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@anonymous it appears in the track "vanishing point" but there's a better unreleased version of it when William was confessing to his wifewell hybrid, if you ever happen to know who did what, add it here please :D I would really be thankful for it!!If Steffen & Max did anything, it's arrange Lorne's cues...Personally, I don´t think that Aruj and Thum got a chance (or time) to write anything for this film, but I may be wrong... who knowsIn which tracks does William's sad theme appear?
Alright, these are my speculations on the credits for this version, mixed with what we already know about it from Soundclouds/websites/etc.<br><br>What we know:<br>Luke Richards - Today We Hunt, Running Out Of Tomorrows, Ospreys<br>Lorne Balfe - Battlefield<br><br>Gary Dworetsky - Final 50 seconds of Calling All Autobots<br><br>My personal speculation:<br>David Fleming - Drone Chase, Dive<br><br>Gary Dworetsky - History of Transformers<br><br>Max Aruj & Steffen Thum - Vivian Follows Merlin, Claim The Staff<br><br>I have no sources to back this up, these are just my guesses based on what I feel these composers' styles are.I watched the movie yesterday. Unfortunately,the songs are in Portuguese here, in Brazil (even "Spirit"! ). But Hans' work is still amazing, intense, he's stolen the show again!Saw the movie but never listened to the score, is it worth listening to?This complete album sound like Lit!! I like to hear about this album in one day soon.I just hope they bring back William's sad theme and other variations of Dolores's theme which were unreleased in season 2
It is, actually, completely in correct order. There's just 5 theme suites  here & there.Okay, I want this. Where, how much? lol<br><br>And I'm willing to bet that even those Jablonsky fans who didn't like the score wanna hear the complete album.@Ahmad i think end credits :PDo you know the chronological order for this one Hybrid? I had quick glance at the complete here and the OST album seems massively out of order16 hours of music?<br>Can we hear those 16 hours of music one day?
I saw the film today. It's amazing and wonderful. The feeling and emotions of the 1994 film keep untouchables. The score is simply breathtaking. The songs are incredible. The stampede scene is so intense just like the 1994. Hans has made an intense, epic and beautiful score.Additional arrangements instead of additional music? Even part of the score not on album?Because if the film is an american production, it has no choice but be recorded in the US... That's the rule...<br><br>When the film is a UK co-production, and/or partly shot in the UK etc... (like, for instance, every Nolan film, or King Arthur), it can be recorded in the UK... That's why it's way easier to get an expanded set of The Dark Knight or Interstellar than... the POTC saga...<br><br>I remember the AFM (American Federation of Musicians) wasn't pleased when Interstellar got recorded at Air Studios in London, claiming it had to be US Recorded... But Nolan's a brit, Syncopy is a British operation based in London...> You gotta realize one thing, this score is US recorded so every new 15 min of score you release, you gotta pay back reuse fees. So it's very complicated & costy and that's why they released "only" 15 min of extra score.<br><br>> If it was recorded in the UK, they could have released 2 hours of bonus tracks it wouldn't have cost anything more... :)<br><br>Wow, I didn't know that. So, why not record every movie in the UK/Europe then? Not sure how long it will take but I think this re-use fee will drop once they record every score outside the US.<br>However, how much money did the movie make in the Boxoffice and Home Entertainment? I'm sure that money can't be an issue here.<br><br>How cool would it be to officially buy the sessions in a collectors box (in general for all movies), signed by the composer and director and maybe cast members... I'm sure that could be sold for $200+. The studios are wasting an opportunity here... Sure, you can copy music but you can't copy the signatures.That's exactley what I thought.<br><br>There was one other thing I thought was great.<br><br>I went with my parents, who have heard Zimmer's music, from when I'm listening to it, but they said to me that you can hear, that it's him, without even knowing all of his music.<br>They said, the thematic content, the bombast of it, it is just pure Zimmer.<br><br>Hope Spongebob & Wonder Woman 1984 are with a large orchestral/choir ensemble, and with WW1984 some 80's synths!!

