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All those people who complain that Hans isn't sticking to more traditional scores forget that at heart, hes a synth man who loves his synthesizers and keyboards. Hans is just as much as a musical artist as Bowie or Paul Mccartney, in the sense that he goes through musical trends and his style adapts or changes. That's just the way it is, enjoy it for what it is. <br><br>Crucify me for comparing a human to David Bowie!Wow! Stephen Barton worked on a lot of the important cues here, huh?I'm with Edmund in that I'd love for Hans to win more Oscars, but not this score. I feel like even Blade Runner 2049 is more deserving of an award than this. Sure, it works great in the film, but that shouldn't be reason enough for an Oscar. I feel like Desplat's nominated score is more deserving than this one. <br><br>"But this one has a unique sound and recording!"<br><br>Okay... a lot of scores have that. A lot of Zimmer's work has that. Doesn't make them all masterpieces.<br><br>"But we have to spite those evil reviewers who hate this score!"<br><br>Why do you let their opinion get in the way of your enjoyment? If you love it enough, the critics' opinions should only make you enjoy it more because you see something in it they don't. <br><br>I agree with George in that Hans needs to go back to a melodic sound. I don't think whether this score wins or not will change Hans' mind on that, but I do want his next Oscar winner to mean something other than, "Oh cool! I won this award because I made weird sounds!" (Which by the way, involves things like programming and a lot of other technical adjustments that have nothing to do with Hans' composing ability)."The thing that I'm proudest about Dunkirk is you can't separate it from the film."<br>- Hans Zimmer, GQI understand, but it does not make sense.<br>You're arguing that the score for a movie released in January this year was produced before of the score of a movie that went to theaters in July. If Balfe started working on "12 strong" a year before the movie release, the same can be said of Dunkirk. It is easy to infer that the Dunkirk's score has been working since the middle of 2016! Or even before, because of the tours that Zimmer has done.<br>The music/sound design, even being simple, was not made and recorded between January and May of last year.
Olive  that is when it was announced !!! Not when he did itBalfe's hiring came out in May, when Dunkirk's production was already at the end. No contest.<br><br><br>filmmusicreporter.  com/ <br> 2017/05/24/lorne-balfe-to-score-horse-soldiers/Hans finished the bulk of the score before he went on tour, you could find an interview where he himself says so. <br>Ben worked solely on Variation 15. <br>Scroll down on this page and you'll find the full cuesheet with the credits. <br>Edmund - how do you think Zimmer wrote Dunkirk when he was on a world tour !!!Congratulations to Ben, Lorne also .Edmund - the release dates do not matter . Check out Balfe’s Facebook page and you will see he was recording 12 Strong early last year .
I've only heard the suite Hybrid made. The only similarity I was aware of is the siren-like sound. <br><br>People don't realize how difficult scoring Dunkirk was. Just because you love Interstellar (I do too - it's my favorite HZ score) but that doesn't mean Dunkirk doesn't deserve to win. <br>Edmund, in all honesty what are the similarities between 12 Strong and Dunkirk? I know both scores and fail to see how they connect.Doesn't deserve an Oscar. Hans Zimmer is my favorite composer but if he didn't win for Interstellar, he shouldn't win for this. <br><br>I can seriously say that I object this score winning based on that principle. This winning over Interstellar just isn't right.Well, the credits say that Supermarine or the oil are pure Zimmer, and also the 3 first track I think. So Balfe helped him to develop some ideas during his tour but the majority of the score is Hans' work.<br>And it does deserve an Oscar. I never heard a score like that.. If you have a problem with the score I think it comes from the script. A classical melodical music wouldn t work for this film i think.Source? I find that hard to believe considering the release dates. Even if it is true, Balfe might have been concurrently working on Dunkirk and brought over some of the ideas. I find it spectacularly improbably that he and Hans just HAPPENED to come up with the same ideas at the same time.
Edmund - gets you facts right please . 12 Strong was written before DunkirkHere's an interesting opinion: I want Hans to win this one so that he DOESN'T continue making music like this. Sure its functional, but if he could reinvent the melodic score again and get back to writing memorable melodies I'd be pretty happy. He won for Lion King and then essentially abandoned that tone of music which transitioned into the Crimson Tide/The Rock sound... so maybe, just maybe, if he wins this year he'll completely reinvent his sound again and give us something both melodically memorable but also be a total game changer in terms of modern scores.I hope it doesn't win if for no other reason than so we don't have to go through 5 years of Dunkirk temp tracks (although if 12 Strong is anything to go by, too late).@Ahmad i only need "The Oil (Film Version)" :D Then i'll be happy :D*That was a thumbs up but it didn't work :D<br><br>^This how I feel lol.
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Composer - Musician : GuitarAdditional Music - Musician : Guitar
John PowellJames McKee SmithJoel J. RichardBruce Fowler
ComposerAdditional MusicAdditional MusicOrchestrator
The Bourne Identity
Label: Varese Sarabande
Length: 55'01
HZimmer.com rating:        3/5
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 (4198 votes)
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  1. Main Titles (4:17)
  2. Bourne Gets Well (1:20)
  3. Treadstone Assassins (2:09)
  4. At The Bank (4:07)
  5. Bourne On Land (1:42)
  6. Escape From Embassy (3:12)
  7. The Drive To Paris (1:29)
  8. The Apartment (3:25)
  9. At The Hairdressers (1:29)
  10. Hotel Regina (2:11)
  11. The Investigation (1:34)
  12. Taxi Ride (3:43)
  13. At The Farmhouse (2:54)
  14. Jason Phones It In (3:04)
  15. On Bridge Number 9 (3:41)
  16. Jason's Theme (2:20)
  17. Mood Build (3:34)
  18. The Bourne Identity (6:00)
  19. Drum And Bass Remix (2:15)
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El Baradei reply Replies: 2 || 2013-09-11 18:39:40
If you listen to Escape from Embassy: this cue was used for many other movies:
Harry Gregson-Williams used it for Man on Fire and Wolverine;
Vangelis for Alexander;
Alberto Iglesias for The Constant Gardener.


