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JOHN POWELL

General Discussions » JOHN POWELL (Posts 1771 to 1800 of 2450)

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    •  
      CommentAuthorDemetris
    • CommentTimeJun 9th 2010
    I haven't heard it in ages, but i remember the constantly recurring dramatic choral theme in the darker, more mesmerizing pieces. Let me listen to it when i get back home, i am not at the uni.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorScribe
    • CommentTimeJun 9th 2010
    If you mean that descending four-note motif, then no. A main theme has to have at least two phrases to count. Preferably it should also be the main focus of a track called "Main Theme" or something. tongue
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorDemetris
    • CommentTimeJun 9th 2010 edited
    Tell that to minimalists wink

    A classical main theme is what you're describing. The classical 8-meter form of a theme. smile

    In programme music, a small motif can many times be elevated due to its usage, to a function of a theme.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorScribe
    • CommentTimeJun 9th 2010
    I am willing to accept that, but I still lack an understanding of why that particular motif gets to be called the main theme when (from my memory) it doesn't seem to be referenced any more often than any of the several other motifs in the score. In the film it didn't seem to be used in a way that made it obvious that it was intended to the anchor of the story. Unless being the final part of the end credits counts.
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorDemetris
    • CommentTimeJun 9th 2010
    I don't remember the film exactly 'cause it's been so many years ago i've seen that, but i remember that recurring dramatic choral motif that was very prominent in the film. If it's repeated reasonable times in a film and has dramatical functions, then it might be called as a theme, in function.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorScribe
    • CommentTimeJun 9th 2010
    It's more the "main" status that I'm questioning, and my point is that apparently sometimes Howard likes to write scores with a lot of motifs but no clear main theme, and that his latest might fall into this category too without suffering because of it. I see too many people complaining about the lack of a main theme and I don't want that to spoil my enjoyment of the score when I get around to listening to it.

    although, the lack of choir has already sort of done that... angry
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorDemetris
    • CommentTimeJun 9th 2010
    Well, there aren't any prominent motifs in it either except for very brief, non repeated ones, and at the end, the last 3-4 pieces which are really strong in all aspects. But there's no repetitions whatsoever to establish them in our memory in the listening experience.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorScribe
    • CommentTimeJun 9th 2010
    So you're saying my suggestion of the situation being similar to SFOC is just wrong. Darn. sad

    I don't think since At World's ENd I have wanted a complete promo of this score as badly as I will want this one, and I haven't even heard it yet! biggrin crazy
    I love you all. Never change. Well, unless you want to!
  9. SFOC?
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorDemetris
    • CommentTimeJun 9th 2010
    Smurfs fucked over Cameron.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorSteven
    • CommentTimeJun 16th 2010
    "You've got a chicken and you've got a run, together it's amazing fun"


    That's just unforgivably bad.
    • CommentAuthorAnthony
    • CommentTimeJun 16th 2010
    shame
    •  
      CommentAuthorSteven
    • CommentTimeJun 16th 2010
    Don't read Thomas's reviews while driving. It's dangerous.
    • CommentAuthorAnthony
    • CommentTimeJun 16th 2010
    :applause;
  16. Steven wrote
    "You've got a chicken and you've got a run, together it's amazing fun"


    That's just unforgivably bad.


    I find it catchy
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  17. Steven wrote
    Don't read Thomas's reviews while driving. It's dangerous.


    I think it's even dangerous while sitting down
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    •  
      CommentAuthorSteven
    • CommentTimeJun 17th 2010
    Thomas Glorieux wrote
    Steven wrote
    "You've got a chicken and you've got a run, together it's amazing fun"


    That's just unforgivably bad.