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John PowellDavid BuckleyBatu SenerAnthony Willis
ComposerComposerAdditional MusicAdditional Arrangements
Jason Bourne
Label: Back Lot Music
Length: 61'16 (Score: 56'21) rating:        Not yet rated
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (7045 votes)
  1. I Remember Everything (2:04)
    John Powell
  2. Backdoor Breach (3:50)
    John Powell, David Buckley
  3. Converging In Athens (4:13)
    John Powell, Batu Sener
  4. Motorcycle Chase (6:53)
    John Powell, Batu Sener
  5. A Key To The Past (2:37)
    John Powell, Batu Sener
  6. Berlin (2:02)
    John Powell, Batu Sener
  7. Decrypted (5:34)
    John Powell, David Buckley
  8. Flat Assault (2:39)
    John Powell, David Buckley
  9. Paddington Plaza (6:46)
    John Powell, Batu Sener
  10. White Van Plan (2:49)
    John Powell, David Buckley
  11. Las Vegas (3:48)
    John Powell, David Buckley, Luke Richards
  12. Following The Target (3:29)
    John Powell, David Buckley
  13. Strip Chase (4:59)
    John Powell, David Buckley
  14. An Interesting Proposal (2:13)
    John Powell, Batu Sener
  15. Let Me Think About It (2:24)
    John Powell, Batu Sener
  16. Extreme Ways (Jason Bourne) - Moby (4:56)
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Anonymous reply Replies: 0 || 2019-01-09 18:38:08
Turns out an expanded score has released. I saw most of the tracks uploaded to YouTube. Most of the tracks are short, like for example, “Bourne on the Train” is 40 seconds.

Anonymous reply Replies: 0 || 2017-08-19 00:01:19
Also do you know what track plays on the Blu-Ray menu?

Anonymous reply Replies: 0 || 2017-08-18 22:50:06
If you listen in the "Strip Chase" scene, there is cues not used on the soundtrack listed here. I also heard the main Bourne theme on "Paddington Plaza" as a cue as I can remember the most, which isn't here either. I'm guessing complete score?

... reply Replies: 1 || 2017-08-18 10:30:27
According to filmmusicreporter, Powel will be scoring next Hans Solo film :O

Macejko2017-08-18 18:55:29
Good morning, grandma.

Felix reply Replies: 0 || 2017-01-02 11:34:09
@hybrid will you add The Nice Guys? & do you know how much Buckley did on it ?

Hybrid Soldier reply Replies: 7 || 2016-10-10 13:59:41
Composer credits.

Mike2016-10-10 16:11:47
Hmm, this is different than I expected. I didn't expect to see Buckley's name on, say, Paddington Plaza, Berlin, or Las Vegas. I figured those were 100% Powell arrangements (which, technically, they still are...). But seeing Buckley everywhere is interesting.

Mike2016-10-10 16:16:00
Edit: not all of those were Buckley. Batu Sener contributed to quite a few of the early scenes, is looks like. :P

Edmund Meinerts2016-10-10 21:05:12
It's funny because I'm the other way around: there's way more Powell and way less Buckley than I would have thought (although I do kind of wonder whether Powell's name on a lot of the cues is little more than a formality due to reusing the Bourne motifs). Certainly I'm surprised Buckley didn't have anything to do with "Motorcycle Chase", and it looks like Sener had nearly as big a role as Buckley.

Maybe I'm just in denial that Powell could ever turn out a score that sounds so uninspired as this, but other than the obvious reuse of Bourne motifs, I simply don't hear much of his voice in here. It sounds like someone doing a lame imitation of a Bourne score, except with the actual themes. If you told me that Sener and Buckley did all the legwork and Powell was just there to sign off on the use of his music, I would believe it in a second.

