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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'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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Harry Gregson-WilliamsHalli CautheryAnthony LledoJustin Burnett
ComposerAdditional MusicAdditional MusicAdditional Music
Label: La-La Land Records
Length: 42'20 rating:        3/5
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 (6663 votes)


  1. Stanton, PA (3:33)
  2. Frank Barnes (2:11)
  3. Will's Story (1:56)
  4. Ned (2:08)
  5. Dewey (2:25)
  6. Not A Coaster (2:18)
  7. "Are You In Or Are You Out?" (6:13)
  8. Realign The Switch (3:10)
  9. Galvin's Strategy (2:25)
  10. Playing Chicken With Trains (1:35)
  11. Will Guides 1206 (4:04)
  12. The Stanton Curve (6:02)
  13. "Who Do I Kiss First?" (4:20)
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Snake reply Replies: 5 || 2011-07-18 06:01:09
There are two missing musicians there. Heitor Pereira and Tony Morales. I have the soundtrack so if you ask me an image of it I'll gladly send you that guys.

Anonymous2011-07-18 06:07:04
you have unreleased music?

Snake2011-07-19 01:44:23
Unrealesed music?WTF?

Snake2011-07-26 07:36:41
I bought the Original Soundtrack and there are missing credits such as Heitor Pereira and Tony Morales on Guitars and Hugh Marsh on violin and Ryeland Allison isn't the music programmer, that is Anthony Lledo. Richard Whitfield, Jamie Luker and Del Spiva are also included in the Soundtrack.

Snake2011-07-26 07:39:47
I bought the Original Soundtrack and there are missing credits such as Heitor Pereira and Tony Morales on Guitars and Hugh Marsh on violin and Ryeland Allison isn't the music programmer, that is Anthony Lledo. Richard Whitfield, Jamie Luker and Del Spiva are also included in the Soundtrack.

Snake2011-07-26 07:52:29
I forgot some other credits: Halli Cauthery and Hybrid as additional music programmers, Booker White as copyist and Tim Lauber as recordist

Anonymous reply Replies: 0 || 2011-02-11 00:00:00
I felt the same when I heard it, but i don't think that he wanted to steal the tune. What really feds me up is the fact that some cues sound almost exacly like Pelham 123 :S

Prott reply Replies: 0 || 2011-02-11 00:00:00
Rango: I don`t think it`s Harry`s fault (I can`t imagine he did it because he wanted to).
... Probably someone really liked the temp track.

Rango reply Replies: 0 || 2011-02-11 00:00:00
this is a soundtrack where i have to say, and I am a HGW-fan, shame on you harry!!!
Such a bad score, just some ugly cracking beats and that's it. And then having the idea of doing such an immense copy of WHY SO SERIOUS is absolutely... oh man. I can't believe that he earned with that score so much money.

I'm wondering if Hans has heard some cues of it, especially the brutally rip-off of his track for the Joker. Everything is there, the guitar theme, the one note that gets higher, the rusty violins and cellos...

Absolutely wow, and really shame on you Harry for this :/

It has a beautiful melody in there but too short and then always put together with that immense rip-off.

Anonymous reply Replies: 0 || 2010-12-30 00:00:00
The Stanton Curve = Why So Serious?

Falconet from Italy reply Replies: 0 || 2010-12-01 00:00:00
Here's some addittional credits :

Ryeland Allison: music programmer
Justin Caine Burnett: composer: additional music
Hybrid composer: additional music
Martin Tillman: soloist: electric cello

cameron reply Replies: 0 || 2010-11-25 00:00:00
Frank Barnes is great sound track was copies from Indian Bollywood music...but great work

Adrian reply Replies: 0 || 2010-11-19 00:00:00

Ah thanks! That strange American style... I don't get why they do it here, since they are French!
Maybe BECAUSE they're French...........

