But...

Bourne has gone off the grid -- no CDs in stock. Any of them.

quote:

---

Originally posted by gkgyver:
Not very interested in Powell doing Powell doing Remote Control.

After all, the man wrote X-Men 3, he can't have lost it.

---

What?

Also, why post at all if there are people here you can't tolerate a response from? If that were my opinion, I'd simply leave; thankfully it isn't. IMO, you should just face the music and reply to people when they comment/ask questions about your posts.

You may have already picked up on that ...

... I'm going to ignore your sarcasm.

quote:

---

Originally posted by gkgyver:
According to reviews, Bourne 3 is very similar to Bourne 2, which was very similar to Bourne 1 ...

---

quote:

---

Remote Control" (whatever that's supposed to mean)

---

That's an alternate name for Media Ventures.

And frankly, isn't that what reviews are for? That you don't buy anything you'll end up disliking?
Reviews are hardly just entertainment, you know.
What are you talking about exactly? I've heard Bourne 1 and 2 in the film and some individual CD tracks. Didn't like them. And when several reviews say the third installment doesn't feature any major departures from the first two, why bother with the third?
Do you grasp this highly complex web of mental connections?

I'm not blaming Powell for maintaining his musical ideas throughout the trilogy, I was merely expressing that I'm not interested in part three of a score trilogy when the composer apparently didn't succeed in making his primary ideas, which i didn't like, more interesting and listenable.

Nothing more, nothing less.
If someone didn't like the directing or the music or the writing of the first two Star Wars films, you couldn't blame him for ignoring part three, since neither George Lucas, nor John Williams are suddenly going to do something radically different.

Once again, you read really amazing things into my posts, and take it to a level they were never meant to be found.

So, you won't win a cigar either.

gkgyver- still waiting for a worthwhile post

You have to get over yourself: Yeah, you made an ass out of yourself with your "opinions" on Pirates 3 and "Chinese music" (LMAO!) in Memoirs Of A Geisha by telling us all you can "read" music on paper and therefor you are more clever than anyone else with a solid pair of ears and insight into a score, now move on and contribute.

Keep waiting for that high-standard in posting and writing about yourself in third person ... You know, if you can't afford the Bourne score and can only rely on reading what Filmtracks has to say about it, than I'm willing to rip the best parts for you and send it over AIM (just holler at me, I'm pretty generous with this stuff).

It's not an opinion about the score! Read my lips:

DO - NOT - LIKE - THE - BOURNE - SOUND

What's your point? I've heard the music in the film and didn't like it too much, what the hell is the gain from listening to it without the films? Film music is supposed to marry with images.

Where the holy hell do you get the nerves to go around calling people retards for no obvious reason? It's profoundly ironic that this behaviour itself is retarded.

gkgyver- having the word "blithering idiot" on his mind

PS: Peter apparently posted before me. The statements above obviously concern sean, not him.

quote:

---

Originally posted by gkgyver:

It's not an opinion about the score! Read my lips:

DO - NOT - LIKE - THE - BOURNE - SOUND

---

I can understand that. I wasn't a huge fan of the first score. There were a fue cues I liked, but for the most part nothing really stood out to me. Now the second score is a different story. I felt that everywhere that the first score went wrong, the second one fixed. The third score is basically just a solid action version of the second score... if that made sense. I haven't seen the movie yet so I don't want to keep listening to the score so that I know every cue and then be expecting it in the movie.

quote:

---

Originally posted by gkgyver:
Actually, the choral piece in the final scene of Bourne 2 was rather affecting. But aside from that, I remember nothing, except being impressively unimpressed.

---

Was there a choral piece in the end of Bourne 2? I remember there being a cue in the first movie which didn't make it onto the soundtrack, it was towards the end of the movie where there was a flashback or something. It was a very soft and sad piece which if I remember right was somewhat like Face/Off...