Mike2016-10-10 21:27:04
Something just told me from the start that "I Remember Everything" would be Powell. Granted, it's just a retooling of "Room 645" from Supremacy, but still, guess he did it himself. I had also thought "Paddington Plaza," "Las Vegas," and "Let Me Think About It" would be solo Powell, but again, they technically are, since 95% of them comes from Supremacy or Ultimatum. I'm not particularly surprised about Buckley's contributions, though I am surprised he didn't do anything on "Motorcycle Chase."

But yeah, Powell's limited involvement here shouldn't come as a surprise. He said himself that his job on this movie was to ensure that the music stayed loyal to the sound of the first three, and was less about paving new trails. It is a shame that we didn't get a truly inventive and interesting Bourne score, though.

Hybrid Soldier2016-10-10 22:47:41
The first minute of Strip Chase is a solo Powell cue...

Edmund Meinerts2016-10-10 22:56:14
Yeah, I guess I do hear Powell's signature soft string sound in there...but man, that's a table scrap if ever there was one. :(

Where's that damn Requiem???

Mike2016-10-11 01:29:48
Are those the only 2 solo Powell cues in the score, or are there a couple others?

josimar reply Replies: 0 || 2016-08-21 19:20:35
I have to say, I was kinda disappointed with this score. I'm a big fan of all Powell Bourne scores, but this one is nowhere as good as them.

I guess he lost interested in definitive both on Bourne movies and on action movies in general - JB is the first one he did since Knight & Day, back in 2010. Let's hope that at least on animation he continues to do his excellent job.

Ds reply Replies: 2 || 2016-08-20 17:36:55
Finally I saw the movie... Loved it! Probably as much as the first three. Everything I like about the Bourne movies is back here, including its pulsating score by John Powell. There was nothing really new, but it was such a pleasure nonetheless!

Mike2016-08-20 21:12:07
I liked, but didn't love, the movie. I felt it lacked the "humanization" of Bourne that connected you to him in the last three, I felt that [SPOILERS!!!!!!!!!] the death of a certain character near the beginning was handled with almost no emotional punch that it deserved, and I felt that there weren't any of those "clever Bourne" moments that make these films so engrossing. For example, the toaster bomb in Supremacy, the Waterloo scene with Ross in Ultimatum, or the "if you were in your office right now, we'd be having this conversation face to face" *click* (also in Ultimatum). As one review put it, in the first three films, Bourne was human first, assassin second. This movie seemed to reverse that, to me at least.

That said, I did like the movie overall, and having the John Powell music back was nice. Howard's score on Legacy just wasn't the same.

Ds2016-08-21 01:50:09
Yeah, not only JNH score wasn't the same, but it was just very poor :-p

I thought there were quite a few "clever Bourne" moments, like the triggering of fire alarms, or the camera recording at the end, classic Bourne (while admittedly not very original).

Edmund Meinerts reply Replies: 8 || 2016-08-07 19:01:45
I just realized that we're barely halfway through the year and we've already seen the release of a new Kung Fu Panda, a new Ice Age and a new Bourne...and NONE of them has a proper John Powell score.

That makes me sad. :/

Hybrid Soldier2016-08-07 19:05:42
Ice Age was so horrible, better for JP he stayed far away... lol

Edmund Meinerts2016-08-07 19:25:55
Well...yeah. True. But still. :p

Mike2016-08-07 19:49:52
I haven't listened to the score, but the fact that Debney (apparently) used themes form both Powell AND David Newman is something to be appreciated in a time when sequels keep being made with different composers, having zero musical continuity. I don't think Powell referenced David Newman's work on the first film at all, right?

Anonymous2016-08-07 21:14:31
@Edmund, it's August. We're more than half way through 2016

Edmund Meinerts2016-08-08 11:12:12
It's the beginning of August, i.e. 7 months down, 5 to go; that's why I said "barely" as opposed to "almost". And are you really so anal as to point THAT out? Yikes.

Pablo Reyes2016-08-09 01:54:36
@Mike, He really references both Powell and Newman? I was trying to avoid that score because I was a really big fan of Powell's Ice Age 2 3 & 4 and I was sad he got replaced. I guess I'm going to have to give this one a try now...

