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@Bob<br><br>Thank you for the enlightment, I will consider opening my wrists for misconduct in the next few days, thank you very much... :o<br><br><br><br>Ok seriously though, you guys should know that if there's one guy that could not care less about awards... it's Hans... :)I am really enjoying his season of the Crown.a big balfe influence in this season with hints of Churchil and Genius I think. Really excellent music/ it's me@ds "Ramin is also doing a lot of projects but is far, far behind in terms of styles and creativity."<br> <br>I think the same for Jablonsky, Zanelli, XL, Jackman and Mancina.@macejko<br><br>"All the time he acts like the hottest shit in town, refusing to score basically everything they offer him"<br><br>You said in another comment that you never read an interview with Powell, so not reason you take that kind of conclusion of your character.<br><br>"The man hides in a cave, doesn't evolve at all and for some mysterious reason he is still revered like a second coming of Jesus Christ."<br>Powell is a clearly talented composer. He suffered criticism at the beginning of his career by sounding like Zimmer, but soon showed substance. And much more than that created an identifiable style, which today is reference to other scores of modern animations (which may be good or bad to depend on of the point of view).<br>Today he is an established composer and it is common for these composers to move away for a few years or even close their careers without many explanations for the public. In recent years we watched the estrangement of Silvestri, Horner, Williams and in the past we saw Faltemeyer, Bill Conti and Brad Fiedel drop their careers when they were at the top of the game.<br><br>" Say anything you will about Lorne Balfe, but at least he is working his ass off and slowly getting better and better"<br><br>As they said in another comment, you're compared to newbies and veterans. Balfe's having the opportunity of his life now. Take it or leave it. There's no choice. Powell, as well as Zimmer others, on the other hand, is a "senior member" of the club. He can afford to go away for a few years to resolve comprehensible personal problems without affecting the hard work he has developed in the last 20 years. Will Balfe continue to be so creative in 10 or 15 years?<br><br>@ds<br><br>"<br>Powell has nothing to prove, he has already mastered all genres"<br><br>That's funny, but it's fair. Powell Is a good composer. Not the best, far from it. Your style really narrows your work down, but we can say that from all the composers out there. So it's not a problem.The problem is he wants to limit his work to animations and fantasy.because he abhors gratuitous violence.<br><br>@george<br><br>". Although, I hate to say it, we could say the same for Zimmer in my opinion"<br><br>Zimmer's at the end of his career. All the other composers when they arrived at 60 years (with the exception of JNH, Goldsmith and Morricone) reduced the amount of projects per year and went on to choose their work best. It's a natural way.Over the years, it tends to get worse with one exception here and there. Don't keep expectations like he's in his prime<br><br>"he has "nothing more to prove", he is creatively dead."<br><br><br>Powell will work with a little more frequently in the coming years (or not) that only depends on his ambitions. However, frankly, he's never going to do three again. 4.5. 6 projects in a year. It takes a lot of motivation for that.<br><br><br><br><br><br><br><br><br><br>
Just listened to the whole thing, kind of a let down. Nothing interessting except for some action moments. Donít even recall hearing some sort of theme. Overall it was like listening to Cars 4: Spanish World Cup.I have already listened to The Jumanji Overture and I must say it sounds really great. Let's see how the rest of the score sounds.Tracklist with track duration:<br>01. The Jumanji Overture (03:20)<br>02. Digging Up The Past (01:43)<br>03. Brantfort High (01:09)<br>04. Into The Jungle (01:23)<br>05. Out of Character (02:31)<br>06. The Legend of the Jewel (02:23)<br>07. The Adventure Begins (01:40)<br>08. Special Abilities (01:16)<br>09. The Bikers (03:44)<br>10. Van Pelt (01:00)<br>11. A Test Of Friendship (01:22)<br>12. The Bazaar (01:16)<br>13. Snake Charmer (03:41)<br>14. The Power of Bravestone (01:04)<br>15. Seaplane McDonough (02:17)<br>16. The Missing Piece (01:46)<br>17. Lost In Time (01:18)<br>18. Flirting With Danger (01:36)<br>19. Albino Rhinos (03:44)<br>20. Retrieving the Emerald (01:54)<br>21. Out of Lives (01:49)<br>22. First Kiss (01:22)<br>23. The Jaguars (03:03)<br>24. Ring of Fire (02:07)<br>25. Begin The Climb (01:56)<br>26. Call Out Its Name (02:23)<br>27. leaving Jumanji (03:03)<br>28. An Older Friend (02:40)<br>29. Back To School (01:53)@ds the same for desplat's victory with Budapest Hotel.Maybe. I'd sure be happy for you lot ;) And I'd definitely rather see Powell attached to a project than, say, RGW, Junkie or Desplat. <br><br>That Solo movie is going to be a disaster, though.
