To jest artykuł do czytania, ale proszę tutaj jest ten fragment:
My favourite film composer, Jerry Goldsmith, said the orchestra should always be at the heart of the ensemble. Given your scores feature a dynamic mixture of orchestra, percussion and electronics, do you agree with that?
Na co Powell odpowiada:
I don't think so. I mean, I love Jerry Goldsmith's music as well but you have to understand that he came from this incredible tradition straight out of Ravel and Debussy and he understood compositional integrity and orchestration in an extraordinary way. He could manipulate his writing for film. He had such a magnificent understanding of storytelling.
I've seen a lot of films that I've loved that haven't used the orchestra. I can get the same feeling out of the first Atlantic album by Aretha Franklin. That's as much a work of art as Beethoven's Fifth. I can't see the difference. Different types of music can create the same feeling. That feeling of transcendence.
If you think of Ry Cooder's Paris, Texas for instance - that's just one slide guitar. And I also loved Brokeback Mountain by Gustavo Santaolalla. So there are lot of different ways of doing it. We're in a post-modern era where you have to appropriate the right level of taste and also think about what something could sound like in 15 years. Could something sound incredibly dated? And that's the danger.
If you think of films from the eighties, now you think, oh god, that must be 1983. Yet it's very hard to tell what year many of John Williams' scores were composed in. He always uses an orchestra because it's timeless. That's one of the beautiful things about using an orchestra. You really can be timeless but you also might be missing an opportunity to speak with different musical language.