John Traunwieser
Assistant Music Mixer
Mary Scully
Musician
Frank Ricotti
Musician
Anthony Willis
Additional Arrangements
John Ashton Thomas
Orchestrator
David Buckley
Composer
Abhay Manusmare
Music Scoring Assistant
Luis Jardim
Musician
John Powell
Composer
Gavin Greenaway
Conductor
Luke Richards
Additional Arrangements
FILM CREDITS
Music by John Powell & David Buckley
Supervising Music Editor: Peter Myles
Music Editors: Tom Carlson, Sally Boldt & Ramiro Belgardt
Additional Music & Arrangements by Batu Sener
Additional Arrangements & Programming by Luke Richards
Additional Midi Programming by Anthony Willis
Sound Design: Michael White
Supervising Orchestrator: John Ashton Thomas
Orchestrations by Geoff Lawson & Tommy Laurence
Score Recorded by Nick Wollage & Rupert Coulson
Additional Recording by Andrew Dudman
Score Mixed by Shawn Murphy
Assistant Mix Engineer: John Traunwieser
Music Preparation: JoAnn Kane Music Services
Librarian: Dakota Music
Digital Score Recordists: Paul Pritchard, George Oulton, Adam Miller & Erik Swanson
Digital Score Editor: David Channing
Orchestra Conducted by Gavin Greenaway
Orchestra Leader: Emlyn Singleton
Orchestra Contractor: Isobel Griffiths
Assistant Orchestra Contractor: Lucy Whalley
Score Recorded at Abbey Road Studios, London, UK & Rak Studios, London, UK
Score Mixed at 5 Cat Studios, Los Angeles, CA
Score Production Assistants: Ed McCormack, Sydney Harrison, Logan Stahley & Abhay Manusmare
ALBUM ASSEMBLY
I Remember Everything : 1m01 I Remember Everything
Backdoor Breach : 1m03 Backdoor Breach (Edited)
Converging In Athens : 2m08 Converging In Athens (Edited)
Motorcycle Chase : 2m09 v46 Teams Close In (Edited) + 2m10 v26 Athens Motorcycle Chase (Edited)
A Key To The Past : 2m13 Nick's Fate
Berlin : 3m16 To Dassault (Edited)
Decrypted : 3m17 wINSERT Decrypted (Edited)
Flat Assault : 3m18 ALT Dassault Assault
Paddington Plaza : 4m19B Paddington Plaza (Edited)
White Van Plan : 4m21 Bourne Meets Lee
Los Vegas : 5m22 Vegas Arrival
Following The Target : 5m23 A Plan Afoot + 5m24 Uncomfortable Meeting (Edited)
Strip Chase : 5m28 You Have A Choice + 5m29A Strip Chase Pt 1 (Edited) + 5m29B wINSERT Strip Chase Pt 2 (Edited)
An Interesting Proposal : 1m04 Lee Finds The Link (Edited) + 6m31 An Interesting Proposal (Edited)
Let Me Think About It : 6m32 Let Me Think About It (Edited)
John Powell
1m02 Bare Knuckle (0:50)
John Powell, David Buckley
1m03 Backdoor Breach (4:07)
John Powell, David Buckley
1m04 Lee Finds The Link (1:41)
John Powell, Luke Richards
1m05 Lee’s Pitch (1:22)
John Powell, David Buckley
1m06 Account Closed (0:36)
John Powell, David Buckley
2m07 Guilt On A Quilt (0:29)
John Powell, David Buckley
2m08 Converging In Athens (4:19)
John Powell, Batu Sener
2m09 v46 Teams Close In (6:06)
John Powell, David Buckley
2m10 v26 Athens Motorcycle Chase (1:40)
John Powell, David Buckley
2m11 v8 Motorcycle, Fire, Mob (2:03)
John Powell, Batu Sener
2m12 v10 In The Path Of A Bullet (2:32)
John Powell, David Buckley, Luke Richards
2m13 Nick’s Fate (2:37)
John Powell, Batu Sener
3m15 The Locker (2:38)
John Powell, Batu Sener, Anthony Willis
3m16 To Dassault (2:18)
John Powell, Batu Sener
3m17 wINSERT Decrypted (6:00)
John Powell, David Buckley
3m18 Dassault Assault (4:23)
John Powell, David Buckley
3m18 ALT Dassault Assault (Alternate) (2:40)
John Powell, David Buckley
4m18X I Can Bring Him Back In (2:03)
John Powell, David Buckley
4m19A Train Of Thought (1:25)
John Powell, David Buckley, Luke Richards
4m19B Paddington Plaza (7:32)
John Powell, David Buckley, Batu Sener
4m20 Answers From Smith (4:43)
John Powell, David Buckley
4m21 Bourne Meets Lee (2:49)
John Powell, David Buckley
5m22 Vegas Arrival (3:49)
John Powell, David Buckley, Luke Richards
5m23 A Plan Afoot (2:50)
John Powell, David Buckley
5m24 Uncomfortable Meeting (2:51)
John Powell, Batu Sener
5m25 The Conference Begins (2:03)
John Powell, David Buckley
5m26 wINSERT Killer Speech (5:31)
John Powell, David Buckley
5m27 It All Ends Tonight (2:37)
John Powell, David Buckley
5m28 You Have A Choice (1:03)
John Powell
5m29A Strip Chase Pt 1 (3:25)
John Powell, David Buckley
5m29A INSERT Strip Chase Pt 1 (Insert) (0:31)
John Powell, David Buckley
5m29B wINSERT Strip Chase Pt 2 (2:42)
John Powell, David Buckley
5m30A Prelude To A Fight (0:57)
John Powell, David Buckley
5m30B Choke Hold (1:32)
John Powell, David Buckley
5m30C Bourne Walks Away (0:43)
John Powell, David Buckley
6m31 An Interesting Proposal (1:48)
John Powell, David Buckley, Luke Richards
6m32 Let Me Think About It (2:25)
John Powell, Batu Sener, Anthony Willis
Music by John Powell & David Buckley
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
John Powell
02 – Backdoor Breach (3:50)
John Powell, David Buckley
03 – Converging In Athens (4:13)
John Powell, Batu Sener
04 – Motorcycle Chase (6:53)
John Powell, Batu Sener
05 – A Key To The Past (2:37)
John Powell, Batu Sener
06 – Berlin (2:02)
John Powell, Batu Sener
07 – Decrypted (5:34)
John Powell, David Buckley
08 – Flat Assault (2:39)
John Powell, David Buckley
09 – 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)


Why you haven't update about David Buckley with Angel Has Fallen score yet?
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."
Seeing the film today. Holding off any definitive judgements until then.
Interesting. Still wish we could hear Powell's score, as written, in the film.
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.
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.
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 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.
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 ;)
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