One more thing: if indeed the reason for Powell's semi-hiatus was to be with his family as much as possible, we may well see his activity increase again in coming years now that his wife has passed away and his son is close to graduating high school (I couldn't find an exact date of birth for him but I think he's 16 or 17). Him taking on a project as big and ambitious as Star Wars isn't exactly the sign of someone who wants to take it easy. It's too early to say yet though.hans should win the oscar for best sound effects and not for the best music/score. just as a statement.And it's also unfair to use Balfe to criticize Powell. He started working on American projects in 2005 with Batman Begins, and only after 2010 did he receive individual projects. Is it accurate to compare someone who entered the party at the last minute with two others who are in it for 20 (Powell) and 30 (Zimmer)?<br><br>I'm in a hurry and I put everything into a translator. Forgive the many mistakes.<br> <br><br><br>Composers do not need to worry about the attention, acceptance of the public of the same or the same intensity as pop music artists do. There's no need to do that. Occasionally some name draws attention to the public and causes many people to be in the genre, Williams and Zimmer are the main examples that I can bring the table. However it is not because Williams or Zimmer are extremely popular and perhaps worry about the material they are offering to the public who adores them that all the composers of the world need to do equal. Most of these men and women even enxeega as "celebrity". They are more like artisans or the rest of the crew of a film that occupies with the lights, effects and costumes and that will never have the same response from the public as the main actor. And they don't even expect it. So I think it's foolish to wait for Powell to occupy himself in 2,3 movies a year to please a fanbase.<br><br>I'll agree with you when it says it's deplorable to see CPR composers who talk so much about building a single voice and giving emerging talent the opportunity to use so many additional composers (many of them with a possible promise that in the future they will work with Zimmer and thus have the opportunity to show his face in Hollywood.The sense is almost always these.You start with a secondary composer, he arrives at Zimmer and gains some kind of notoriety). But Powell is not the only one who does this. So he should not be the only one criticized.Well...it's a film score. It has no obligation to provide a pleasant or enjoyable listening experience, and for an award like this that doesn't really come into consideration. So if it works in the film, it did its job and that's all that matters.<br><br>For me personally, as someone who cares about music first and films second, a score like Dunkirk has little value. A few years ago I probably would have been pretty mad about this score winning awards and acclaim (you should have seen how salty I got when The Social Network beat out HTTYD), but these days... *shrug*. I know what I like, Dunkirk isn't it, and that's fine. It wasn't written for me. Do I wish Hans still wrote the kind of music I like? Of course. But he gets to make his own choices as an artist, just as I get to choose what to listen to as a fan.
The score is already on itunes.This score... so many mixed emotions. Does it work for the film? Heck yeah. Does it improve the film? So much so. Did Hans do what he set out to do? Totally. Is it an award winning masterpiece? Um, not so fast.<br><br>Dunkirk, while super effective within the context of the film (I wouldnít change a thing about it), I must admit, it doesnít have nearly the same effect as a stand-alone listen. Itís literally the same textures and notes over and over again, just slightly rising and falling in pitch and tempo. Does that make it ďawardĒ worthy? Iím not sure. If based solely on the film, you betcha. If based purely on the music itself, I donít think so. Thatís where Interstellar succeeds so far and away over Dunkirk. As a pure listening experience, Interstellar is interesting, multi-layered and emotional. Whereas Dunkirk is just flat, void of any sort of feeling or ďactualĒ music (again, works IN the film). Itís glorified sound FX (save for the end, which, no doubt, is in large part to Ben).<br><br>Hmm... Iíve never had a score tear me apart more than this one. I both love it and hate it. Maybe it did itís job... lol.<br><br>Excuse me while I go listen to No Time for Caution yet again.I think most of us agree that he should've won for Interstellar but I think Dunkirk deserves it too. The work Hans and the music department did on this movie is just incredible. Must've been a lot of hard work. <br>An award is an award, Hans' 2nd Oscar is long overdue so I'd be glad to see him win. But it would be weird to see him win for THAT score, after all the greatnesses of the past 20 years. Same thing with Morricone who won his only Oscar for his very light and insignificant work on Hateful Eight. Good for the man, good for the fans, but doesn't really make sense. But have Oscars ever made sense? :-phaha hybrid :D made my day
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John PowellJames McKee SmithJohn Ashton ThomasGermaine Franco
ComposerAdditional MusicAdditional MusicMusic Production Coordinator
The Bourne Ultimatum
Label: Decca Records
Length: 55'00 (Score: 50'38)
HZimmer.com rating:        4/5
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 (8452 votes)
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  1. Six Weeks Ago (4:31)
  2. Tangiers (7:40)
  3. Thinking Of Marie (3:51)
  4. Assets And Targets (7:18)
  5. Faces Without Names (3:31)
  6. Waterloo (10:38)
  7. Coming Home (3:19)
  8. Man Verses Man (5:46)
  9. Jason Is Reborn (4:04)
  10. Extreme Ways (Bourne's Ultimatum) - Moby (4:22)
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Michael Poleschuck reply Replies: 0 || 2017-02-14 10:27:52
Yes, right here Gavin Greenaway is conducted!

