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@superultramegaa and others<br><br>Honestly, if you take an objective look back, you can still see RC written all over Powell...And thats all well and good, because I like Powell. Well, maybe not since Hancock, but I like his style.<br><br>That being said, This will be the official first Star Wars outing with an RC score. Sure, Williams phoned in a theme...But going forward I expect RC influence to be the norm.<br><br>And, as for Giacchino...Jesus Christ. For someone who practically MADE his career apeing Williams (Jurassic Park and Medal of Honor video games spring to mind), his Rogue One was  dreadful...I cant disagree with you. <br><br><br>Powell is heavily influenced by Zimmer. The only thing that differs him from the others is that he really has a style of his own that matches the traces of the career he shared with Zimmer. If you listen to any of your action scores, you will notice that they are clearly RCP scores. Even the orchestral, especially "Pan" have some passages that are very reminiscent of Pirates, Prince of Egypt and Gladiator.Really awesome "Is She With You?" cover by Nir Shor!Hey Hybrid Soldier, is Harry returning for the Sequel??Hybrid, Hollywood in Vienna just announced that Zimmer will be receiving the Max Steiner award. Do you know if the Hollywood in Vienna program the same as the The World of Hans Zimmer program? If it is, King Arthur is confirmed to be in the program as well.
I wasn't saying Powell sounds like Williams. I'm saying he's closer in sound to Williams than he is to Zimmer for his animated movies.While John Powell is usually far more melodic and classical than your usual RCP composer, I don't see the Williams similarity. His music doesn't really sounds like Williams' scores. But I think he is perfect for Star Wars. I am much more excited about this than Giacchino's Rogue One.Yeah, this is the best RCP action score of the year so far. Much better than Balfe's efforts and Junkie's.@superultramega It’s funny you should say that about Rogue One because, even though I do like the themes, I will agree that it definitely is weaker than any Star Wars score and seems to lack the life Giacchino normally puts into his music.<br><br>Even weirder, his music for Jupiter Ascending (another big space opera) is far more aggressive and developed, and probably one of his best. It makes me wonder if the Star Wars team wanted the safe route....Ok, not restraint on drums, but I still don't really see how exactly his music for animated films comes even close to being an RC product. When I think of RC I think of the music for the Pirates movies, the early Bay and Bruckheimer films, etc. The work on Shrek, Antz, Ice Age, and How to Train Your Dragon is much closer to a traditional Williams score than any RC product. <br><br>Plus he's working on Star Wars so he's obviously going to try his damnedest to stick to that kind of music, and to avoid the Zimmer style. I just don't understand why you think Powell, of all people is going to be the one to dilute the Star Wars sound. <br><br>Hell, I think Giacchino's score for Rogue One was pretty much nothing more than an unmemorable, and bland version of Star Wars with very little going on besides broken down notes of the Star Wars theme playing and generic Williams copy. Just like Jurassic World. I don't know how Giacchino makes Williams' style bland but he finds a way. At least with Powell we'll get more style and memorability on top of a Williams imitation.
Restraint on drums? <br><br>Have you listened to Green Zone? The Bourne movies? Hancock?<br><br>Cmon...Yeah he's not Zimmer, but this isn't a Williams product we are talking about. It's an RC product. This is what I am talking about.People like Harry Gregson, Jablonsky and Zanelli, despite their melodic tendinsies, would be people chosen for going the Zimmer route. I think Jablonsky's is the closest to Star Wars but even then there's a ton of power themes, and Zimmer hallmarks that keep him away from this sort of style. <br><br>Powell is the last person I would associate with Zimmer. His techniques are very much in vain with the Williams-like composers, like Alexandre Desplat and Michael Giacchino. The complex underscore, the rapid notes, the restraint on drums, instrument variety, the jazz techniques, etc. He's the perfect RCP composer for the job.Of all RCP members, I think he is the one closest to Williams and Star Wars sound, so I think this score will be pure orchestral fun, like most of his scores usually are.<br><br>I cannot wait to listen to it!Well, I guess that is a matter of tastes and opinion, because for me scores like The Incredibles or Up, for saying some examples, are classics inside the animation field.<br><br>But is fine. We have our own preferences and that's okay.Me too! Very fun and « guilty pleasure » score<br>After listening to this one and Todo Mal, I think Andrew is a really versatile composer, both scores are really entertaining and yet have nothing to do with each other
I like this score, altough i think it will fly (get it) under the radar..<br>Hope Andrew continues making scores like thisIMO, though Powell was Hans'protegee 20 years ago, he always had his very own style. And this style evolved so much through these decades you can't really connect any more his mannerisms to those of people at RCP!You can't call Powell "the Zimmer route". He's written some of the densest, flashiest orchestral film music of the last 10+ years!And how is that a bad thing? :-p<br>John Powell is an excellent choice to have both a big sounding and fun RCP score, and an orchestral one which would fit with the previously established style.Cant say Im 100% invested.....<br><br>This will be the first Star Wars score to go the Zimmer route...
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 LATEST RELEASES
 NEWS
  2008, July 26
Dark Knight LIVE Score Performance Zimmer & Howard 7.14.08



