated. Even the fan-service didn’t seem as blatant to me (for the most part).

And yes, John Powell’s score is easily one of the best this year. Each of the themes get amazing development throughout, although I feel like Chewbacca’s motif was slightly underused. And that love theme, wow!
In terms of unreleased material, almost everything is variations of what you hear on album. The only “substantial” missing bits are two variations on the Imperial March and the Duel of the Fates reprise. Hopefully we get a good FYC this year.


mpolonest123 2018-09-15 02:35:48
And little side note: “The Good Guy” is made up of three different cues in the film. Not sure if any others are like that.

Joseph Solano reply Replies: 0 || 2018-09-14 07:12:45
I would love a list of all the themes and leitmotifs from the movie.

Also I would love to see the complete cue list.

Leo reply Replies: 0 || 2018-07-23 04:49:45
Was Anthony Willis responsible for crafting that gorgeous string passage from "Lando's Closet?

Hybrid Soldier reply Replies: 6 || 2018-07-21 17:39:33
Credits added !

I didn't credit here JW for every arrangements of his theme & old SW themes that can be heard throughout the score.


superultramegaa2018-07-21 18:20:07
No Paul Mounsey credits?


Hybrid Soldier2018-07-21 18:21:04
His part is not in the OST release...


Mike (OTM)2018-07-21 18:33:40
Sweet. I've gotta say, this score surprised me in a good way. I've always loved Powell, but if you told me two years ago he'd write a Star Wars score, I'd have been hesitant about it. But Solo is really, really solid, even without the John Williams main theme. In fact, I like what Powell does with the JW theme better than the theme as JW wrote it.


mpolonest1232018-07-21 19:25:24
@MikeOTM
You’re absolutely right. Powell did an awesome job of staying within the musical sandbox of the SW musical universe but also was able to bring something fresh and original to the overall sound, something Star Wars really needs right now.


Mike (OTM)2018-07-21 23:37:16
I'm guessing, based on the credits, that Williams worked on "Dice and Roll" directly?


Hybrid Soldier2018-07-21 23:43:55
;)

aldan reply Replies: 0 || 2018-07-21 18:33:24
Wowww so many solo Powell!

The Dude reply Replies: 2 || 2018-07-16 18:13:32
People are on here shitting on Giacchino and Powell saying Rouge One has a better score or people saying Solo has a better score and I’m over here like yep still listening to the Star Wars Original Trilogy And Prequel Trilogy scores over here. But I think they both gave Williams Justice and did good.


Iamtommie2018-07-16 19:58:41
Agree with this 100%


Anonymous2018-07-17 23:50:05
I just wish they had included the finale in both the SW story scores all the music complied together would have been great

guzz reply Replies: 0 || 2018-07-17 19:15:23
It is off topic, but I was really wondering. What do you think about composers doing fan mades on youtube? Do you have a favorite one?

jewen reply Replies: 1 || 2018-06-21 11:47:06
Sorry about my ingnorance, but what means "Additional Music" (Batu Sener, Paul Mounsey, etc)?

  Your name :   

Please enter number: 1630 


Mephariel2018-06-22 23:24:03
It means Sener, Mounsey, and Willis collaborated with Powell and wrote some composition for the score.

Mounsey for example, probably composed some of the percussion elements.

Anonymous reply Replies: 2 || 2018-06-20 10:26:02
Hi guys. Dose anybody know why solo faild in box office ?


Edmund Meinerts2018-06-20 13:46:37
There wasn't really any hype for the movie, it didn't seem like people were all that interested in a Han Solo origin story. Plus it's only been half a year since Last Jedi came out and broke the internet. Unlike Marvel, Star Wars doesn't seem immune to franchise fatigue.

A shame. Hope nobody is stupid enough to think Powell was to blame.


jjstarA1132018-06-21 07:13:47
@Edmund Meinerts:

"Hope nobody is stupid enough to think Powell was to blame." This. Following that same logic, Disney should never have let Williams back after the prequel trilogy.