Mikhail Poleschuck reply Replies: 0 || 2016-10-30 09:22:51
MUSICIANS:

Violins:
PERRY MONTAGUE-MASON (Leader)
JIM McLEOD
WARREN ZIELINSKI
PAUL WILLEY
BOGUSLAW KOSTECKI
JONATHAN EVANS-JONES
EMILYN SINGLETON
SONIA SLANY
PATRICK KIERNAN
CHRIS CLAD
DAVE WOOD-COCK
DEBBIE WIDDUP
JULIAN LEAPER
CATHY THOMPSON
MARK BERROW
JONATHAN REES
EVERTON NELSON
RITA MANNING
TOM PIGOTT-SMITH
LIZ EDWARDS
PETE HANSON
MANON DEROME
STEVE MORRIS
MACIEJ RAKOWSKI
DERMOT CREHAN
NATALIE BONNER
GABY LESTER
ROSE WARREN-GREEN

Violas:
PETER LALE
DON MCVAY
BRUCE WHITE
GUSTAV CLARKSON
RACHEL BOLT
IVO VAN DER WERFF
KATE MUSKER
GEORGE ROBERTSON
ANDY PARKER
NICK BARR
KATIE WILKINSON
GARFIELD JACKSON
JON THORNE
MORGAN GOFF
CHRIS PITSILDIES

Cellos:
ANTHONY PLEETH
PAUL KEGG
DAVE DANIELS
ROBIN FIRMAN
MARTIN LOVEDAY
CATHY GILES
CAROLINE DALE
BEN CHAPPELL
JONATHAN WILLIAMS
TONY HINNIGAN
FRANK SCHAEFFER
NICK COOPER
TONY LEWIS
CHRIS WORSEY
CAROLINE DEARNLEY

Basses:
CHRIS LAURENCE
STEVE MAIR
MARY SCULLY
STEVE McMANUS
PATRICK LANNIGAN
STACEY WATTON
LEON BOSCH
MARKUS VAN HORN
ALLEN WALLEY

Piano/Celeste:
SIMON CHAMBERLAIN

Piano:
DAVE HARTLEY

Bassoon:
RICHARD SKINNER

Horns:
MIKE THOMPSON
NIGEL BLACK
MARTIN OWEN
RICHARD BERRY
PHILIP EASTOP
SIMON RAYNER
CARSTEN WILLIAMS
PAUL GARDHAM
NEIL SHEWAN
JIM RATTIGAN
JONATHAN DURRANT (Tenor Horn)

Trombones:
PETER DAVIES
ROGER HARVEY
SIMON GUNTON

Bass Trombones:
RICHARD EDWARDS
KEITH McNICHOL

Contrabass Trombones:
DAVE STEWART
ROGER ARGENTE

Tubas:
OWEN SLADE
NICK HITCHENS
LEE TSARMARKLIS

Percussion:
LUIS JARDIM
PAUL CLARVIS
FRANK RICOTTI

Ethnic Woodwinds:
JAN HENDRICKSE

Bass Guitar, Electric Guitar, Dulcimer And Synthesizers:
JOHN POWELL

Brent reply Replies: 4 || 2016-04-21 07:10:13
Um, so here's an interesting little tidbit of news: the new trailer for Jason Bourne says both John Powell and David Buckly is handling music. You think John is back in full for this or that he's on for more of an advisory position?