Mike2016-08-09 02:31:33
Yep, they both get theme references in a few cues.

Berkian Warior2016-08-10 22:35:17
I so agree with Hybrid Soldier! John Powell, I respect thee. Thank you for not ruining it. Can't wait for your next one!

Vivien reply Replies: 0 || 2016-08-10 22:23:45
End credits are exactly the same than the third with just some edit...

Vivien reply Replies: 1 || 2016-07-30 22:26:45
Well... it's a nice best-of lol

Mike2016-08-04 00:24:47
This quote from Powell at Comic Con last week demonstrates what we already knew, concerning the "unoriginality" factor of this score. Funny how much it describes the whole movie, not just the music:

"I was allowed to develop the style a little bit within the first three movies, but I come back to it 9 years later, and everybody ... knows what that sounds like. I mean, it's every action movie or TV show you have. Basically, I think we decided we weren't gonna try and break the rules again [like in the first film], and we've just gone back to the beginning. It's the first three, just put together."

Ds reply Replies: 2 || 2016-08-01 02:00:35
I think what I prefer in this soundtrack is the new kick-ass remix of Moby's song! The actual score sounds so different from the previous ones, it's hard to believe they were composed by the same man.

Mike2016-08-01 02:13:04
I agree, but...

Powell said in a recent interview about this score - yes, there was an interview! - that his main job here was making sure things were loyal to the franchise's established sound (which is obvious, cause let's face it, everything is re-arrangements). But that means his job here was mostly arranger / editor, not composer. Add Buckley's cues, which sound sufficiently distinctive, and it comes as no surprise to me that this score doesn't quite sound like the other ones. Even if that was what Powell was hired for.

Mike2016-08-01 02:17:15
I have to admit, though, if I'm going to be honest, I'm still happy John Powell came back. The score is nothing new, but he was understandably set against it for so long that it seemed his absence was certain. At least this way, there's still musical continuity with the first three, and *some* level of variation from the old stuff - more than there probably would have been if they had just tracked in the music and Powell wasn't there at all.

Mike reply Replies: 0 || 2016-07-31 02:28:08
Well, if the score was unoriginal, so was the film. Serviceable, at points entertaining, but taking things nowhere they haven't been before. Such a shame. It seemed like this "band reunion" of a film had all the right keys in place, but it was good at best and a dud at worst.

aldan reply Replies: 9 || 2016-07-29 03:32:17
Well now, when you heard the whole soundtrack, you can CLEARLY distinguish whose track they belong to, and it's really exciting because it is that obvious.

So John Powell did:
-1. I Remember Everything
-3. Converging In Athens
-5. A Key To The Past
-6. Berlin
-9. Paddington Plaza
-11. Las Vegas
-15. Let Me Think About It

Powell's tracks diffirentiate themselves by having much more organic mixing, better writing,and when it comes to electronic sound, it has this "whole,full, and crisp" quality to it and it is good, THOUGH not much new material ( i think the one heard in Athens, is something new)

WHILE Buckley, on the other hand, he basically put his "watermark" with his two high-ascending string notes,which is tiresome, THOUGH he supplies a lot of variations of Powell's theme, it feels generic, boring, the mixing is hollow, and the electronic is that Generic awfull thing we are deared to acknowledge as RCP's sound. ( Yes, Powell WAS from RCP, i get it,but, so was Lincoln from Republican :P)

BUT ANYHOW, sadly, this soundtrack can't hold its candle to SUPREMACY and ULTIMATUM, no Tangiers, no Goa. But it's not disappointing, because you know what it is. And it's such a grace to having a new Powell score in these kind of days.

Mike2016-07-29 17:12:08
It sounds like the film didn't live up to Supremacy or Ultimatum either... I wasn't expecting the music to. ;) I truly don't understand how Powell cranked out such an awesome score for Supremacy. Unless Greengrass only started to become "problematic" after that.