Edmund Meinerts reply Replies: 12 || 2018-06-18 12:02:55
I know Clemmensen is kind of persona non grata around here (not without good reason), but he put up his review of Solo a few days ago and it's one of the best he's ever written, a fantastic in-depth analysis (and appropriately positive). Worth spending an hour or two reading and listening to help unpack this score's many complexities.


superultramegaa2018-06-18 18:57:48
What site are his reviews on again? Not really sure where to look.


Hybrid Soldier2018-06-18 19:31:41
How dare you mention his name ??

I should erase that post... :P


Anonymous2018-06-18 20:05:14
Who is he and why is he a persona non grata? ô_O


Ds2018-06-18 20:14:14
If you want to understand why he's persona non grata, just go and check out his review of Hans Zimmer's masterpiece At World's End, it sums up pretty nicely the guy's mental issues :p

But his other reviews are mostly OK and that Solo one is indeed very good, worth a read.


NB2018-06-18 20:22:18
'At World's End' is possibly one of his greatest 'missteps' for sure, but he is a mostly reasonable guy when reviewing, and simply has a taste that doesn't accomodate a lot of the more modern sounding scores, which I think is ok, since we all have our preferences. His 'Solo' review is a must read for any fan of the score though. :D


Mpolonest123 2018-06-18 20:32:19
He’s definitely not a bad reviewer, and his writing style is pretty sharp. The obvious problem is that he has a strong bias against Zimmer. Most of his recent Zimmer reviews are less spent talking about themes and more so the “issues” with his current style.


Powellfan2018-06-19 06:38:52
The Solo review does look quite good.

Clemmensen comes across pretty badly in many of his reviews. Even some of the positive ones. He has some very strong preconceptions about certain things that sometimes lead him to say some reasonably aggravating stuff.

Interestingly, he stays almost reasonable in his A World's End review. I wouldn't point to that one as his most typical negative review.


superultramegaa2018-06-19 19:17:24
Seriously guys, what site is he on? I want to see this review, but I don't know where it is.


Powellfan2018-06-20 00:12:37
Should be easy to find with google...


superultramegaa2018-06-20 00:41:04
Tried that, couldn't find an author named Clemmensen who reviewed it. (I don't know where to look I haven't seen this guy's reviews before).


superultramegaa2018-06-20 00:44:18
Sorry, just found it.


Olive2018-06-20 03:05:43
Search for "filmtracks".

holygreg reply Replies: 4 || 2018-06-03 11:39:59
For those who have seen the movie, is the CD rather complete compared with the whole score featured in the film ?


Iamtommie2018-06-03 12:23:06
No


Edmund Meinerts2018-06-04 09:18:18
Nope, I'd say there's at least 30-40 minutes missing, including some quite important cues and thematic references.


DT-20172018-06-10 09:09:20
As is always the case with a Star Wars score: the CD presents the highlights of the score.

Maybe an FYC at awards season has more material, bug for now the album is enough, I think. Just don't expect a sessions leak any time soon: ig hasn't happened for any score in the Star Wars franchise.


Scorefan2018-06-16 22:22:50
John Powell answered in Facebook there is still 45 minutes of music outside from the CD.

berk800 reply Replies: 1 || 2018-06-16 10:15:50
If there is one who can replace John Williams on Star Wars than is it John Powell!!

Great Job!!


ThePhantasm 2018-06-16 16:18:48
Yep, he knows how to do BIG and small moments. He's so versatile. I'm praying rian johnson uses him for his new trilogy

Snoke reply Replies: 0 || 2018-06-06 01:56:00
Oh my God John you did amazing with this score. I loved the Rouge One score but you did amazing with this score. Loved the Enfys Nest theme and how you arranged the Williams score in perfect places is incredible. I want that Imperial March and Dudl if Fates part though.

