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@Bob<br><br>Thank you for the enlightment, I will consider opening my wrists for misconduct in the next few days, thank you very much... :o<br><br><br><br>Ok seriously though, you guys should know that if there's one guy that could not care less about awards... it's Hans... :)I am really enjoying his season of the Crown.a big balfe influence in this season with hints of Churchil and Genius I think. Really excellent music/ it's me@ds "Ramin is also doing a lot of projects but is far, far behind in terms of styles and creativity."<br> <br>I think the same for Jablonsky, Zanelli, XL, Jackman and Mancina.@macejko<br><br>"All the time he acts like the hottest shit in town, refusing to score basically everything they offer him"<br><br>You said in another comment that you never read an interview with Powell, so not reason you take that kind of conclusion of your character.<br><br>"The man hides in a cave, doesn't evolve at all and for some mysterious reason he is still revered like a second coming of Jesus Christ."<br>Powell is a clearly talented composer. He suffered criticism at the beginning of his career by sounding like Zimmer, but soon showed substance. And much more than that created an identifiable style, which today is reference to other scores of modern animations (which may be good or bad to depend on of the point of view).<br>Today he is an established composer and it is common for these composers to move away for a few years or even close their careers without many explanations for the public. In recent years we watched the estrangement of Silvestri, Horner, Williams and in the past we saw Faltemeyer, Bill Conti and Brad Fiedel drop their careers when they were at the top of the game.<br><br>" Say anything you will about Lorne Balfe, but at least he is working his ass off and slowly getting better and better"<br><br>As they said in another comment, you're compared to newbies and veterans. Balfe's having the opportunity of his life now. Take it or leave it. There's no choice. Powell, as well as Zimmer others, on the other hand, is a "senior member" of the club. He can afford to go away for a few years to resolve comprehensible personal problems without affecting the hard work he has developed in the last 20 years. Will Balfe continue to be so creative in 10 or 15 years?<br><br>@ds<br><br>"<br>Powell has nothing to prove, he has already mastered all genres"<br><br>That's funny, but it's fair. Powell Is a good composer. Not the best, far from it. Your style really narrows your work down, but we can say that from all the composers out there. So it's not a problem.The problem is he wants to limit his work to animations and fantasy.because he abhors gratuitous violence.<br><br>@george<br><br>". Although, I hate to say it, we could say the same for Zimmer in my opinion"<br><br>Zimmer's at the end of his career. All the other composers when they arrived at 60 years (with the exception of JNH, Goldsmith and Morricone) reduced the amount of projects per year and went on to choose their work best. It's a natural way.Over the years, it tends to get worse with one exception here and there. Don't keep expectations like he's in his prime<br><br>"he has "nothing more to prove", he is creatively dead."<br><br><br>Powell will work with a little more frequently in the coming years (or not) that only depends on his ambitions. However, frankly, he's never going to do three again. 4.5. 6 projects in a year. It takes a lot of motivation for that.<br><br><br><br><br><br><br><br><br><br>
Just listened to the whole thing, kind of a let down. Nothing interessting except for some action moments. Donít even recall hearing some sort of theme. Overall it was like listening to Cars 4: Spanish World Cup.I have already listened to The Jumanji Overture and I must say it sounds really great. Let's see how the rest of the score sounds.Tracklist with track duration:<br>01. The Jumanji Overture (03:20)<br>02. Digging Up The Past (01:43)<br>03. Brantfort High (01:09)<br>04. Into The Jungle (01:23)<br>05. Out of Character (02:31)<br>06. The Legend of the Jewel (02:23)<br>07. The Adventure Begins (01:40)<br>08. Special Abilities (01:16)<br>09. The Bikers (03:44)<br>10. Van Pelt (01:00)<br>11. A Test Of Friendship (01:22)<br>12. The Bazaar (01:16)<br>13. Snake Charmer (03:41)<br>14. The Power of Bravestone (01:04)<br>15. Seaplane McDonough (02:17)<br>16. The Missing Piece (01:46)<br>17. Lost In Time (01:18)<br>18. Flirting With Danger (01:36)<br>19. Albino Rhinos (03:44)<br>20. Retrieving the Emerald (01:54)<br>21. Out of Lives (01:49)<br>22. First Kiss (01:22)<br>23. The Jaguars (03:03)<br>24. Ring of Fire (02:07)<br>25. Begin The Climb (01:56)<br>26. Call Out Its Name (02:23)<br>27. leaving Jumanji (03:03)<br>28. An Older Friend (02:40)<br>29. Back To School (01:53)@ds the same for desplat's victory with Budapest Hotel.Maybe. I'd sure be happy for you lot ;) And I'd definitely rather see Powell attached to a project than, say, RGW, Junkie or Desplat. <br><br>That Solo movie is going to be a disaster, though.