This is why it actually helps to have the score in front of you: There's no choir in Bourne Supremacy. Maybe you have the wrong movie in mind. John Powell does have his son sing something in the end credits of United 93 ... Same director, same composer, I can see where the mistake was made. It isn't shocking that you "remember nothing" than. So, I thought like most people here you'd be more interested in how a score sounds outside the film; yeah, it's supposed to serve a movie, but hell it better stand out on it's own and it better be mixed loud (if only all sound editors agreed to that) and standout ... The Bourne trilogy all have pieces, entire releases actually, that are great standalones outside of their films. Is this like when you wouldn't accept the gracious invitation of nuts_score and I to listen to and own Bear McCreary's excellent Battlestar Galactica music 'cause you'd seen a few episodes and thought that the percussion was "too modern" (total B.S.) and wanted a full symphony orchestra for each broadcast ... WOW ... You remind me of that stupid question someone who doesn't listen to scores always asks of someone who does, "So, do you like imagine the scene in the movie while you listen to that music?"

Clayton, you're spot on about the Bourne scores and their progression. "Tangiers," though, the best track on Ultimatum, is slightly altered in the film, a lot of the strings are removed when the percussion kicks up a storm making it lose a bit of drive, but overall Powell does a kick ass job.

quote:

---

Originally posted by sean:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by gkgyver:
[b]Clayton, you're spot on about the Bourne scores and their progression. "Tangiers," though, the best track on Ultimatum, is slightly altered in the film, a lot of the strings are removed when the percussion kicks up a storm making it lose a bit of drive, but overall Powell does a kick ass job.

They did that with the second film. The Car Chase track (I believe it's called Bim Bam Smash) had more percussion in the film than on the CD.

Clayton

NP>Tears of the Sun

[Message edited by sean on 08-21-2007]

---

quote:

---

Originally posted by franz_conrad:

Actually, I was watching a bit of BATTLESTAR GALACTICA, and I thought the music really was a bit average. Every New Age music cliche I could think of... world music instruments, faux Enya vocals, faux Gerard vocals, Mike Oldfield style piano sequences... I could practically smell the burning incense in the scoring stage!

---

What episode? Enya and Lisa Gerrard are terrible. I think any one of the vocal techniques used on Galactica is so much better than anything they've done. I'm guessing you don't watch a lot of sci-fi, because the scoring of that show is truly effective and different, much more so than any of the Star Trek spin-offs and even beats out most of what's done on Stargate, as good as Goldsmith's music is; it sure makes it's mark, and like it or not, no other show lets it's score take the forefront like BSG does, and that's ALWAYS a good thing.

quote:

---

Originally posted by sean:

What episode? Enya and Lisa Gerrard are terrible. I think any one of the vocal techniques used on Galactica is so much better than anything they've done.

---

Then I would suggest your feelings for the show make it seem better than it really is, because it looks, sounds and smells like...

This particular episode had the humans figuring out that Cylons could appear in human form.

quote:

---

I'm guessing you don't watch a lot of sci-fi, because the scoring of that show is truly effective and different, much more so than any of the Star Trek spin-offs and even beats out most of what's done on Stargate, as good as Goldsmith's music is; it sure makes it's mark, and like it or not, no other show lets it's score take the forefront like BSG does, and that's ALWAYS a good thing.
[/B]

---

The music certainly is in the forefront. Unfortunately, it happens to be a style of music based on some ideas that I've become very sick on through overuse in film scoring. The other thing is that it didn't really seem to fit some scenes terribly well either, which of course only made it stand out more.

quote:

---

Originally posted by sean:
So, I take it you were watching the Mini-Series then, because that's the first time that it becomes apparent Cylons have taken human form. That score is mainly by Richard Gibbs and although it sets up some of the musical soundscape for the series, it certainly isn't the finest example. In fact, I'll agree with you totally about the Richard Gibbs contribution to BSG, it does remind me of Enya and Gerrard a whole lot, and although some memorable themes are established by Gibbs, Bear McCreary deviates from the sound pretty quickly into season one, abandoning (thankfully) the orchestral/fakestra themes that are used in the first few episodes: Synth orchestra sounds like crap if you don't know what you're doing (hello 24).