Very interesting indeed...


Frank2016-04-21 07:25:25
I guess they will use Powell's music for the original trilogy and Buckley will do some adaptation and arrangement with it. Or Powell wrote a new theme and Buckley is responsible for everything else.


...2016-04-21 14:30:44
I'm so happy about this! Powells return to the action genre! Is something I've been hoping for!


Mike2016-04-22 03:06:45
Hybrid, did Powell actually return, or is this just a temp / adaption job?


:-)2016-04-22 07:33:03
John Powell and David Buckley composed the Score for Jason Bourne!

aldan reply Replies: 2 || 2016-02-14 08:34:51
Imdb just listed Thomas Carlson on the new Bourne movie. He is kind of frequent editor for Powell's score, including the recent Pan.

Any idea that Powell will return? I guess he will, he needs the money.


Brent2016-02-14 18:57:36
I highly doubt Powell "needs the money." As much as I want him to return, I really don't think it will happen. I think the most we'll get from him is as musical consultant, music producer or just "themes by." Most of it will be temp tracked anyways. Although, I am more than willing to be surprised. ;)


meta2016-02-14 19:15:52
if powell doesnt return, thats fine.

As long as they keep and expand the Bourne themes...

... reply Replies: 2 || 2015-08-26 21:05:44
Hybrid, is there any chance that powell will return for the new bourne movie? I'm guessing Greengrass wants someone from RCP but with his reputation...

I hope powell will end up doing it even though I guess it's unlikely.


Hybrid Soldier2015-08-26 22:55:03
I have no idea but I wouldn't count on that...


Good luck to whoever ends up scoring it... It could just end up with temp from the trilogy... that worked well in Bourne 3... lol


Mike2015-08-27 15:03:46
"That worked well in Bourne 3..."

Yeah, after realizing the full extent of Greengrass' temping in that one, I feel confident we'll hear plenty of Powell music anyways. :P

Mike reply Replies: 2 || 2015-08-12 23:35:48
Like I said on the Supremacy page, I was having a Bourne marathon this week, and I took note of all the tracked sequences in this film. I hadn't really realized it until now, but wow. A solid 50%, maybe even 60%, of this score as heard in the film is the Supremacy score tracked in to replace what Powell wrote (with Identity's "Treadstone Assassins" playing as Bourne and Nicky leave Daniels' apartment). Even in the Tangiers cue, the movie uses the Berlin Foot Chase recording rather than the new one.

Assets and Targets, Coming Home, and Jason is Reborn are only partly used, with tracked music filling the remainder. Six Weeks Ago isn't used at all.

It still makes me sad to see him gone from the series, but no wonder Powell isn't returning. Why be hired to write a new score if the director will just ditch most of it for old material? Heck, if Greengrass stays true to form, we may find Bourne 5 full of temp tracks from movies 2 and 3.


Edmund Meinerts2015-08-13 12:14:04
Like I said, early indications of what eventually culminated in the Captain Phillips fiasco. Greengrass makes Ridley Scott look like Steven Spielberg in terms of composer-friendliness. That Powell was able to get such interesting scores written for his movies regardless is an enormous testament to his talent. At least we have the as-written Ultimatum score to enjoy!


Mike2015-08-13 17:02:26
It makes me wonder how the Supremacy score turned out so well, and what it was in the Supremacy score that Greengrass preferred to Ultimatum.

isildur reply Replies: 8 || 2015-04-24 02:42:04
Is he going to return for the next one as Matt Damon and Paul Greengrass are coming together again?


Hybrid Soldier2015-04-24 08:27:17
He already said he won't. Then who knows...


Edmund Meinerts2015-04-24 10:40:52
Pigs will fly and the ocean turn bright pink before John Powell and Paul Greengrass work together on a movie again, I think.