One more thing: if indeed the reason for Powell's semi-hiatus was to be with his family as much as possible, we may well see his activity increase again in coming years now that his wife has passed away and his son is close to graduating high school (I couldn't find an exact date of birth for him but I think he's 16 or 17). Him taking on a project as big and ambitious as Star Wars isn't exactly the sign of someone who wants to take it easy. It's too early to say yet though.hans should win the oscar for best sound effects and not for the best music/score. just as a statement.And it's also unfair to use Balfe to criticize Powell. He started working on American projects in 2005 with Batman Begins, and only after 2010 did he receive individual projects. Is it accurate to compare someone who entered the party at the last minute with two others who are in it for 20 (Powell) and 30 (Zimmer)?<br><br>I'm in a hurry and I put everything into a translator. Forgive the many mistakes.<br> <br><br><br>Composers do not need to worry about the attention, acceptance of the public of the same or the same intensity as pop music artists do. There's no need to do that. Occasionally some name draws attention to the public and causes many people to be in the genre, Williams and Zimmer are the main examples that I can bring the table. However it is not because Williams or Zimmer are extremely popular and perhaps worry about the material they are offering to the public who adores them that all the composers of the world need to do equal. Most of these men and women even enxeega as "celebrity". They are more like artisans or the rest of the crew of a film that occupies with the lights, effects and costumes and that will never have the same response from the public as the main actor. And they don't even expect it. So I think it's foolish to wait for Powell to occupy himself in 2,3 movies a year to please a fanbase.<br><br>I'll agree with you when it says it's deplorable to see CPR composers who talk so much about building a single voice and giving emerging talent the opportunity to use so many additional composers (many of them with a possible promise that in the future they will work with Zimmer and thus have the opportunity to show his face in Hollywood.The sense is almost always these.You start with a secondary composer, he arrives at Zimmer and gains some kind of notoriety). But Powell is not the only one who does this. So he should not be the only one criticized.Well...it's a film score. It has no obligation to provide a pleasant or enjoyable listening experience, and for an award like this that doesn't really come into consideration. So if it works in the film, it did its job and that's all that matters.<br><br>For me personally, as someone who cares about music first and films second, a score like Dunkirk has little value. A few years ago I probably would have been pretty mad about this score winning awards and acclaim (you should have seen how salty I got when The Social Network beat out HTTYD), but these days... *shrug*. I know what I like, Dunkirk isn't it, and that's fine. It wasn't written for me. Do I wish Hans still wrote the kind of music I like? Of course. But he gets to make his own choices as an artist, just as I get to choose what to listen to as a fan.
The score is already on itunes.This score... so many mixed emotions. Does it work for the film? Heck yeah. Does it improve the film? So much so. Did Hans do what he set out to do? Totally. Is it an award winning masterpiece? Um, not so fast.<br><br>Dunkirk, while super effective within the context of the film (I wouldnít change a thing about it), I must admit, it doesnít have nearly the same effect as a stand-alone listen. Itís literally the same textures and notes over and over again, just slightly rising and falling in pitch and tempo. Does that make it ďawardĒ worthy? Iím not sure. If based solely on the film, you betcha. If based purely on the music itself, I donít think so. Thatís where Interstellar succeeds so far and away over Dunkirk. As a pure listening experience, Interstellar is interesting, multi-layered and emotional. Whereas Dunkirk is just flat, void of any sort of feeling or ďactualĒ music (again, works IN the film). Itís glorified sound FX (save for the end, which, no doubt, is in large part to Ben).<br><br>Hmm... Iíve never had a score tear me apart more than this one. I both love it and hate it. Maybe it did itís job... lol.<br><br>Excuse me while I go listen to No Time for Caution yet again.I think most of us agree that he should've won for Interstellar but I think Dunkirk deserves it too. The work Hans and the music department did on this movie is just incredible. Must've been a lot of hard work. <br>An award is an award, Hans' 2nd Oscar is long overdue so I'd be glad to see him win. But it would be weird to see him win for THAT score, after all the greatnesses of the past 20 years. Same thing with Morricone who won his only Oscar for his very light and insignificant work on Hateful Eight. Good for the man, good for the fans, but doesn't really make sense. But have Oscars ever made sense? :-phaha hybrid :D made my day
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Mark MancinaDon HarperJohn Van TongerenChristopher Ward
ComposerAdditional MusicAdditional MusicAdditional Music
Speed 2 - Cruise Control
Label: La-La Land Records
Length: 70'24
HZimmer.com rating:        5/5
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (2955 votes)
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  1. Twentieth Century Fox Fanfare - Motorcycle Chase (4:18)
    Mark Mancina
  2. Alex And Annie - Caribbean Cruise (4:42)
    Mark Mancina
  3. Engine Room (5:02)
    Mark Mancina, John Van Tongeren
  4. Overboard (8:40)
    Mark Mancina, Don Harper, John Van Tongeren
  5. Last Lifeboat (7:01)
    Mark Mancina, Don Harper
  6. Goodbye, Alex (4:06)
    Mark Mancina, Christopher Ward
  7. Reunion (2:43)
    Mark Mancina, Christopher Ward
  8. Tanker Turn (5:02)
    Mark Mancina, John Van Tongeren
  9. Geiger Grabs Annie (1:48)
    Mark Mancina, John Van Tongeren
  10. Escape (7:31)
    Mark Mancina
  11. The Harbor (7:16)
    Mark Mancina, Don Harper
  12. Final Chase (7:23)
    Mark Mancina, Don Harper
  13. Underwater Rescue (1:46)
    Mark Mancina
  14. Cruising (2:58)
    Mark Mancina
Create Topic

