Score Produced by John Powell Executive in Charge of Music for Universal Pictures: Mike Knobloch Music Supervised for Universal Pictures: Rachel Levy Music Business Affairs for Universal Pictures: Tanya Perara & Kyle Staggs
Additional Music & Arrangements by Batu Sener Additional Arrangements & Programming by Luke Richards Sound Design by Michael White Composer Assistant for David Buckley: Ed McCormack Additional Midi Programming by Logan Stahley & Anthony Willis Software Instrument Design & Max Tools by John Crooks Score Production Assistants: Sydney Harrison & Abhay Manusmare Supervising Music Editor: Peter Myles Music Editors: Tom Carlson & Sally Boldt Supervising Orchestrator: John Ashton Thomas Orchestrations by Geoff Lawson & Tommy Laurence Orchestra Conducted by Gavin Greenaway Orchestra Leader: Emlyn Singleton Orchestra Contractor: Isobel Griffiths Assistant to Orchestra Contractor: Lucy Whalley
Music Preparation: Mark Graham (Joann Kane Music Services)
Librarian: Dave Hage (Dakota Music)
Score Recorded by Nick Wollage Additional Recordings by Rupert Coulson & Andrew Dudman Score Mixed by Shawn Murphy Second Mix Engineer & Additional Score Remixes by John Traunwieser ProTools Operators: Paul Pritchard, George Oulton, Adam Miller & Erik Swanson Digital Score Editor: David Channing Score Recorded at Abbey Road Studios, London / Rak Studios, London
Score Mixed at 5 Cat Studios, Los Angeles
Album Mastered by Patricia Sullivan at Bernie Grundman Mastering Production Director for Back Lot Music: Jake Voulgarides Marketing Manager for Back Lot Music: Nikki Walsh
John Powell wishes to thank Paul Greengrass, Frank Marshall, Christopher Rouse, Mike Knobloch, Doug Liman, Gavin Greenaway, John Ashton Thomas, Batu Sener, Peter Myles, Tom Carlson, Sally Boldt, Shawn Murphy, Nick Wollage, Laura Engel, Richard Kraft, Isobel Griffiths, Marisa Torbert, Nikki Walsh, Rachel Levy, Jake Voulgarides & all the musicians who played on the score
Dedicated to Melinda Lerner & Oliver Powell
David Buckley wishes to thank Paul Greengrass, Frank Marshall, Christopher Rouse, Mike Knobloch, Peter Myles, Tom Carlson, Sally Boldt, Gavin Greenaway, John Ashton Thomas, Luke Richards, Abhay Manusmare, Ed McCormack, Mark Wherry, Laura Engel, Richard Kraft, Jonathan Clark, Isobel Griffiths, Marisa Torbert, Meri Gavin, Gabriela & Oliver Buckley & all the musicians who played on the score
Release date : 07/29/2016
I Remember Everything (2:04) John Powell
Backdoor Breach (3:50) John Powell, David Buckley
Converging In Athens (4:13) John Powell, Batu Sener
Motorcycle Chase (6:53) John Powell, Batu Sener
A Key To The Past (2:37) John Powell, Batu Sener
Berlin (2:02) John Powell, Batu Sener
Decrypted (5:34) John Powell, David Buckley
Flat Assault (2:39) John Powell, David Buckley
Paddington Plaza (6:46) John Powell, Batu Sener
White Van Plan (2:49) John Powell, David Buckley
Las Vegas (3:48) John Powell, David Buckley, Luke Richards
Following The Target (3:29) John Powell, David Buckley
Strip Chase (4:59) John Powell, David Buckley
An Interesting Proposal (2:13) John Powell, Batu Sener
Let Me Think About It (2:24) John Powell, Batu Sener
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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.
Edit: not all of those were Buckley. Batu Sener contributed to quite a few of the early scenes, is looks like. :P
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.
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.
The first minute of Strip Chase is a solo Powell cue...
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???
Are those the only 2 solo Powell cues in the score, or are there a couple others?
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.
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!
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.
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).
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. :/
Ice Age was so horrible, better for JP he stayed far away... lol
Well...yeah. True. But still. :p
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?
@Edmund, it's August. We're more than half way through 2016
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.
@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...
Yep, they both get theme references in a few cues.
I so agree with Hybrid Soldier! John Powell, I respect thee. Thank you for not ruining it. Can't wait for your next one!
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."
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.
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.
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.
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.
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.
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.
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.
Interesting. Still wish we could hear Powell's score, as written, in the film.
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.
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.
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.
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...
Seeing the film today. Holding off any definitive judgements until then.
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
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.
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
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.
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?
But Powell is a pure product of RCP, so your sentence doesn't make any sense ! :P
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.
Samples on Amazon! Definitely temp-tracking was done, because the "core" of some cues is definitely Supremacy / Ultimatum stuff.
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. ;)
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.
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).
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.
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.
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.
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).
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.
I agree Mike! Never seen one where one composer's name is a larger font size than the other!
@Mike CoD: Modern Warfare 2 is an example. However that's Lorne. I honestly don't see where he's getting this impression from.
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.
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?
"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!
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
"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.
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 ;)
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.
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.
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!
No, they both worked on it.
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.