Hey guys!
I have been reading some of the issues highlighted in this release (super interesting by the way, especially the higher pitched Got Any ID that fades into Extreme Ways) and I might disagree about the Bourne On Land - Alternate Version being a demo from the Supremacy score.
I think John Powell had this melody in mind already when working on the Bourne Identity. When listening to Love Scene - Alternate version, you can hear that :
the notes played by the guitar are Supremacy’s theme (Goa);
it is mixed with the humming voice we can hear in Marie drives/Bourne sleeps (Tumescent edition) or The Drive To Paris (Regular edition);
and the strings/ambient sounds we can hear at 01:23 are very similar to the lower pitched ones in Hotel Regina at 0:37 and 1:10, as well as in The Bourne Identity (regular edition) at 4:01;
the same atmospheric bass from the normal Love Scene/At The Hairdresser(Regular edition) we can hear from the start of the song is also there.
Finally, Bourne on Land - With Bassoon has a very similar piano to the Alternate Version.
For some, this might be a bit of a stretch but these are a few things I noticed while listening. So maybe these two alternate versions of Bourne On Land and Love Scene were made for Bourne Identity but because of their melody being so different from the rest of the pieces, they were put aside and used later as a base for Supremacy. Explaining why they are there, and I expect John Powell to at least listen to his stuff before green lighting it.
In regards to Got Any ID, Powell mentioned on Instagram that most of these songs were made before dubbing the film. Maybe, Extreme Ways was selected much later in the process and they realized that by increasing the pitch and putting the songs together with a fade, this was the most epic way of closing the movie.
Just my two cents! I am a huge fan of the Bourne Trilogy (Identity being my favorite for its revolutionary score, almost (Luc)Besson-esque feeling with steadier sequences, Marie, and the epic conclusion with Extreme Ways).
Honestly, this thread has been awesome to read through, you guys are experts! As mentioned in an earlier post, this is indeed a niche community and reading inputs of fellow fans is quite an experience.
Greetings from France!
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John Powell - THE BOURNE IDENTITY (2002) - 2022 Varese Sarabande expanded edition
Hey guys! I have been reading some of the issues highlighted in this release (super interesting by the way, especially the higher pitched Got Any ID that fades into Extreme Ways) and I might disagree about the Bourne On Land - Alternate Version being a demo from the Supremacy score. I think John Powell had this melody in mind already when working on the Bourne Identity. When listening to Love Scene - Alternate version, you can hear that : the notes played by the guitar are Supremacy’s theme (Goa); it is mixed with the humming voice we can hear in Marie drives/Bourne sleeps (Tumescent edition) or The Drive To Paris (Regular edition); and the strings/ambient sounds we can hear at 01:23 are very similar to the lower pitched ones in Hotel Regina at 0:37 and 1:10, as well as in The Bourne Identity (regular edition) at 4:01; the same atmospheric bass from the normal Love Scene/At The Hairdresser(Regular edition) we can hear from the start of the song is also there. Finally, Bourne on Land - With Bassoon has a very similar piano to the Alternate Version. For some, this might be a bit of a stretch but these are a few things I noticed while listening. So maybe these two alternate versions of Bourne On Land and Love Scene were made for Bourne Identity but because of their melody being so different from the rest of the pieces, they were put aside and used later as a base for Supremacy. Explaining why they are there, and I expect John Powell to at least listen to his stuff before green lighting it. In regards to Got Any ID, Powell mentioned on Instagram that most of these songs were made before dubbing the film. Maybe, Extreme Ways was selected much later in the process and they realized that by increasing the pitch and putting the songs together with a fade, this was the most epic way of closing the movie. Just my two cents! I am a huge fan of the Bourne Trilogy (Identity being my favorite for its revolutionary score, almost (Luc)Besson-esque feeling with steadier sequences, Marie, and the epic conclusion with Extreme Ways). Honestly, this thread has been awesome to read through, you guys are experts! As mentioned in an earlier post, this is indeed a niche community and reading inputs of fellow fans is quite an experience. Greetings from France!