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PAYCHECK – John Powell
Original Review by Nate Underkuffler
Budda-budda-bumpa. Is that what film music has become? There has been an undoubtable trend in the past decade, perhaps even for the last half of the century, of an increased use of alternative elements in film music apart from the symphony orchestra. Composers such as Goldsmith and Herrmann experimented and implemented synthesizer and other effects into their scores, later composers like Hans Zimmer in part defined themselves by it, and now a young writer like John Powell sees no inappropriateness or novelty in the idea. Powell has thus put his own spin on the techniques, and created unique soundscapes through both an orchestra and anything he can get his hands on in the studio. Nearly all of Powell’s recent scores since breaking away from Media Ventures and his productive tenure on children’s films with fellow MV student Harry Gregson-Williams have been driven by a quirky set of samples and percussion, as well as his now distinctive orchestral style. His latest score, Paycheck, continues this approach, but now adapts it for a futuristic film noir. Read more…
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