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This film is ignoring Tony Gilroy’s failed attempt at spinning the franchise off. The following two films built on that success and John was able to add some additional motifs to the film and craft some of the best modern action scoring in recent memory. The genius of the simplicity, and Powell’s more complex electronic textures actually gave Bourne his identity (sorry for that pun). The shortened timeframe and need for a propulsive action score resulted in a highly electronic approach with what is seemingly a simple melodic theme. John came in late in the game to replace Carter Burwell on the first project. ![]() A big part of the whole experience was the music by John Powell. Smooth tracking shots were kicked out and handheld was in! The result, a purely energetic and thrilling (if sometimes dizzying) exercise in practical action filmmaking. Doug Liman’s first entry was more of a refined and focused conspiracy thriller, but when Paul Greengrass took over it evolved into a highly kinetic "cat and mouse" espionage extravaganza. Hell, even Quantum Of Solace was compared to being “Bourne-like”. ![]() ![]() The original Bourne trilogy ushered in a genre-defining action espionage thriller that eventually infused itself into the way we approach action filmmaking. When you think of spy movies you have the obvious ones (James Bond), the modern ones ( Mission Impossible) and of course the revisionist ones ( Jason Bourne).
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