Edmund Meinerts reply Replies: 1 || 2012-02-03 12:51:23
A question: If Christopher Ward and Don Harper are only credited as arranger and orchestrator, does that mean they didn't actually compose the cues they are credited on?


Dawn2012-02-04 14:49:14
That means they helped in some ways and at some point during the creation of those cues.

There is no way to know if they did 1% or 100% of the cues they worked on.

Aggelos reply Replies: 0 || 2011-12-04 16:21:52
This is a great score - 5/5! Too bad the La-La Land release didn't feature some extra music/cues from the Speed 2 promo....
Despite that, it's a freaking awesome release for all the Mark Mancina (and action score) fans out there!! Grab it while it lasts!


Jason LeBlanc did a quick comparison to the composer promo, and this is what he came up with :
01 Main Title (1:51) = 01 Twentieth Century Fox Fanfare / Motorcycle Chase (0:00-1:47) (with clean ending)
02 Annie & Alex (2:16) = 02 Alex and Annie (0:00-2:12) (with clean ending)
03 Seabourn Legend (2:54) = NOT ON LA LA LAND (Similar to 14 Cruising (2:58))
04 Geiger (3:46) = 03 Engine Room (0:00-3:20) then the tick tock percussion isolated on the composer promo plays under the next cue on the LLL
05 Eindhoven Lion (0:35) = NOT ON LA LA LAND
06 Close The Hatch (1:31) = 06 Goodbye Alex (2:38-4:06) (with clean opening)
07 Lifeboat (1:54) = 07 Reunion (0:00-1:50) (with clean ending)
08 Bow Thrusters (2:21) = 08 Tanker Turn (0:00-2:18) (with clean ending)
09 Grenade (0:54) = NOT ON LA LA LAND
10 Evacuation (6:59) = 05 Last Lifeboat (7:01)
11 Why Don't We Stop (0:48) = 12 Final Chase (0:00-0:42) (with clean ending)
12 Crashing Into The Island (6:42) = 12 Final Chase (0:42-7:23) (with clean opening)
13 Golfclubs (1:43) = 13 Underwater Rescue (1:46)
14 Caribbean (0:53) = NOT ON LA LA LAND
15 Tuneman (3:53) = NOT ON LA LA LAND
16 That's Odd (1:18) = 04 Overboard (0:00-1:14) (with clean ending)

Hybrid Soldier reply Replies: 0 || 2011-02-23 00:00:00
Engine Room => Mancina / Van Tongeren

Overboard => Mancina / Van Tongeren / Harper

Last Lifeboat => Mancina / Harper

Goodbye, Alex => Mancina / Ward

Reunion => Mancina / Ward

Tanker Run => Mancina / Van Tongeren

Geiger Grabs Annie => Mancina / Van Tongeren

The Harbor => Mancina / Harper

Final Chase => Mancina / Harper


To be extreeeeeeemely precise !! ;)

Mr Tweedy reply Replies: 0 || 2011-02-23 00:00:00
I know only 2 cues credited John Van Tongeren (from his own website) :
"Auto-Pilot" which is heard in the last minute of "Engine Room", and "Man Overboard" which is the first minute of "Overboard".
But as "additional music credits" always is quiet tricky, I'm not sure these cues were fully arranged by JVT...