Edmund Meinerts reply Replies: 5 || 2018-05-31 17:05:19
"Into the Maw" has to be the most uncompromisingly brutal, intense, violent action cue Powell has written yet, even more than X3. That snarling brass! There are parts of that cue where I swear I'm listening to The Matrix. What an insane piece of music. :O


MrZimmerFan2018-05-31 18:56:30
I don't think could top Phoenix Rises... sorry

Altough, great track ;D


mpolonest123 2018-05-31 19:43:42
Very Elliot Goldenthal styled in the brass section....


ThePhantasm2018-06-01 04:50:21
I think the only that might come close to Phoenix Rises is Marauders Arrive. It's pure Powell


MrZimmerFan2018-06-01 20:48:26
Well, Phoenix Rises mixes the most epic/emotional theme from X-Men series with the X-Men's theme from Powell.

And Marauders Arrive is more like mix Avatar (the choral aspect) with the heroic Han Theme (and i think the gang's theme).

And i still prefer Phoenix Rises


ThePhantasm2018-06-02 00:37:39
I prefer Phoenix too, specially how it gets bigger and bigger and even more intense as it builds, and if I'm honest i think Dark Phoenix Tragedy is better than Rises.. but you can't deny there's something special about Marauders Arrive. I think this score could of been even better if john williams didn't compose a theme.... if Powell would of been allowed to do his thing it would of been something even more special.

ThePhantasm reply Replies: 10 || 2018-05-29 00:58:00
As with every John Powell score there's always music missing... why weren't the Imperial march and darth mauls duel of fates theme in the soundtrack. I love the score way better than Rogue one but that really pissed me off. At least with Giacchino we get everything we hear in the movie. Same thing with Hans there's always music missing or it sounds different from what we heard in the film.


Anonymous2018-05-29 01:22:21
another asshole with spoilers

geez not everyone has seen the movie so be considerate please


META2018-05-29 01:58:48
giacchino is a lazy composer of Williams work compared to the hard work Powell did on this one...

and to think, Giacchino's love for Williams is what got him started!

lol...

I remember when he started out with that Playstation Jurassic Park 2 video game....


superultramegaa2018-05-29 03:33:51
Yeah, remember when Giacchino had scores like Up and The Incredibles that had a distinct jazz style with some classical sprinkled through?

I remember watching Rogue One and hearing the end credits music and distinctly thinking to myself... "Were these themes in the movie?" Plus the music for the Darth Vader Rebel massacre scene... ugh. One of the most laughable uses of music I have ever heard in a major film in a long time! So cheesy and over-dramatic. What, is Darth Vader a Nazghul now too? Along with that pale orc over there in the corner?

Just remember this, because this is a problem I see with modern film music reviewers. Just because the underscore and overall composition is technically complex does not mean it's a good score. Look at the eras where melodic music was dominant. Are we really going to act like every 1960s/70s/80s orchestral score (I know there were electronic non-melodic ones) was high art? No, there were generic, boring, and forgettable composers with no style before the Hans Zimmer era. IMO, Giacchino's Williams imitation scores would have easily fallen into that category, but people treat his music better than it actually is today, simply because it's more melodic.

I would rather Jeremy Soule or Mark Griskey, composers who have never touched a Hollywood movie, score a Star Wars film than ever let Giacchino near the franchise again. Just keep him away from Williams properties. He's much better when he doesn't have to imitate other composers.


ThePhantasm2018-05-29 04:10:17
Damn I'm so sorry for spoiling that for you, i really am. Completely went over my head bro :(


ThePhantasm2018-05-29 04:13:46
Wow so i'm not the only one that thinks Giachinno is super over rated? i thought i was gonna get chewed out lol i like him he has so many movies coming out a year it's ridiculous. Doctor strange was garbage, so was his spider man homecoming music, while i like war for the planet of the apes he basically ripped off John williams Kylo ren theme.


Medigo2018-05-29 10:52:05
Giacchino is fine. He just spreads himself too thin (or gets brought in too late, like with Rogue One)

Also ripping off Kylo Ren's theme? What?