Michael, I'd suggest to you that you actually watch the show whole way through (it's only 4 seasons) before suggesting that it's dramatic content is subpar: It's a hell of a lot better than anything else on television at the moment. Your lumping of television scoring down to 30 second pieces is a bit harsh: Galactica alone has many lengthy pieces throughout the show (not forgetting Joel Goldsmith's incredible work on Stargate SG-1/Atlantis, too), in fact many of the entire opening tease segments (everything before the main titles appear) are often given their own composition with a 5 to 10 minute piece of music. Not to mention, music aside, Galactica still boasts one of the single best action sequences in years during last season's "Exodus" 2-parter (I know at least Dinko can vouch for me there) that beats out ANYTHING from any recent motion picture where action is concerned. Also, go grab the Stargate Atlantis CD while you're at it to shatter your "20 seconds here, 58 seconds there, who'd want a CD of it?" MYTH.

---

quote:

---

Originally posted by sean:
Michael, I'd suggest to you that you actually watch the show whole way through (it's only 4 seasons) before suggesting that it's dramatic content is subpar: It's a hell of a lot better than anything else on television at the moment.

---

I didn't say anything about its dramatic content. The ideas seem to be interesting, if a little bluntly plotted in the way that TV often is (e.g. two ideas and three character beats before the next ad break). The production values set it apart from most of its predecessors - the interiors feel a lot more real than other shows set in ships/subs/space stations. I was once really into this sort of stuff, and five years ago, probably would have loved it. It all feels a bit pantomimish now, no matter how much handheld camera and subversive themes are thrown into the mix. It may be the best thing on TV to someone who likes this sort of stuff, but for me the best thing on TV is probably either a re-run of IRON CHEF or a DVD of a film made long before the present.

quote:

---

Your lumping of television scoring down to 30 second pieces is a bit harsh: Galactica alone has many lengthy pieces throughout the show (not forgetting Joel Goldsmith's incredible work on Stargate SG-1/Atlantis, too), in fact many of the entire opening tease segments (everything before the main titles appear) are often given their own composition with a 5 to 10 minute piece of music.

---

Well, I was talking more about STAR TREK: DS9, SLIDERS and SEAQUEST there. I was trying to say that I didn't find the rest of music for sci-fi TV any great shakes either. I did notice there were some more extended cues in BSG - including one piece of music for a sex scene that I'd say jumped out in front of, rather than supported, the scene.

quote:

---

Originally posted by sean:
It's far different than Star Trek or Stargate, it's better in my opinion.

---

quote:

---

Originally posted by Stargate:

Ahem... I'm an avid fan of BSG... but let's not go there

---

Why not? lol ... A lot of Star Trek hasn't aged well, from the Original Series to the first few seasons of Next Generation. Stargate is pretty good, but Atlantis is hit or miss and same goes for SG-1. I like them and am excited about them, but they do not deliver on the same regular and creative basis that Galactica does, there's just no comparison.

quote:

---

Originally posted by sean:
Why not? lol ... A lot of Star Trek hasn't aged well, from the Original Series to the first few seasons of Next Generation. Stargate is pretty good, but Atlantis is hit or miss and same goes for SG-1. I like them and am excited about them, but they do not deliver on the same regular and creative basis that Galactica does, there's just no comparison.

---

quote:

---

Originally posted by Stargate:
Anywho... wasn't this a thread about The Bourne Ultimatum?

---

Yeah, except that pompous windbag, gkgyver, decided he should slam scores based on other people's reviews and not articulate any of his arguments to anyone's satisfaction. He's an obstacle of minor importance, a chink in the chain.

Not as far as I'm concerned it doesn't. No need to attack.

And as far as being uninformed about something, where do you get off attacking other posters? I seem to remember you giving your uninformed opinions recently in another thread around here about Michael Giacchino and his Lost soundtrack work.