![]() ![]() ![]() Through three adventures, the classically trained Powell - whose credits include the Bourne films, Happy Feet, Paul Greengrass’ Green Zone and United 93, Kung Fu Panda, and most recently Solo: A Star Wars Story - has soared against the grain to deliver a set of soundtracks that live by Williams’ high/low mantra without dipping into nostalgia. Then a score comes swooping in to remind us that, yes, grandiosity still has a place at the movies.įor the last decade, those reminders have been John Powell’s compositions for the How to Train Your Dragon trilogy, which concludes with this month’s threequel, The Hidden World. In a blockbuster era sonically defined by atmosphere and atonality, Williams’ brand of invigorating, motif-driven film music looks (or sounds) more and more like a relic of the past. ![]() It’s a river we can all put our cups into, and drink it, and be sustained by it.” “I don’t make a particular distinction between ‘high art’ and ‘low art,’” composer John Williams once said. ![]()
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