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  2008, July 25
The Dark Knight - Let The Blood Run Cold
James Newton-Howard / Hans Zimmer interview

> www.musicfromthemovies.com


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  2008, July 18
Steve Jablonsky scores Gears of War 2 soundtrack
source : www.music4games.net


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  2008, July 17
A Wonderful, Dark Knight in New York City.
ScoreNotes interviews Hans Zimmer and James Newton Howard.



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  2008, July 16
Photos from The Dark Knight's Virgin Megastore signing, Kung Fu Panda premier and more here : www.jamd.com

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  2008, July 12
Hans Zimmer and James Newton-Howard to Perform at Dark Knight Premiere

More informations here : www.superherohype.com

Zimmer and Howard will be signing copies of the soundtrack at Virgin Megastores in New York on Tuesday, July 15, in Times Square at 7pm, and in Los Angeles on Wednesday, July 16, at Hollywood and Highland, also at 7pm.

Other news here : www.scoremagacine.com/forum


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  2008, July 11
JEFF RONA at Olympic Games 2008



Acclaimed film composer Jeff Rona has composed “Songs of the Sea: The Regatta Suite” at the invitation of the International Olympics Committee and the City of Qingdao, host of the 2008 Olympics Regatta. The music will be the theme of the Olympic regatta competition.

On July 16, in Qingdao at the Olympic Village, Rona will conduct a 110 piece orchestra, traditional Chinese musicians and one of the country’s top sopranos in the first ever performance of the music. Rona has tapped renown poet David Whyte and singer/songwriter Lisa Gerrard (of Dead Can Dance) to create words as part of the concert. Rona will bring the production to Beijing, Shanghai and Hong Kong following the Qingdao world premier.

"For as long as I can remember. I have truly loved the Olympics - the spirit of global friendship and competition. A chance to see the best of the best" says Rona.

"The Olympics are about being a part of the world,” he continued. “The IOC wanted music that had a universal sound, one that conveyed the scope and prestige of the games. Dongxiao Xu, conductor of the Qingdao Symphony and a musical director for the Regatta, was introduced to my film scores quite by accident. He felt that this style was what they wanted the Olympic concert to feel like. I met with him both in Los Angeles and China, along with other musical and cultural directors for the city and the games, who were given the task of commissioning a composer for the concert - and it all went very well."

Rona traveled to the seaside town of Qingdao in January to tour the just completed Olympic Village, meet with the artistic directors, and get a feel for what he might compose. During his stay he walked through small village street markets, sat in a 1000 year old Taoist monastery and looked at the harbor where the races will take place. He visited all the concert venues throughout the city, dined with the local residents, and met with everyone involved in the regatta. He also went to Beijing to see the Olympic facilities, meet with leading Chinese musicians, tour the Great Wall of China. He also traveled to Xi'an to see the Terra Cotta warriors and travel through the country side to the Famen Temple - one of the holiest Buddhist shrines in China. All to get a better sense of a country most westerners know little about outside of politics.

Upon his return to Los Angeles, he began to sketch the 12 pieces that would make up the Regatta Suite. Using the state of the art computer technology he uses for film and television scores, he composed the symphonic pieces in a way that reflected his experiences in China, and brought his own personal sense of music and culture to the Olympics. He returns to China in July to record the Suite before the big tour begins in the 2 weeks leading up to the opening of the games.


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  2008, July 08
Harry Gregson-Williams: Scoring the Return to Narnia!



For any film music buff, Harry Gregson-Williams is no stranger. We owe him such notable scores for all three Shreks, Gone Baby Gone, Chicken Run, Man on Fire, Flushed Away, Domino, Phone Booth, Bridget Jones: The Age of Reason, Enemy of the State, Antz and Kingdom of Heaven, among others. Such impressive credits that prove his being as comfortable in live action as in animation to provide elegant, smooth and at the same time strong scores.
> Read more at animated-views.com


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  2008, July 02
The Dark Knight soundclips here : www.warnerbrosrecords.com/thedarkknight/

  2008, July 02
Award-winning composers Hans Zimmer and James Newton Howard have teamed up once again to score the highly anticipated sequel, The Dark Knight. They last collaborated on 2005's Batman Begins, and this time, things are much darker. SoundtrackNet talks with these two powerhouse composers about their approach to writing music for what will be one of the biggest films of the year.

> www.soundtrack.net

Author : Dan Goldwasser


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