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The other most prominent continuing theme – the very Powellian adventure theme – is all over the score, forming the basis of the many action themes but also appearing in a variety of other, often surprisingly tender guises. The best of the old themes is the one heard most famously in the first score’s “Oogway Ascends” and it gets an absolutely lovely treatment in the opening “Oogway’s Legacy”, with romantic piano (played by Lang Lang of all people) taking centre-stage, and it’s probably the best piece on the album.
Kung fu panda 3 soundtrack full#
Zimmer and Powell’s main themes from the previous instalments return alongside some new ones and while the credits have changed, the music continues very much in the familiar vein from before, full of action and adventure and no shortage of fun. Simmons) who returns to the mortal world after stealing Master Oogway’s chi from the spirit world, the bounder! The previous two scores in the franchise were credited to Hans Zimmer and John Powell, but Zimmer goes solo this time if you’re reading the front cover of the album – inside, Lorne Balfe gets co-billing and there’s additional music by Paul Mounsey.
Kung fu panda 3 soundtrack series#
I was really disappointed with the score for this movie, which is sad because it's sandwiched by some of Zimmer's best work, and it comes right after a significant maturity in the way Zimmer approached scoring films.The third entry in the apparently six-part Kung Fu Panda series continues the telling of the true story of Po, who meets his biological father only after seeing his dumpling-eating record beaten by him and then battles a spirit warrior (J.K. Why the hell is the "Power of Chi" theme the same as Powell's "Inner Peace" theme? Could Zimmer not come up with anything new? In case I'm not getting the problem across, it'd be as if Zimmer just re-used his Joker score for Bane, because "it's just a generic bad guy theme, and not specific to the Joker". Most of the best work in 3 is just rehashing Powell's motifs, and even that Zimmer fucks up. With Kung Fu Panda 3 his absence is super noticeable, and Zimmer just can't keep up. John Powell is a master of leitmotifs, and his compositions rival John Williams in complexity. And I'm pretty sure most people can't name any other track from that soundtrack that is quiet, at least not without resorting to uneventful, background music like the second track of the album) (In case anyone wants to mention Inception, note that "Time" only really hits its stride when it gets loud. And I don't think I need to tell anyone that Interstellar's more quiet moments are great.
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The piano piece is a bit repetitive, too, but it's way more tuned and really hits hard. It doesn't work as well when you're not distracted by the spectacle.Īnd you can see him get way better at it once he worked on Man of Steel. It's quiet themes (mainly Catwoman's) are good, but they're not great, and they tend to have the same repetitive sentences and structures of his louder pieces. I think the transition happened right after The Dark Knight Rises. I think this is why most studios pair him up with people (with James Newton Howard for the first two Batman movies, with John Powell for the first two Kung Fu Panda movies, with that one guy for Blade Runner 2049), as there used to be a time when Zimmer's ear for the quiet emotions was completely out of tune. Before, the best parts of his soundtracks were the loud bombastic ones, and the quiet moments suffered.
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Hans Zimmer got way better at working solo after The Dark Knight Rises, I think. Hans Zimmer has actually said before in interviews that he thinks Powell is the better composer, and I wouldn't disagree. I still think the Kung Fu Panda 3 soundtrack took a big hit to its soundtrack with the loss of John Powell.