    I find it catchy


    Yes, I'm sure you do.
  19. Anthony wrote
    So James Mangold directed this and hired Beltrami for his previous film 3:10 To Yuma, but now Beltrami is on Jonah Hex following Powell's departure from that movie. angelic


    Yes, anytime I can confirm a rejected score, I have it up, so you can always keep appriased of confirmed replacements, via my site:

    RejectedFilmScores.150m.com/list.html
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
    • CommentAuthorBasilB
    • CommentTimeJun 22nd 2010
    Track titles, running times and cover art over at www.varesesarabande.com

    1. At The Airport (4:42)
    2. Rough Landing (3:45)
    3. Trouble On I-93 (4:06)
    4. Running From Roy (2:21)
    5. Hostage (3:34)
    6. Car Ferry (1:34)
    7. To the Island of Love (4:21)
    8. In Austria (1:32)
    9. Galley Fight (3:38)
    10. Five Star (2:16)
    11. June Spies (3:28)
    12. He's A Spy (1:13)
    13. Rooftops (3:20)
    14. The Villa (2:27)
    15. Reunion (4:26)
    16. Bull Run (4:55)
    17. Going To Cape Horn? Take a Jacket (3:07)
    • CommentAuthorAnthony
    • CommentTimeJun 22nd 2010
    *please be another Paycheck*
    • CommentAuthorPanthera
    • CommentTimeJun 22nd 2010
    justin boggan wrote
    Anthony wrote
    So James Mangold directed this and hired Beltrami for his previous film 3:10 To Yuma, but now Beltrami is on Jonah Hex following Powell's departure from that movie. angelic


    Yes, anytime I can confirm a rejected score, I have it up, so you can always keep appriased of confirmed replacements, via my site:

    RejectedFilmScores.150m.com/list.html


    Did Powell compose music and get rejected, or did he leave before ever starting?
    •  
      CommentAuthorlp
    • CommentTimeJun 22nd 2010
    Panthera wrote
    justin boggan wrote
    Anthony wrote
    So James Mangold directed this and hired Beltrami for his previous film 3:10 To Yuma, but now Beltrami is on Jonah Hex following Powell's departure from that movie. angelic


    Yes, anytime I can confirm a rejected score, I have it up, so you can always keep appriased of confirmed replacements, via my site:

    RejectedFilmScores.150m.com/list.html


    Did Powell compose music and get rejected, or did he leave before ever starting?


    AHEM!!!....

    (from Page 58 of this thread)

    lp wrote
    Marco Beltrami replaced John Powell on Jonah Hex.

    Now, back to the age of Mastodon: The The band had been brought in by Hayward to collaborate on the score with Horton's composer John Powell back in September 2009. However, the reshoots and subsequent reediting meant Powell, who was already booked for Tom Cruise's Knight and Day and Doug Liman's Valerie Plame pic Fair Game, had to leave. "There was no animosity," says Hinds. "He was just like, 'If you haven’t figured out what you’re doing cinematically, I gotta go.'"

    In his place, composer Marco Beltrami (Repo Men) was hired to work with Mastodon. (A spokesman for Warner Records said the label would not comment on the soundtrack nor Mastodon’s role in it.) “All of a sudden, there’s this new guy, who went in a different direction," continues Hinds, who by that point was on a world tour with the band. "And there was no way he could connect with me: They brought all the new scenes to us, but I was on tour this entire time, so I had no time to preconceive what I wanted the movie to sound like. Being so busy ... it's hard to be creative when you're going through the same motions every day [onstage]."

    Hinds says that Beltrami wanted a more restrained, subtle approach than the vigorous shredding Mastodon recorded for Hex in L.A. last fall. "I totally had to go back and start over again," says Hinds, reached in Atlanta as he prepped for the band’s 37-date spring tour of North America, which begins in Charleston, South Carolina, tonight. "We’re still working on it. We wrapped a little of it today; we’re doing a little more tomorrow. Tomorrow is enough for me. I was finished months ago. We had such short notice to work on the thing."