Ds2016-07-29 19:57:25
Yeah Mike I think you're right, and it's kind of confirmed by an interview of Greengrass I read a while ago. He was saying that when he came on board, he just wanted to gather the same crew from the 1st film and kind of let them do their thing (it wasn't formulated like that at all of course). He felt like he was the new guy in the band, so he didn't want to impose his will straightaway.
I guess after Supremacy's success, he felt a little more confident and didn't hesitate to mess with Powell while making Ultimatum.

Mike2016-07-30 00:07:46
Interesting. Still wish we could hear Powell's score, as written, in the film.

Saurabh2016-07-30 07:01:47
So how did Powell agree to do this one after the frustration he had with Ultimatum and Green Zone. It was surprising to read when it was announced that Powell was scoring it. This one sorely lacks the raw percussion that Powell had unleashed in Supremacy first and then . The juxtaposition of that ethnically heavy drum sound with modern espionage worked awesome in Supremacy and Ultimatum and really distinguished them from the MI or Bond scores. Buckley's electronic work is everything that people hate about RCP. But still, any Powell score is welcome these days since his presence in live action is lacking while it's just the opposite in terms of his creativity.

Brent2016-07-30 07:18:19
I must be alone in all of this, but I actually really enjoyed this. Even though it's not quite on par with Supremecy or Ultimatum, it's actually quite entertaining. I love Powell's return, even though this genre and this series specifically doesn't lend itself to loads of creativity. And believe it or not, I liked Buckley's contribution here. Definitely much better than Newton-Howard. Motorcycle Chase, in particular, is perhaps my favorite Buckley cue here.

meta2016-07-30 15:46:29
Im gonna say it:

I dont know what Powell's deal is, but he phoned this in.

NO new themes AT ALL. How hard is it to just make ONE theme (maybe a theme for Bourne's Return or something), and then use it throughout to make the soundtrack stand out in its own way?

Instead we get a rehash...and a horrid one at that; it makes the score to Pirates 4 look better...At least Pirates 4 had a couple new themes in its rehashed material.

Each track that Powell has on this ost just leaves me wanting.

The final track just sounds like what?

Most if it comes off as filler. Pure filler.

Ds2016-07-30 15:52:39
Powell is a genius. If the result is bad, Powell is the last person I would blame. Don't forget a score's first purpose is to complement the director's vision...

Mike2016-07-30 16:01:11
Seeing the film today. Holding off any definitive judgements until then.

Meta2016-07-30 19:06:33
Well if this is reflective of the Director, then it seems to me Powell barely had anything to do with this...and when he did, he did bare minimum.

He must have phoned it in. In now way does this sound similar to the previous efforts, or Green Zone, for that matter. Not that I blame him, considering the drama.

I'm guessing this was Buckley's show more than Powell's

Mike reply Replies: 0 || 2016-07-30 16:19:23
Was this a split work, or did Powell and Buckley work on it together? It's pretty obvious either way who did what...

Jack Afrogarrix reply Replies: 0 || 2016-07-30 03:31:49
David Buckley:Cocomposer
John Powell:Cocomposer
Batu Sener:Additional Music
Gavin Greenaway:Conductor
Paul Greengrass:Director

I Can To Hear The Soundtrack And See The Movie

Mike reply Replies: 2 || 2016-07-23 14:58:43
Gotta say, one thing I like about these temp-track-heavy scores is that, although they recycle, it also means you can sometimes get unreleased cues from former films.

Edmund Meinerts2016-07-29 17:16:54
Ha! This is true. I remember thinking one of the very few redeeming features of the On Stranger Tides album was that we finally got a version of the haunted dress track from Dead Man's Chest on album. :p

Mike2016-07-30 00:01:46
We have a lot of "Bourne Again" from Supremacy now thanks to "Paddington Plaza." Haven't listened to the whole album, but that one jumped out.

aldan reply Replies: 2 || 2016-07-23 07:11:37
Longer sample is on itunes.

