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How? Why couldn't it just be his honest opinion? I don't find it hard to believe he might think that about her, so he might as well say so - without any ulterior motives. I thought it was a simple compliment. What makes you think it's bs and he's being insincere? (That's basically what you're saying.)
Agreed. The SF score is noticeably poor. The only other score l can say that about is GE, which is the worst Bomd score by far.
With SP you simply don't notice it.
As for the way silence is used during the Spectre meeting scene, I can't say I'm the biggest fan of this particular scene, but really I think that's more a matter of how the scene was filmed to begin with. Compare the way the sound and editing work to build tension during the Spectre meeting scene in Thunderball to the way the sound and editing are used in the Spectre meeting scene in Spectre. There's just no comparing the two. This may just be me, or maybe it's due to the way the tropes have been overplayed in Austin Powers and everywhere else (there's even a Rosa Klebb/Frau Farbissina type in there), but I find Spectre's scene (Waltz's whisperings included) to have an almost comedic effect.
As for the train fight, I agree silence was a good choice. The fight certainly follows in the footsteps of Bond vs. Grant, vs. Odd Job, vs. the Rock's grandfather, vs. Tee Hee, vs. Jaws on the train, vs. Xenia in the spa, vs. Trevelyn. They absolutely made the correct decision there, but it wasn't particularly groundbreaking. And actually, as I was paying close attention to the way sound is used, why does the danger music begin when they enter the last compartment of the train? Because the creative team wants to signal in advance that this is where we're supposed to scoot to the edge of our seats? (To quote Bond himself from later in the film, "This is where we're supposed to be impressed.") Wouldn't a better place to initiate the danger music be when Hinx slides open the outer door, actually introducing a new element of danger to the fight? I understand this is being pretty analytical of me, but then, I did approach this viewing with an analytical ear toward how sound is being used, and there appears to be no real creative or narrative logic as to why the music begins where it does.
What did really stand out to me during this viewing is just how much music was lifted from Skyfall throughout the first half of the film in particular. Apart from “Los Muertos Vivos Estan” and “Donna Lucia” we don’t get any really original Spectre score until Madeleine shows up. (Incidentally, the 8-note theme Newman wrote for Madeleine, which shows up during the L’Americain scene and in a few other places, is the one part of the score that I really like.)
Don't get me wrong here—apart from Newman's score being bland as bland can be—I'm on no crusade against the sound design of Spectre; I just find nothing exceptional about it. Particularly in comparison with how sound is used throughout the rest of the series. Still, I'd be interested in reading a detailed breakdown of sound design in Spectre from your point-of-view (or anyone else's) to see where others are coming from. We all view these films differently and form our own opinions.
@some_kind_of_hero I don't think the board room scene was supposed to be played deadly serious. It had a slight quirkiness to it not unlike the way Waltz acts
You may well be right that they were going for something quirkier with the meeting scene and intended the drawn out silence and Blofeld's whisperings to have the comedic effect I picked up on. If that's really what they were going for, then I think they could have pushed that a bit further.
POST OF THE WEEK.
Not sure Adele was that keen on sharing composing credits with Newman, which just left him to integrate her music into his score. I do think a bigger man would have embraced the challenge, but you can se where Newman is coming from in refusing to incorporate the theme. In the end one of his team arranged the small snippet of theme in the casino arrival sequence. The big man himself was 'too busy'.
Hans Zimmer by contrast is famous for being a keen collaborator. He would have jumped at the chance.
Just to point out, Arnold also wrote The World Is Not Enough and incorporated that theme into the score. Similarly, Surrender was originally intended to be TND's title song and that theme appears throughout the score. I also read he had come up with a theme for DAD's song before being told Madonna was doing it independently, and as Arnold's post-QOS "No Good About Goodbye" with Bassey features a theme that was used heavily in the film, I'll bet that's what his title song would have sounded like had duties not gone to White and Keys.
Never listened to the interstellar soundtrack?
Both Thomas Newman and David Arnold do it. But Newman does it in a considerably measured and nuanced way. He lets the electronic sound become part of the emotions in the movie. David Arnold's electronic sound in DAD was in comparison really tiresome to listen at. Just a lot of noise to over-enhance already unoriginal soulless action sequences.
If people really want a true instrumental sound? A sound that's really reminiscent of -let's say- John Barry or Jerry Goldsmith? Then people really should listen to the score of "The Man From UNCLE". This instrumental is truly amazing, has a rich melody, and uses traditional Hungarian instruments like the cimbalom and at some occasions the forgotten sound of xylophones. It even has a slight "The Persuaders" vibe to it:
Or this one, with some nice clavesimbel arrangements, an "OHMSS"-tuned bass guitar and a lovely German flute to enhance the 'spy sound':
So therefore I would love to see Daniel Pemberton doing the Bond #25 score. Remember, after "The Man From UNCLE" Pemberton is a hot-sought item. He recently did the score for "Steve Jobs". And perhaps I am exaggerating a bit, but I really think we have found the new John Barry:
Also Abel Korzeniowski would be good, his Penny Dreadful score is lush, atmospheric, emotional and melodic.
Newman needs to be given the boot, I didn't mind Skyfall but SPECTRE was recycled monotony.
I'm not against Arnold returning his QOS score was his best yet and I'd hope he would approach it with something to prove once again having been away from the job for over 8 years or so now but new blood would be a more exciting prospect.
Pemberton even can bring 'fun' and a totally feel-good vibe to his scores. This one puts a smile on your face :-). It even reminds me a bit of Jean-Michel Jarre. The way he builds it...is just truly magnificent. I doubt David Arnold can compose stuff like this:
You know how much I love the UNLCE soundtrack and especially his work for The Game.
Still, my favourite remains Alexandre Desplat.
It's almost as exciting to see who will do the next score as to who will play Bond.
Have you heard the score for "Steve Jobs"?
Hasn't this been discussed to death?
In TND Arnold wove Surrender pretty much everywhere in the score; the producers decided at the very last minute to use Crow's song at the beginning of the movie.
In TWINE the song is quoted several times (e.g. Come in 007, your te is up; Show me the money; Christmas in Turkey)
DAD's melody fitted only the party scene, so that's the only time the theme is woven into the score (but it was)
YKMN was heavily featured in CR.
QoS includes Another Way To Die in at least 4 tracks (Time to get out; Greene and Camille; Pursuit at Port au Prince and Field Trip).
Enough with Arnold's bashing.
I think clear melodies always 'overpower' a bit, as opposed to more 'sound' and emotional tracks without clear melodies. I do think this was the very essence that made John Barry so big.
Still, indeed, Pemberton is a relatively new and young composer. Thus resulting in perhaps overpowering some scenes. Yet, in "Steve Jobs" I found him top-notch.
Who would you prefer then @BondJames? Thomas Newman or Daniel Pemberton?