Eddard Stark2016-11-08 22:42:17
And the second half of The Apartment is mother of Hans' Time from Inception xD


Frank2016-11-08 22:52:38
No, they're both the heir of Journey to the Line

Adriaan reply Replies: 7 || 2007-09-23 00:00:00
Hey.. no comments? This is the best Bourne Score!
Too bad the music piece under when he faces Wombosi and his child isnt uncluded...!
But a part from that, this is by far the best Score!


Mike2012-12-04 00:27:53
A great score indeed. Too bad the second and third films were so heavily temp tracked. And shame Powell didn't return for no. 4.


Anonymous2012-12-04 05:30:18
There's a detailed explanation on a John Powell fansite that explains that it wasn't temping per se, but a remix by Powell of old cues than cannot be emulated using the already available versions.


Mike2012-12-04 08:24:50
Oh really? Interesting. Even if it were temping, I still love the scores to all three.


Edmund Meinerts2012-12-04 17:31:05
Other than the unfortunate blip on JNH's career also known as The Bourne Legacy (so...boring...), I'd actually say that this is the worst Bourne score. The blend between orchestra, percussion and electronics is a lot more accomplished in Supremacy and Ultimatum, and the action cues have much better structure. Identity does, as Peter down there said, feel more like a box of demo ideas rather than a complete score. The best track is the Main Titles, and that cue was done better in "The Drop" from Supremacy.

As for the temping issue, well, I do have a complete version of Ultimatum that contains no temping and is almost two hours long, probably representing what Powell originally wrote for the film before the temp cues were inserted. So I wouldn't lay the blame at his feet!


Mike2012-12-04 18:00:35
Interesting again. And yes, this score did have a sort of "awkward" sound with all the different styles meshing together. Though I disagree about the Main Titles vs. The Drop. Not exactly sure why, but I like Main Titles better.


Ds2012-12-04 20:48:04
Agree with Edmund Meinerts on this, the 2nd & 3rd are much better. Especially the 2nd, it's more structured imo.


Mikel SiW (a fan from Spain)2012-12-05 12:43:57
I love this Musical Trilogy !

Ruthlessgravity reply Replies: 0 || 2008-12-13 00:00:00
Yeah, obviously the Bourne soundtracks have plenty of missing cues. Sadly there is yet to see a bootleg of expanded score or even a release of the retail version of a complete score.

There was an expanded score of this one but it was fake and it had to much loud SFX to even be called an expanded score.

Peter reply Replies: 0 || 2008-07-09 00:00:00
The best bourne score is The bourne ultimatum-masterpiece-and this one...well..i'm calling this cd ' box with ideas'-some of themes who will help powell in the future build two great action-scores

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The Bourne Identity soundtrack - John Powell 2002