Once again is really hard to distinguish who's doing what, at one point you clearly know that it is pure Buckley, and then when you're sure it is Powell, you may also think Buckley could also well emulate and write the piece. ( Buckley's piece is almost recognizeable with its HGW high strings, generic electronic, and i know it is Buckley when he plays with Powell's theme, becuase like any child, who wouldn't want to play with new and popular thing?

But one thing for sure, Powell does the very first, the middle, and the very last.

And here's the thing, somehow i love this electronic-minimalist-Greengrass-GreenZonepercussionist sound that Powell came up, there's this.....thing that attracts me. Much different than what Remote Control's minimalist is: generic, boring, and universally generic, and did i say boring?

Hybrid Soldier2016-07-23 10:08:24
But Powell is a pure product of RCP, so your sentence doesn't make any sense ! :P

Morgan Joylighter2016-07-23 11:16:27
I think most people would agree that even though Powell is historically a "product" of RCP, he brought so much of his own voice to his career, especially after he left MV/RCP, that there is really a distinct difference between the expectations of a Powell score and the expectations of any other RCP composer. He emulates Zimmer less than any other composer that has ever worked with Zimmer and he has a more unique, bold and varied voice than any of them either. IMO.

Jack Afrogarrix reply Replies: 0 || 2016-07-22 02:01:38
John Powell + David Buckley = An Awsome Soundtrack From Jason Bourne With Orchestral Music & Electronic Music

Is It Possible That Gavin Greenaway Will Be The Orchestra Conductor?

  Your name :   

Please enter number: 1457 

Saurabh reply Replies: 0 || 2016-07-21 09:45:18
Hope this has the raw percussion assault that the previous two (especially Ultimatum) heavily leaned on.

Gneeeuh reply Replies: 0 || 2016-07-19 02:27:22
Just take a look at his facebook page and stop saying bullshit!

Mike reply Replies: 6 || 2016-07-13 20:08:56
Samples on Amazon! Definitely temp-tracking was done, because the "core" of some cues is definitely Supremacy / Ultimatum stuff.

Mike2016-07-13 20:20:37
And just lemme add: Idk what Buckley will have ended up doing, really. I feel like 70% of the samples were heavily borrowed from the 2nd and 3rd films. It also leaves me wondering if Powell really did anything new here.

Which is what I was expecting anyway. But we'll have to wait and see...or hear. ;)

Saurabh2016-07-14 03:54:25
Considering Powell's past experience with Greengrass, it's not surprising that this one seems to be lacking in new material. Based on samples, it appears to be more of a Buckley score featuring previous themes by Powell. And Buckley's electronic work sticks out in the samples, which is reminiscent of The Town which he did with HGW.
But still it's too early to judge the score from samples alone.

Edmund Meinerts2016-07-15 12:00:26
I wonder whether Buckley's role in this is less composer than adapter, taking bricks from Supremacy and Ultimatum and composing little bits of mortar here and there to fill in the gaps and hold it together. I sort of doubt there's much original Powell material, sadly (but I didn't get my hopes up for that anyways).

Berkian Warior2016-07-15 22:53:19
Samples sound promising. Sounds like a more mature version of Supremacy.
The fact that there is little new material isn't surprising. Greengrass keeps a tight hold on keeping the scores simple, something John Powell abhors. It's rare that you will find me saying 'simple' and 'John Powell' in the same sentence. John Powell writes some of the most complicated music I have ever heard.

Edmund Meinerts2016-07-15 23:09:37
I don't know, man, The Bourne Supremacy is a pretty good example of a score where not a single note is wasted. Powell's recent tendency towards excess only really started with 2006's X-Men: The Last Stand; before that, he had a slightly less flashy, slightly more "controlled" voice (even a score as wild as Robots still has a "tight" feel to it that you don't get as much from the HTTYD scores or Pan). I'm curious to see whether he can tap back into that with Jason Bourne - but first we have to see whether he really wrote much here at all.

Mike2016-07-16 00:33:29
Based on the samples, "Motorcycle Chase," "A Key to the Past," "Decrypted," "Flat Assault," and "White Van Plan" all have Buckley vibes (based solely off what he wrote for COD: Ghosts).