Hybrid Soldier2015-04-24 11:44:45
After Captain Phillips, I doubt at RCP would open Greengrass the door... lol


isildur2015-04-24 11:56:20
Edmund, I like the last part "I think". ;)


Magnus Rex2015-04-25 04:38:47
Why is that, Hybrid?


Edmund Meinerts2015-04-25 10:25:02
In short, the Captain Phillips debacle.


Mark2015-04-26 04:20:19
What Captain Phillips debacle are you referring too?


Lambegue2015-04-26 06:40:38
The writing of the score was very complicated, Greengrass asked for most of the tracks to be re-written several time. A lot of RCP composers worked on this one in order to "save" it, including Zimmer. It was an unpleasant experience for everybody... (plus the final score is according to me very dull, but that's a subjective statement). If you want to have more details, look on the score's page on this site :)

Mike reply Replies: 0 || 2014-10-24 00:18:35
Will somebody clarify something for me? Are "Six Weeks Ago", the beginning couple minutes of "Tangiers", "Coming Home", and "Jason Is Reborn" even used in the movie? I watched the movie recently and don't remember hearing them (and the first couple minutes of Tangiers were replaced with "The Drop" from Supremacy, if I recall...).

Yuself reply Replies: 1 || 2014-07-29 21:14:08
Love that end credits cue so much :D


Mike2014-07-31 16:12:27
Same. I'm unable to get tired of it. The part around 1:17 is just....awesome.

Anonymous reply Replies: 0 || 2013-12-19 20:20:32
Anybody got the who-did-what for this score? :D

A Stressed Dude reply Replies: 1 || 2011-01-12 00:00:00
I know this has been discussed. BUT. I've been trying to find the cue used twice in the Bourne Supremacy, and once in the Bourne Ultimatum. In the Supremacy, it plays when Bourne is in the cafe looking up info on Neski and The Hotel Breker., and also when Landy goes to confront Abbott. In the Ultimatum, it's used when Neil Daniels is leaving his apartment (and it is not "Daniels Clears Out"). Has anyone ever found this? You'd think a cue used three times in two movies would be released...and it's awesome.


Anonymous2013-12-19 20:06:57
"Hotel Brecker - No Percus". ;)

unknown reply Replies: 1 || 2010-06-11 00:00:00
this music is really great! track Tangiers is just awesome!!!! Though you don't read comments thank you very much mr. Powell!!


Evenstar2013-09-11 19:10:55
Tangiers is indeed very epic.

Anonymous reply Replies: 1 || 2013-05-29 22:07:55
Can anyone tell me what cues/tracks from the previous movies are repeated in here? I wanna make an unofficial extended version. I know "Berlin Foot Chase" from Supremacy plays during the opening and a slightly altered version of "Gathering Data" plays when we first see Noah Vosen. Also if I remember right they played part of "Alexander Plats/Abbotts Confesses" at one point.


Dawn2013-05-30 00:59:01
I think somebody else already did the very same job. Check on the internet for Bourne Ultimatum expanded score or film edit maybe...

Anonymous reply Replies: 0 || 2013-04-27 11:02:57
"Where are you right now?"
"I'm in my office."
"I doubt that."

LOL

Anonymous reply Replies: 1 || 2011-01-19 00:00:00
A Stressed Dude : "Hotel brecker" , it's on a bootleg


A Stressed Dude2011-06-01 04:22:44
An unfindable bootleg. I'm still a stressed dude.

A Stressed Dude reply Replies: 0 || 2011-01-18 00:00:00
What is it titled?

Anonymous reply Replies: 0 || 2011-01-12 00:00:00
A Stresses Dude , this track exists - 'have it

fabien reply Replies: 0 || 2010-10-21 00:00:00
probably the score (the expanded) from John powell in the action style. Can't be bored of listening it!!!

Levente reply Replies: 0 || 2010-10-15 00:00:00
@Mr Tweedy
As long as it contains new mateirals I don't care if it is out of order. :)

Bou reply Replies: 0 || 2010-10-15 00:00:00
Mr Tweedy : a great thanks at replacing the cues in order , it will help me for the covers I will create for the score:)

Mr Tweedy reply Replies: 0 || 2010-10-14 00:00:00
Very very wrong tracklist !