Macejko2018-05-29 15:14:25
The reason I don't like Giacchino is his pissing on Doyle's brilliant score for Rise of the Planet of the Apes. His music for the second and the third movie were at times utterly abysmal. Plus his constant childish use of puns in his tracklists makes me wanna punch him in the face every time a new score of his is announced.


ThePhantasm 2018-05-29 17:09:54
@Medigo yeah he ripped off the kylo ren theme. go on youtube and look up exodus wounds from War for the planet of the apes, then listen to kylo ren theme. Literally note for note


Iamtommie2018-05-29 19:16:14
If we're talking about ripping music. Listen to Light The Hoop On Fire from Madagascar 3. Than to the main title of Night At The Museum. The opening is exactly the same. And Silvestri was first


Medigo2018-05-30 17:29:07
sounds more like a coincidence to me

Its not like Kylo Rens theme is an original idea

Berkian Warrior reply Replies: 0 || 2018-05-29 22:59:46
AM I WRONG IN SAYING LANDO'S CLOSET HAS THE BEST LOVE THEME FROM POWELL YET! Lol Romantic Flight from httyd was good too but this is even more dramatic and I love it. I love Williams theme like crazy but I feel John would have been better off doing it by himself.

Olive reply Replies: 17 || 2018-05-26 15:07:38
Between this one and Rogue One, I'll take the last one.

Unfortunately the two scores run away from the typical sound of the franchise and at various times seem just a pastiche copy.

It's a good score, but it does not feel so natural. Even Han's theme is almost unrecognizable, forgettable and incoherent with the character. It does not have the same identity as the themes of Luke, Leia, Rey, Anakin, Jyn, Yoda or Dameron.


superultramegaa2018-05-26 15:22:25
I only watched the movie once, but the fact that I didn't take away any memorable music from Rogue One is a huge problem for a Star Wars film. I haven't listened to this score yet, but I have more hopes for this than Rogue One.


MrZimmerFan2018-05-26 15:58:35
Do you remember any music outside the space chase?

Because i don't.


superultramegaa2018-05-26 16:20:05
I just said I haven't watched the movie or listened to the full score yet.


MrZimmerFan2018-05-26 16:34:30
But Rogue One or Solo?

Because i remember more the music in RO after watching the movie than in Solo (well, maybe is because that theme for the character is so unispired and only i remember certain moments of the music)


Berkian Warrior2018-05-26 16:55:13
They kept the volume of the music so low in the movie, while rouge ones was jacked up and used as a center piece rather than side music like they did for John. Johnson piece is far better, it they gave it a back seat


Olive2018-05-27 14:01:02
Rogue One has several caricature moments that make me want to laugh at Giacchino's naivety, but there is no denying that the material is a million of times more memorable than what we heard in Solo. RO has themes. A recognizable theme for Jyn, a silly theme for the villains, a beautiful one for the surrender of the rebels in the end, a silly march for Vader, but manages to point out the moments of the score. Not here. I'm trying to discern the theme for Han and the Chewie theme.

This made me very disappointed because I was very happy for Powell's appointment. The score is not bad, far from it. The problem is that I expected so much more. HTTYD will be my "medicine". :P


Hybrid Soldier2018-05-27 14:03:54
Don't forget in your calculation of "measuring dicks" between Giacchino & Powell, that Giacchino had a good film to score.


Powell did not...


He did a wonderful job despite what he was given to score... lol


MrZimmerFan2018-05-27 14:09:08
@Olive: Caricature villians, really?

Krennic has a theme similar to that of the Empire, but being an arrogant character, his theme is more exaggerated, for the character

You make laugh with the march of Vader (is HIS theme, for god's sake)

And yeah, I prefer Rogue One over Solo, not only the movie.


Olive2018-05-27 17:48:31
Meh, I'm a "good" guy.

I prefer RO to Solo.

I did not say that the themes are from Giacchino or Williams or Powell I talk about themes of the score (regardless of who the authors are).

