NewsHans' BiographyTeam (Present & Past)DiscographyMediaArchivesJukeboxFan CoversAbout/Feedback
 SEARCH
 

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

Please install Flash®
and turn on Javascript.


Rate those CD:
Top 50





Nick Glennie-Smith
Composer
Dirty Pictures
Label: Promotional Release
Length: 21'22
HZimmer.com rating:        4/5
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   2/5 (3333 votes)
  1. 11M20B (from Crimson Tide) (1:01)
  2. 13M21 (from Crimson Tide) (1:54)
  3. 6M14 (from Crimson Tide) (3:30)
  4. 3M6 (from Crimson Tide) (2:12)
  5. Hummell Gets The Rockets (6:28)
  6. 1M8 (from Max Q) (0:16)
  7. 1M11 (from Max Q) (0:14)
  8. 3M23 (from Max Q) (0:25)
  9. 5M32 (from Max Q) (5:24)
Create Topic

Anonymous reply Replies: 0 || 2011-03-14 00:00:00
send him email he always responds

Anonymous reply Replies: 0 || 2011-03-14 00:00:00
I looked at Gavin's website. Nothing there in any relation to this topic.

Anonymous reply Replies: 0 || 2011-03-14 00:00:00
Do a google search for Gavin Salkeld composer, he might have it

Anonymous reply Replies: 0 || 2011-03-14 00:00:00
Mr. Tweedy thanks for all that info... much appreciated. Now on with the hunt!

Mr Tweedy reply Replies: 0 || 2011-03-14 00:00:00
They are legit. They don't appear on the fan made bootleg because the bootleg was probably created before those cues leaked on the internet.

> I got a copy of the CT fan made bootleg back in 2002 (I through it after the first listen, waste of time!). I only got those CT cues from Dirty Pictures in 2005/2006 !

The 4 cues presented here are significant OR minor depending on your interest in the movie/score.
3m6 is "Little Ducks" from the OST.
6m14 is a thriller/suspense cue which is pretty cool, though you can consider it "minor" if you're not a CT die hard fan.
11m20B ("Crisis Averted") has a nice "relief" feel to it, in the purest 90's MV tradition.
13m21 ("Court of Inquiry") is the film version of Roll Tide's opening. The cue stops abruptly as in the movie it segues into Roll Tide. You can easily do the editing by yourself because both cues share a few seconds in common.

Overall enjoyable cues but... nothing special.

Anonymous reply Replies: 0 || 2011-03-14 00:00:00
Are the CT cues significant or are they minor? You don't happen to have the proper cue names do you?

Anonymous reply Replies: 0 || 2011-03-14 00:00:00
I have this CD with the proper artwork. Seems legit.

Anonymous reply Replies: 0 || 2011-03-13 00:00:00
Are these crimson tide cues legit? Wonder why they aren't on that "fan made" boot?

Anonymous reply Replies: 0 || 2009-04-19 00:00:00
sooo when are the Crimson Tide and Max Q expanded bootlegs gonna surface? :)

Anonymous reply Replies: 0 || 2008-01-04 00:00:00
@Per

I am NOT sure about this agency promo but: I have seen the movie and i think the tracks on this "promo" don't fit to the movie. Those MaxQ, The Rock tracks are not suitable. Maybe i am wrong and maybe such a agency promo is also the reason why nick don't get any new jobs on his own...

Never mind.. it was just a thought not a statement !

Per reply Replies: 0 || 2008-01-03 00:00:00
Representation of what ? Of the best (and longest) cues from the films ?

So what you're saying is that if it had been a real disc submitted by the agency, it would clearly have the best and longest cues, instead of the ones that actually are most suitable for the purpose of the disc (i.e. the "bad & boring" (and short) ones) ?

Anonymous reply Replies: 0 || 2008-01-03 00:00:00
@Per

lol.. do you really think this a "real" agency promo, (look track 6,7,8 with this track times). I listened to it and it contains really bad & boring tracks.. this cant be a real representation !

Per reply Replies: 0 || 2008-01-03 00:00:00
I don't think he (i.e. Nick Glennie-Smith and/or his agency) need to verify to anyone that they have those scores...

LOL (...of the person posting the previous comment)

Anonymous reply Replies: 0 || 2008-01-02 00:00:00
I think someone wants to tell us with that compilation that he owns the recording sessions from Crimson Tide & Max Q....

nash reply Replies: 0 || 2007-12-07 00:00:00
Hummell Gets The Rockets (6:28)
i though hans wrote that part??

 HANS-ZIMMER.com© 2001-2017 OST 
Dirty Pictures soundtrack - Nick Glennie-Smith 1997