First, "Meetings" has the wrong name and wrong place. There's no music during the meeting at the beginning of the movie. The cue's used later in the movie when Bourne arrives in NY. On Ascap, the cue is called "Your Party is Waiting" and should be placed between Morgue and Contact Marie. Contact Marie is a wrong name too, as Marie's dead, the real name of the cue (based on Ascap) is simply "Contact".

"Bonus Cue" isn't a bonus, but is the cue for the final sequence, called on album "Jason is Reborn" and on Ascap "Bourne Adrift". It's up to you to decide which one's best ! :D

"B and E" is in fact the end credits music, and if it was originally meant to be used during the movie, it could have hardly been placed before Car Chase because it doesn't sync with anything there... And then should be considered as the "Bonus Cue".

Then we have this :

1. Six Weeks Ago (4:31)
2. Waterloo Part I (9:38)
3. Waterloo Part II (5:33)
4. Ross Terminated (3:03)
5. Daniels Clear Out (1:49)
6. Unsafe House (12:25)
7. Assets and Targets (7:58)
8. Bike Chase (3:34)
9. Rooftop Chase (4:16)
10. Apartment - Cat and Mouse (2:30)
11. Faces (3:40)
12. Morgue (3:01)
13. Your Party is Coming (2:15)
14. Contact (6:20)
15. Car Chase (2:32)
16. Coming Home (3:19)
17. Remembering (3:49)
18. Corners of My Mind (4:27)
19. Jason is Reborn (3:10)
20. End Credits (Bonus Cue) (3:05)

Levente reply Replies: 0 || 2010-10-13 00:00:00
This is a true expanded score. Everything we heard in the movie is here in these tracks. Sadly also from the previous scores.

1. Six Weeks Ago (4:31)
2. Meetings (2:15)
3. Waterloo Part I (9:38)
4. Waterloo Part II (5:33)
5. Ross Terminated (3:03)
6. Daniels Clear Out (1:49)
7. Unsafe House (12:25)
8. Assets and Targets (7:58)
9. Bike Chase (3:34)
10. Rooftop Chase (4:16)
11. Apartment - Cat and Mouse (2:30)
12. Faces (3:40)
13. Morgue (3:01)
14. Contact Marie (6:20)
15. B and E (3:05)
16. Car Chase (2:32)
17. Coming Home (3:19)
18. Remembering (3:49)
19. Corners of My Mind (4:27)
20. Bonus Cue (3:10)

RuthlessGravity reply Replies: 0 || 2010-10-13 00:00:00
A recent release of a expanded score shares many unreleased or unheard of cues from the film itself. Even Waterloo Parts I & II are different from 'Waterloo' on the original soundtrack.

Heres the expanded score track listings:

1. Six Weeks Ago (4:31)
2. Meetings (2:15)
3. Waterloo Part I (9:38)
4. Waterloo Part II (5:33)
5. Ross Terminated (3:03)
6. Daniels Clear Out (1:49)
7. Unsafe House (12:25)
8. Assets and Targets (7:58)
9. Bike Chase (3:34)
10. Rooftop Chase (4:16)
11. Apartment - Cat and Mouse (2:30)
12. Faces (3:40)
13. Morgue (3:01)
14. Contact Marie (6:20)
15. B and E (3:05)
16. Car Chase (2:32)
17. Coming Home (3:19)
18. Remembering (3:49)
19. Corners of My Mind (4:27)
20. Bonus Cue (3:10)

EDEN reply Replies: 0 || 2009-08-08 00:00:00
Great Score!!!

Ravi Krishna reply Replies: 0 || 2009-08-08 00:00:00
Great score indeed. I consider all three Bourne scores to be among the finest modern action scores.

yahya reply Replies: 0 || 2009-03-13 00:00:00
tanks for this songs i ve been lking for it for a long time

Falconet From Italy reply Replies: 0 || 2008-11-16 00:00:00
Luis Jardim: musician: percussion

Anonymous reply Replies: 0 || 2008-10-05 00:00:00
great

Ruthlessgravity reply Replies: 0 || 2008-05-10 00:00:00
You think they will release expanded soundtracks for these films? In the movies, I heard different music most of the time until the cue for the ones on these soundtracks appear.

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The Bourne Ultimatum soundtrack - John Powell 2007