Produced, Programmed & Arranged by John Powell Executive Album Producer for Varese Sarabande: Robert Townson Executives in Charge of Music for Universal Pictures: Kathy Nelson & Harry Garfield Executive Album Producer: Julianne Jordan Music Editor & Loop Creation: Bunny Andrews Orchestra Conducted by Pete Anthony Orchestral Contractor: Sandy DeCrescent Score Recorded at The Newman Stage at Fox, Paramount Stage M & Oh Dear Studios Score Recorded & Mixed by Alan Meyerson Recordist for Paramount: Paul Wertheimer Recordist for Fox: John Rodd ProTools Scoring Operator: TJ Lindgren Orchestrated by Bruce Fowler & Suzette Moriarty Music Preparation: Julian Bratolyubov Score Performed by The Hollywood Studio Symphony Concert Master: Endre Granat
F.O. Guitars by John Powell, Joel Richard & George Doering Live Percussion by Mike Fisher Piano by TJ Lindgren Vocals by Lionel Cole, Edward Cole, Leroi Holmes Jnr. & Cameron Stone Additional Music, Arranging & Programming by McKee Smith & Joel J. Richard Assistants to John Powell: Daniel Lerner & Joel "Starfabric" Richard Score Mixed at Signet Sound Studios Assistant Mix Engineer: Tom Hardisty Score Album Edited & Compiled by Dan Lerner Score Album Mastered by Patricia Sullivan-Fourstar at Bernie Grundman Mastering
John Powell wishes to thank Doug Liman, Frank Marshall, Saar Klein, Julianne Jordan, Alison Shearmur, Kathy Nelson, Harry Garfield, Tiffany Jones, Burt Berman, Laura Engel, Vasi Vangelos, Richard Kraft, & Bunny Andrews
Special thanks to Melinda & Oliver
Release date : 06/11/2002
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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.
And the second half of The Apartment is mother of Hans' Time from Inception xD
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!
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.
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.
Oh really? Interesting. Even if it were temping, I still love the scores to all three.
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!
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.
Agree with Edmund Meinerts on this, the 2nd & 3rd are much better. Especially the 2nd, it's more structured imo.