I'm also not "measuring dicks", Powell always has more points with me than Giacchino anyway.

I honestly did not like the theme written by WILLIAMS for Han and I can not equate it with the others in the franchise. It is disappointing.

And John's score, unfortunately, is a little paler than Rogue One's (since I can not mention the name Giacchino, as I'll be comparing the two). As much as I agree that the quality of the film is a factor to be considered, I do not believe the music is bad. It is not. I liked the music. Mainly the sequences of action. But it is very little for SW and for Powell "writing a SW score". I expected more. I'm disappointed and I hope HTTYD 3 is as good as its predecessors.


Max Potcats2018-05-28 11:16:41
Giacchino had only 3 weeks to score Rogue One and he did a better job than Powell in 5 months, very good themes (Jyn, Imperial Suite ..), the global new sound that he brings to SW (the very beginning of "He's Here For Us "," Jedha Arrival "..) but the main difference is that Rogue One really lets the music express itself (" Wobani Imperial Labor Camp "," When Has Become Now "," Hope "," Your Father would be proud "..). I can not remember any sequence or scene in Solo where the music really drive the picture or with the picture.
But of course Solo is just another "gangster movie", but in the SW universe, so there is nothing really new here. Powell did what he can and he did a fine job, but the real problem comes from the story and no music can fix that.


Oscarilbo2018-05-28 16:00:08
I loved the movie. it was what I expected for a the kind of character Han is. And love how different this score was to the old school style... with this one Star Wars is beginning to open up as we explore new planets and characters. It has to, just as Lucas did it with the Clone Wars series.

I sincerely cannot understand how could anyone expect something not even the character of Han Solo was never meant to be. He never navigate on profound and philosophical waters UNTIL he met Luke and ObiWan. Just remember what he thought about the force on EpIV. And the way the film is made reflects exactly that. It remind me of the kind of adventures Star Wars was originally inspired by.

On top of that he wasn’t suppose to be the exact same character we see on ANH, he hasn’t reach that level of pessimism yet. It is until he met Luke and ObiWan when he stumbled with truly important and dramatic issues, so there is not really a wide range of development that can be done with Han Solo. Not every Star Wars movie need to be as profound as the episodes. It's a fun adventure and I couldn't expect more from it and had a blast ! Even the main theme is called to inform all this.

IT IS A UNIVERSE we are really starting to explore through these characters, so some of the films will be much more light than others. I loved it and was exactly what I was expecting and looking for in a movie about a character that had just a very adventurous life until he knew better. It was fresh air.&#65279;




Ds2018-05-28 20:05:14
This Star Wars outing is a very nice slightly old-fashioned adventures movie, entertaining, light and very funny (I mean really funny, not MCU-funny). The main performance is absolutely amazing and gives a lot of heart to the movie. It flows well together and feels like a consistent movie - congrats to Ron Howard for managing that given the circumstances.

The set pieces and visuals are stunning, and even if there are a lot of CGIs, it's grounded enough not to feel assaulted by a CGI overdose that has become the norm in Hollywood movies (thanks to the MCU, again). I wouldn't say it beats the 2nd half of Rogue One (I mean the extended action scene on the island), but as a movie/story it's much better told and much less patchy.

And then the score, one of the best entries in the serie for sure.


MrZimmerFan2018-05-28 20:43:52
But dosen't have the emotional impact from that movie.

I will said this, The Phantom Menace and Revenge of the Sith (altough, TPM have certain issues) are much better movies and SW than Solo.

But that's is my opinion.


Ds2018-05-28 21:30:07
Well, of course, because Revenge of the Sith is simply the best SW movie :-)


mpolonest123 2018-05-28 22:11:36
@MrZimmerFan

Finally something we agree on lol

For all the hate the prequels get, ROTS is genuinely a great movie. It’s dark, emotional, and ties itself into the original trilogy without resorting to “fan service”. Everything makes sense in context. And while I’m not a big fan of Phantom Menace or Clones, I still have to give George Lucas credit for actually having imagination and expanding the SW universe with new worlds and characters. If the writing was better they could all have become classics.