"Backdoor Breach" was obviously temped with Alexanderplatz, "Berlin" with The Drop, "Las Vegas" and "An Interesting Proposal" with Waterloo, and "Strip Chase" with Jason Is Reborn.

"I Remember Everything," "Let Me Think About It" and "Paddington Plaza" sound like they may be refreshingly original, and based on the fact that Powell did, apparently, work on this score, I'm calling those three cues as being his. :) Let's see what turns out to be the case.

Berkian Warrior reply Replies: 4 || 2016-06-29 02:31:44
It's so neat to see John as the main composer here. Usually, it says on the Albums, HANS ZIMMER (and in very small words) john powell. Not in this case. John Powell is definitely considered the master here(Even though he always is in my mind).

Mike2016-06-29 02:47:50
Not trying to be unnecessarily argumentative, but I honestly haven't come across album covers like you describe... Sure, if Zimmer's there, his name tends to be first, because, deserved or not, a Zimmer credit will sell titles. But font size is usually the same.

Adam2016-06-29 04:42:17
I agree Mike! Never seen one where one composer's name is a larger font size than the other!

Zimson2016-06-29 08:25:43
@Mike CoD: Modern Warfare 2 is an example. However that's Lorne. I honestly don't see where he's getting this impression from.

Berkian Warior2016-07-14 00:47:14
Mostly it wasn't literal. When Kung Fu Panda 1 first came out on amazon, the cover photo was the only indication that John Powell contributed. Digitally, the site didn't mark it as if he had helped. They changed that later though.

aldan reply Replies: 0 || 2016-07-09 17:54:31

so judging by that clip ( you can see the other on the playlist), with its poorly mixed music ( as always with Greengrass), and surprisingly very boring and generic sounding:.....

I guess Buckley does all the action scene, becuase in that clip, it really sounds like HGW action-matic-mode, which is exactly what Buckley's music sounds.

And so, i think it's rather disappointing, because POwell name is attached and having those kind of music is really a huge embrassment for him.

I do really hope Powell's music does really shine in this, even when it is in action mode ( tangiers, bim bam, berlin foot walk, goa chase etc etc)

Jack Afrogarrix reply Replies: 2 || 2016-07-07 01:37:41
John Powell & David Buckley For First Time Two Composers In The New 5Th Movie Of Jason Bourne In 2016 With The Same Director By Paul Greengrass & Same Actor Matt Damon

Edmund Meinerts2016-07-07 10:59:21
Uh...thanks for the information?

Mike2016-07-07 23:41:24

Just over three weeks to go! I honestly thought we'd never get another John Powell Bourne score.

Pablo Reyes reply Replies: 1 || 2016-07-03 06:43:34
I didn't know where to post this, so I might as well do it here. Does anybody know if Powell's "A Prussian Requiem" will ever be released?

Edmund Meinerts2016-07-03 15:16:06
"Later this year" is what they said when it premiered this February (was it February? Well, whatever it was). The fact that we still haven't heard anything concrete (a date or even a month) worries me a bit but they still have nearly half a year left. I sure hope it shows up!

0-^-0 reply Replies: 0 || 2016-06-24 20:25:14
Strange. All traces of the album have been removed from the label's portals and Amazon.

aldan reply Replies: 4 || 2016-06-12 19:29:26
really cant wait..

well recently Buckley has become get-to-help guy for the "main composer".

For JOhn Ottman's The Nice Guys, it's obvious that he's sought after for the action tracks, which, happen to sound like Bourne music.

Well, i think not because of that Buckley get hired in this movie, but rather because of Kraft-Engel agent. Both Powell and Ottman are theirs, and so is Buckley. So i think when a composer does need a help, in the agency, Buckley is the name they call.

I dont know why, but this movie does not scream two composers. I think it has something to do with Powell and Greengrass ( not because of Powell's wife death i pressume).