Btw, from what I read in the Speed 2 liner note, I think the promo cues "Seabourne Legend" and "We Not Gonna Stop" are some kind of themes suites (cues not meant to synchronize to pictures but developping primary ideas from the score) that the music editor incorporated several small bits into the movie.

Bondo reply Replies: 0 || 2011-02-23 00:00:00
Is any of Van Tongeren's music contained in this release?

Iceboy reply Replies: 0 || 2011-02-17 00:00:00
Mr Tweedy, I dont have this score nor have I seen the film. What tracks are different to the film music?

Anonymous reply Replies: 0 || 2011-02-17 00:00:00
@Iceboy
Here we go :

"Caribbean Cruise" is different from the film version. You can find the film version on Speed 2 promo ("Welcome to the Seabourne Legend"). IMO, film/promo version is WAY better than Lala version !

"Engine Room" is a mix of two cues used in the movie, but the sound editor decided to butcher both those tracks in the movie.

There's a cue missing after "Engine Room", featured on the promo (sometimes called "We Not Gonna Stop" or "Evacuation"). But in the movie they butchered it, and you only hear a few seconds of it.

There's a cue missing after "Goodbye, Alex" (when Annie opens a door with a chainsaw). You can hear similar music during the middle of "Escape". Not featured on the promo.

There's a cue missing after "Tanker Turn", featured on the promo, but I don't find its name. It was called "Grenade" I think, but was used when Geiger is about to leave the ship.

Another cue missing, after "Escape", featured on the promo : "A Peaceful Village" or "Caribbean", depending on which version you got. In fact, this "Caribbean" cue replaces a few seconds of "The Harbor" in the movie (just before the action section begins).

The end of the film doesn't contain any unreleased material. They edited "Alex and Annie" and "Welcome to the Seabourne Legend" so the music matches the pictures. But these are not "unreleased cues".

"Cruising" has its beginning used earlier in the movie, but all the saxophone part was rejected. You hear something like 40 seconds of it.

Mr Tweedy reply Replies: 0 || 2011-02-17 00:00:00
@Iceboy

Oh well, I forgot to fill the name !
That was... me :)

Andy reply Replies: 0 || 2010-07-15 00:00:00
Thank you very much Mark Mancina!

Hybrid Soldier reply Replies: 0 || 2010-07-08 00:00:00
Sometimes I wonder if La-La's doing it on purpose...

Generally they misspell Names, like "Pouchet" instead of "Fouchet" in Bad Boys, "Gieger" instead of "Geiger" here...

Legal issues ? :P

Boss reply Replies: 0 || 2010-07-08 00:00:00
My bad, it really has errors on back cover.

Cloud reply Replies: 0 || 2010-07-08 00:00:00
What do you mean; "Carribean" with two Rs is written on the back cover. How is that not a spelling error? ;) Unless of course they corrected it on a newer batch.

Boss reply Replies: 0 || 2010-07-08 00:00:00
There are no spelling errors on CD's tracks, only in this website.

Cloud reply Replies: 0 || 2010-06-25 00:00:00
Wow, there's two spelling errors on the back of the case - "Carribean" instead of "Caribbean" and "Gieger" instead of "Geiger"... how the hell does that happen, is there no one to check the spelling before they friggin' print it 3000 times? Otherwise flawless album presentation by La-La Land though...

fabien reply Replies: 0 || 2010-06-25 00:00:00
Probably the best from Mark. Rythmic, thematic and lyric at the same time with this touch of Zimmer 's sound sometimes.. awesome!

Prott reply Replies: 0 || 2010-06-22 00:00:00
Yeah, fantastic score!

Adrian reply Replies: 0 || 2010-06-18 00:00:00
Great release, La La Land!!! :D

Mikel Siw (a fan from Spain) reply Replies: 0 || 2010-06-18 00:00:00
Nice Album :__:

Mr Tweedy reply Replies: 0 || 2010-06-18 00:00:00
Wonderful score. 13 years and we finally get it. Can't wait, really ! Mancina at his best.

Hybrid Soldier reply Replies: 0 || 2010-06-10 00:00:00
Caaaaaaaan't wait !!! :D

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Speed 2 - Cruise Control soundtrack - Mark Mancina 1997