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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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 2017

  The Deep End (Composer)

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  Next Door (Composer)


 2016

  The Charnel House (Composer)

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  Satanic (Composer)


 2015

  Hemlock Grove (TV Series - Season 3) (Composer)

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 2014

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 2013

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 2012

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  666 Park Avenue (TV Series) (Additional Music)

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 2011

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  Hop (Additional Music)

  Fast Five (Additional Music)

  Immortals (Additional Music)

  Breaking Wind (Composer)

  Mortal Kombat (VG) (Composer)


 2010

  Law & Order - Los Angeles (TV Series) (Additional Music)

  Metal Gear Solid - Peace Walker (Additional Music)

  Skyline (Additional Arrangements)

  The 41 Year Old Virgin Who Knocked Up Sarah Marshall And Felt Superbad About It (Composer)

  The Pillars Of The Earth (TV Series) (Additional Music)

  Miami Medical (TV Series) (Additional Music)

  No Ordinary Family (TV Series) (Additional Music)


 2009

  FlashForward (TV Series) (Additional Music)

  Marvel Ultimate Alliance 2 - Fusion (VG) (Additional Music)

  Nora Roberts II Collection - Original Soundtrack (Additional Music)

  Obsessed (Additional Music)

  9 (Additional Music)


 2008

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  Open Season 2 (V) (Additional Music)

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 2007

  Bachelor Party 2 - The Last Temptation (V) (Additional Music)

  Transformers - The Game (VG) (Additional Music)

  Blue Smoke (TV) (Additional Music)

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  Position Music - Orchestral Series Advance Tracks (Composer)

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 2006

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  Justice (TV Series) (Additional Music)

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  Six Degrees (TV Series) (Additional Music)


 2005

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  Threshold (TV Series) (Additional Music)


 2004

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  The Hollow (V) (Composer)


 2003

  All Year Round With Katie Brown (TV Series) (Additional Music)

  Chappelle's Show (TV Series) (Additional Music)


 2002

  The Touch (Additional Music)


 2001

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  The Simpsons - Wrestling (VG) (Additional Music)


 2000

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  Grouchyfriendly (Album) (Technical Staff)

  Just Deal (TV Series) (Additional Music)


 1998

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 1997

  The Cyclist (Short Film) (Composer)

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