Cloud reply Replies: 0 || 2010-11-19 00:00:00
Yes, it's a little confusing, as it's usually year / month / day. Here it's month / day / year. Oh, well... btw. my (autographed) copy got shipped out today, yay! ;)

asd reply Replies: 0 || 2010-11-18 00:00:00
@Adrian: hahaha no buddy. not july ^^. it's the 7th december ;P

Mcbain reply Replies: 0 || 2010-11-18 00:00:00
Those are the best soundclips from a Tony Scott movie I've heard in a long time! Hopefully the rest of the score is just as good! Go Harry!

Adrian reply Replies: 0 || 2010-11-18 00:00:00
Thanks for the tip!

It sounds like a fusion of Bourne and Wolverine... especially Frank Barnes!

But it sounds very good, I'll most likely buy this one :-) Hopefully will offer the autographed copies too! Why did they announce it now, but release it in July? That's so long away... Are they waiting to see if the film is a succes? Or are they afraid of a Season of the Witch-repeat?

HGW4 reply Replies: 0 || 2010-11-17 00:00:00
La La Lands Records website has some sound clips up....they were also selling autographed copies...

tomPoland reply Replies: 0 || 2010-11-17 00:00:00
Sounds like Deja Vu 2 (at least in the movie)

Bondo reply Replies: 0 || 2010-11-17 00:00:00
Great score, just saw the film! Lots of samples from DEJA VU are used

Todd reply Replies: 0 || 2010-11-16 00:00:00
Where can we hear sound slips?

HGW4 reply Replies: 0 || 2010-11-12 00:00:00
So excited....

David reply Replies: 0 || 2010-11-10 00:00:00
I Love Harry Gregson WIlliams.
The Best Composer ever!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Harry reply Replies: 0 || 2010-11-10 00:00:00
100 Copies with the sign!!!!!

RuthlessGravity reply Replies: 0 || 2010-11-10 00:00:00
Wow, a month away from release of the actual movie? That sucks, but I guess it shouldn't be that much of a problem considering we are going to get it eventually.

Wayne reply Replies: 0 || 2010-11-10 00:00:00
One of the best Gregson!!!
I can't stop listening the track number 3(beautiful) and the top action track number 6,10,11.
''Who Do i Kiss First?'' i'ts amazing!!Wow!!
Great work Harry!!

Dakota reply Replies: 0 || 2010-11-09 00:00:00
Damn, why such a late release date? I hope it's good

Lasse reply Replies: 0 || 2010-11-09 00:00:00
i really look forward to this one :)
Harry Gregson Williams music in tony scott style :)
hell yeah :D

Anonymous reply Replies: 0 || 2010-11-09 00:00:00
from what reviews are saying it's totally forgettable. Typical Harry and Tony borefest

Bondo reply Replies: 0 || 2010-11-09 00:00:00
Considering I've enjoyed their past few collaborations (namely Deja Vu), I remain optimistic!

Jaros428 reply Replies: 0 || 2010-11-09 00:00:00
here's the tracklisting....

1. Stanton, PA
2. Frank Barnes
3. Will's Story
4. Ned
5. Dewey
6. Not A Coaster
7. Are You In Or Are You Out?
8. Realign The Switch
9. Galvin's Strategy
10. Playing Chicken With Trains
11. Will Guides 1206
12. The Stanton Curve
13. Who Do I Kiss First?

Jaros428 reply Replies: 0 || 2010-11-09 00:00:00
also, here's what a reviewer on Cine Talk said about the score....

"Harry Gregson-Williams score is very good, although it does sound very similar to THE DARK KNIGHT score, in some ways itís better, because it really fits the feel of the picture. When these two, Gregson-Williams and Scott, get together, its always great. I did notice that there were some cues from AVP2 score too".

Jon reply Replies: 0 || 2010-10-27 00:00:00
Awesome. And it comes from La-La-Land, which is an excellent label.

HGW4 reply Replies: 0 || 2010-10-27 00:00:00
I can't wait!!!!!© 2001-2017 OST 
Unstoppable soundtrack - Harry Gregson-Williams 2010