    Though constant last-minute change isn't a new phenomenon in Hollywood, Hinds, a first-time movie composer, has found the process frustrating. "I blew my wad over there," he says of the time Mastodon spent recording and composing in L.A. last fall. "It was some of the best shit I’ve ever written in my life. Now I’m just trying to finish with as much patience as possible."
    •  
      CommentAuthorDemetris
    • CommentTimeJun 22nd 2010
    Anthony wrote
    *please be another Paycheck*


    The movie is absolutely hideous; therefore it has the prospect of being another Paycheck.
    Love Maintitles. It's full of Wanders.
    • CommentAuthorPanthera
    • CommentTimeJun 22nd 2010 edited
    lp wrote
    Panthera wrote
    justin boggan wrote
    Anthony wrote
    So James Mangold directed this and hired Beltrami for his previous film 3:10 To Yuma, but now Beltrami is on Jonah Hex following Powell's departure from that movie. angelic


    Yes, anytime I can confirm a rejected score, I have it up, so you can always keep appriased of confirmed replacements, via my site:

    RejectedFilmScores.150m.com/list.html


    Did Powell compose music and get rejected, or did he leave before ever starting?


    AHEM!!!....

    (from Page 58 of this thread)

    lp wrote
    Marco Beltrami replaced John Powell on Jonah Hex.

    Now, back to the age of Mastodon: The The band had been brought in by Hayward to collaborate on the score with Horton's composer John Powell back in September 2009. However, the reshoots and subsequent reediting meant Powell, who was already booked for Tom Cruise's Knight and Day and Doug Liman's Valerie Plame pic Fair Game, had to leave. "There was no animosity," says Hinds. "He was just like, 'If you haven’t figured out what you’re doing cinematically, I gotta go.'"

    In his place, composer Marco Beltrami (Repo Men) was hired to work with Mastodon. (A spokesman for Warner Records said the label would not comment on the soundtrack nor Mastodon’s role in it.) “All of a sudden, there’s this new guy, who went in a different direction," continues Hinds, who by that point was on a world tour with the band. "And there was no way he could connect with me: They brought all the new scenes to us, but I was on tour this entire time, so I had no time to preconceive what I wanted the movie to sound like. Being so busy ... it's hard to be creative when you're going through the same motions every day [onstage]."

    Hinds says that Beltrami wanted a more restrained, subtle approach than the vigorous shredding Mastodon recorded for Hex in L.A. last fall. "I totally had to go back and start over again," says Hinds, reached in Atlanta as he prepped for the band’s 37-date spring tour of North America, which begins in Charleston, South Carolina, tonight. "We’re still working on it. We wrapped a little of it today; we’re doing a little more tomorrow. Tomorrow is enough for me. I was finished months ago. We had such short notice to work on the thing."

    Though constant last-minute change isn't a new phenomenon in Hollywood, Hinds, a first-time movie composer, has found the process frustrating. "I blew my wad over there," he says of the time Mastodon spent recording and composing in L.A. last fall. "It was some of the best shit I’ve ever written in my life. Now I’m just trying to finish with as much patience as possible."

    I appreciate your response, but did he compose any music?
    •  
      CommentAuthorMarselus
    • CommentTimeJun 22nd 2010
    BasilB wrote

    13. Rooftops (3:20)

    lick punk
    Anything with an orchestra or with a choir....at some point will reach you
    • CommentAuthorAnthony
    • CommentTimeJun 22nd 2010 edited
    confused

    Have you seen the movie?
  28. Panthera wrote
    justin boggan wrote
    Anthony wrote
    So James Mangold directed this and hired Beltrami for his previous film 3:10 To Yuma, but now Beltrami is on Jonah Hex following Powell's departure from that movie. angelic


    Yes, anytime I can confirm a rejected score, I have it up, so you can always keep appriased of confirmed replacements, via my site:

    RejectedFilmScores.150m.com/list.html


    Did Powell compose music and get rejected, or did he leave before ever starting?


    If you click on the link and read the relevent entry, you can find what Powell did, in the words of the band themselves from a random interview.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
    •  
      CommentAuthorMarselus
    • CommentTimeJun 22nd 2010
    Anthony wrote
    confused

    Have you seen the movie?

    No, but 'Powell' and 'Roof' are always welcome ('To the Roof', 'Tangiers').
    Anything with an orchestra or with a choir....at some point will reach you
    • CommentAuthorAnthony
    • CommentTimeJun 22nd 2010
    Ah.

    Can you see why that didn't immediately click? wink

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