I think the theory is:
when the scenes required the music to be one of prominent elements and to the extent that the director couldnt agree more with composer's arguments, Powell does it. And when the music is not prominent, and the scene has the director's ego all over, and to the extent that the director will never shut up until the composer obey, that's when Buckley works.In short, Powell being Powell.

Wow this is exciting, i caant wait!

PS: does anyone know when POwell's prequiem will be released? i know He said later this year, and but heck, even Elfman's Ballet score is out already

Mike 2016-06-15 18:57:32
"when the scenes required the music to be one of prominent elements and to the extent that the director couldnt agree more with composer's arguments, Powell does it. And when the music is not prominent, and the scene has the director's ego all over, and to the extent that the director will never shut up until the composer obey, that's when Buckley works.In short, Powell being Powell."

Hybrid... do you know if this was another Greengrass-being-a-pain scenario? The fact that Powell's back at all suggests it was... doable, if nothing else.

aldan2016-06-15 20:40:33
Why Powell took the gig is another theory entrirely...

Powell, quote, doesn't like violence movies, aside from many violence and chase-action movies he has composed, he resides himself to simply not liking violence movies now ( i think it is personal, i dont want to discuss this matter).

Well, the second, he loves animated movies, so be it that whatever any saying of him retiring, there are still a great chance he will score an animated movie in the future.

And the third, and repeteadly quote, he wants to spend time wih his family. And after the current death of his wife, which is very unfortunate, perhaps there are some thoughts of, either Powell now giving all the time to his child or create some sort of legacy for his wife by creating a nice music.

And finally, quote, Powell will likely to score a movie if he desparately needs the money.

So there is that:
Jason Bourne is a violence un-animated live action movie that will take perhaps a lot of time you can actually give to the family. Really supports Powell's integity

And so, Greengrass must have been really begging for Powell to return for the sake of reuniting all team members. Proven with the inclusion of United 93 music into Captain Phillips, Greengrss must have been really fond with Powell's music and try best to keep him always. So for this movie, Greengrass must have offered a nice salary for Powell, and all in time when Powell has calmly soften himself. And thus Powell decided to return.

But Greengrass and Powell will always be themselves,so in the middle of the process, perhaps there are "the debate" that force the losing side, Powell, to seek a help from the community, the Kraft Engel agency. And so Buckley,i dont know why, is hired. And the struggle of Powell needing the help of another composer is proved by him asked Ed McCormack to "translate" the bourne score for Buckley, as to get a nice consistency of each score, albeit the different composer. I think.

Oh my god, what a Powell nerd i am, but really, i am a big fan of his. period.

And that's my theory that, will, ultimately, wrong, so dont take it to hard ;)

0-^-02016-06-17 19:12:25
I won't be surprised if Powell was just a score consultant on this, who got a composer credit because of extensive reuses of his tunes for the previous entries. I'm not counting on new materials or tunes - given the director's track records, this will likely be a rehash of old stuff. I'd love to be proven wrong, of course.

0-^-02016-06-17 19:15:03
Well, I saw Hybrid Soldier's comment on this subject after I posted mine's. Still, despite the facts given by our all-knowing-oracle, I stand by my previous comment.

Berkian Warrior reply Replies: 4 || 2016-06-12 04:09:25
Am I the only one excited about this score?

Felix2016-06-12 10:18:05
No, I'm too :)

Edmund Meinerts2016-06-12 13:42:53
I'm mostly curious to see just what kind of a role Powell actually played in it. I'm very shocked to see him return to a Greengrass film and it makes me think that this is largely a Buckley score with Powell credited for use of his themes and, at most, a bit of "consultation". But I could be wrong. So I'm more curious than excited. But the tracklist looks promising, with some lengthy chase and action tracks!

Hybrid Soldier2016-06-12 15:25:10
No, they both worked on it.

Mike2016-06-12 18:13:53
You're not the only one - and in fact, I'm even more excited knowing Powell played an active role here! This series simply wouldn't be the same without him.© 2001-2018 OST 
Jason Bourne soundtrack - John Powell - David Buckley 2016