Unlike this new trilogy, which relies on fan service and basically remaking ideas from the old films. They feel less like the vision of one man and more so a corporate move. Don’t get me wrong, they aren’t bad films, but they could be so much better.


MrZimmerFan2018-05-29 00:21:25
@mpolonest: I don't think The Last Jedi relies in old ideas, altough i'm not a big fan of the prequels (Attack of the Clones is simple bad), i liked The Force Awakens and The Last Jedi, not as much like A New Hope or Empire Strikes Back (because, this one is my ultimate favorite SW movie), and i liked a lot Rogue One.


mpolonest123 2018-05-29 00:53:02
@MrZimmerFan

What makes Rogue One work so well is that it essentially is doing something completely separated from the characters we are used to from SW. It’s a pretty mature film compared to the other ones.

I’ll even give Last Jedi a bit of credit, the filmmakers are obviously trying to push Star Wars in a new direction with more depth. There are just certain elements that don’t completely work for me though.

Being someone that grew up with Star Wars (I’m only 24) and the prequels, I have kind of become burned out with the series. I really would like to see them tackle new stories and characters while keeping things fresh.

Edmund Meinerts reply Replies: 8 || 2018-05-28 12:27:31
For those who need/want a bit of help figuring out the themes in this one, a quick guide of the best place to hear them.

- Han's Hero theme (by Williams) - "The Adventures of Han", 0:15; first big Powell adaptation at 0:27 of "Corellia Chase"

- Han's Searching/B theme (by Williams) - "The Adventures of Han", 0:37; a good place to hear Powell's "version" is 0:48 of "Meet Han". Powell uses the rhythm of this theme ALL OVER the score.

- Han and Chewbacca friendship theme - 2:10 to the end of "Flying with Chewie"

- Theme for Han's gang - 1:45 of "Train Heist". This is a great example of Powell writing something that is clearly influenced by Williams but still in his own voice.

- Enfys Nest/Marauder's theme - 0:24 of "Marauders Arrive". This is probably the most immediately memorable of Powell's themes because the unique sound of the Bulgarian choir and its aggressive nature really make it stand out.

- L3 theme - introduced at the start of "L3 & Millenium Falcon" but gets its best workout in "Mine Mission" (0:25) which is Powell doing a classic Indiana Jones-style march-structured Williams action cue, and doing it brilliantly.

- Han/Qi'ra love theme - "Lando's Closet" (0:18). Sadly this theme doesn't get much time to play in such an action-packed score but it's really beautiful and has an old-fashioned/Golden Age sweeping feel that's perfect for Star Wars.


mpolonest123 2018-05-28 14:07:23
Thanks for the breakdown!

I have to admit, some of the themes seem to blend more into the soundscape (outside of Hans theme/Marauder theme/Love theme).

This is definitely one of those scores where you need a few listens to let them really sink in. The same thing happened to me with Pan, where I was able to pick out the two main ideas immediately but needed some time for the smaller motifs.


mpolonest123 2018-05-28 14:09:07
Also having no interest in seeing the film... are there any substantial missing cues/John Williams themes not on the album?


MrZimmerFan2018-05-28 14:15:34
One reprise of the Darth Vader and... other theme (is not from the character, more from the movie he appears, and a famous one from Williams... in the prequels)


mpolonest123 2018-05-28 14:53:43
Ahh I think I read about that cameo, glad they kept THAT theme. Thanks!


Anonymous2018-05-28 17:31:49
wow spoiler alert jackass


JBSO992018-05-28 17:51:54
I fact there are two reprises of The Imperial March, one which plays at the beginning with Han in the Imperial Army, but there is also another one that happens in-universe which is used in an army recruitment commercial.

And some quieter cues with the Love Theme.


mpolonest123 2018-05-28 18:18:37
It’s cool that they are incorporating the Imperial material from A New Hope alongside the march, much like they did in Rogue One. Hopefully we get a deluxe edition or FYC at some point, assuming the film does well.


Iamtommie2018-05-28 19:15:20
There is also a smaal 1 second tune from A New Hope with cubes of Han

Jean-Luc reply Replies: 0 || 2018-05-28 17:53:45
I saw that movie from last night, it's an okay movie I gave 6/10 stars. My opinion is, I like the music by John Powell in the movie. Also, I only like Corellia Chase and Reminiscence Therapy too.

aldan reply Replies: 0 || 2018-05-28 17:40:30
is full credit available yet?

Now we have heard the ost, now i cant wait to find out which tracks Powell did SOLO and which tracks he shared with his gang..

But for right now, this is my best assumption that "Flying WIth Chewie" is Paul Mounsey's (similar style with Neverland AHoy!), Batu Sener was given the Thomas Newman-sounding track, while i can hear a trace of Willis in Corellia Chase. The Good Guy is something Powell wouldnt even bother to write (beacuse this is a track full of re arrangement of his themes, so he must be kind to give to his son). Break out has a trace of "Train Station" track from Ferdinand, so that has to be a collaborative piece too


Though, i could be wrong

Edmund Meinerts reply Replies: 4 || 2018-05-28 09:48:05
It blows my fucking mind that anyone thinks Rogue One is even within a million miles of this. Best Star Wars score since Return of the Jedi.


MrZimmerFan2018-05-28 11:41:00
Really?

The Last Jedi and The Force Awakens are muuuch better, even Rogue One.

Fine score... nothing else


Edmund Meinerts2018-05-28 12:11:31
Solo is clearly better than The Last Jedi, which felt like a Star Wars greatest hits score to a degree (Force theme every 30 seconds...). TFA and Solo are close to each other, TFA has better themes and storytelling, but the action music in Solo is just so mindblowing and energetic and fresh-feeling to me. It has a drive and cohesion to it that I don't hear in the action of TFA and TLJ (which mostly falls into the modern Williams trap of being super-complicated but aimless). And the way Powell was able to stay true to his own voice while adding just enough Williams flourishes and spice on top is a remarkable achievement, far beyond the pastiche attempt by Giacchino for Rogue One (I don't dislike that score, and I cut him some slack for the time constraints, but it has so many awkward moments and Giacchino's voice really seems to battle with the Williams influence rather than gracefully working with it the way Powell does). The balancing act that Powell manages between his own music and that of Williams is nothing short of masterful.

The themes in Solo aren't the sort that immediately grab you by the throat, so I'd recommend you give it a couple listens before you make your decision. They really grow on you, and you realize that in the middle of all that frantic action music Powell is actually constantly stating and developing both the Williams theme and his own. And then there are all the brilliant little Star Wars easter eggs like the original Imperial theme at 3:34 of Train Heist, or the fanfare from the beginning of the main title worked into "Break Out" at 1:17. And don't even get me started on "Reminiscence Therapy"!


MrZimmerFan2018-05-28 13:06:39
The only theme i recall is the Enfys Nest

But man, the theme by Williams is so unispired.


Edmund Meinerts2018-05-28 13:29:55
I think it sounds a bit like an improved version of the Poe theme. I like it, although I admit it's no classic. Anyways, it's what Powell does with the theme (namely: a lot) that matters.

Macejko reply Replies: 2 || 2018-05-27 13:13:34
Edmund is probably dead from bliss, because this is a mighty fine score. I gave it only one listen so far, but I haven't enjoyed Powell this much in years.


Meta2018-05-27 13:28:42
Im actually liking Powell's Solo theme better than Williams' theme...


Edmund Meinerts2018-05-27 22:54:50
Can confirm: am dead.

Scorefan reply Replies: 2 || 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 !!"


Geoffrey2018-05-27 01:50:53
Why never ?
He dislikes the saga or not interested ? I'm curious.

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Solo - A Star Wars Story soundtrack - John Powell 2018