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Sorry if I sounded a bit harsh. Wasn't my intention. But Bond fandom is so much more than only pre-production news. I just wanted to point out that it's rather useless to speculate at this stage.
The only more or less confirmed news we have about Bond #25, was an official meeting between Michael G. Wilson and Guy Ritchie. But since both EON Productions/Wilson/Broccoli and Warner Brothers/Guy Ritchie are occupied for at least one more year ("Othello", "King Arthur", "Sherlock Holmes 3") I don't expect any significant news until that year has passed.
Anyway, it has never been confirmed that Michael G. Wilson had met with Ritchie. Where did you hear this?
I believe I have found proof. Guy Ritchie may be for BOND 25:
That better not happen.
He did the same thing with SF (imho) with a perfect score for that film's on screen visuals.
In SP, he recycled, and he shouldn't have. Also, his action scoring was quite weak and irritating, at least to me. Then again, I felt the entire film was tired so the score is par for the course.
As I said, not my first choice, but I don't really have a problem with him.
That's my take as well. My is for new talent.
To paraphrase his Bond, you can't come back if you've never left.
What makes you believe this? Just curious is all.
Okay, let's have a look at the 'news' we have so far:
Most recent news about director Guy Ritchie:
https://www.mi6-hq.com/news/tabloids-claim-guy-ritchie-is-on-bond-25-director-shortlist-160918
It basically confirms that Guy Ritchie was actually meeting with someone from EON Productions, Mr Michael Wilson himself. Similarly to when Christopher Nolan actually met with Barbara Broccoli in NYC during preproduction of "SPECTRE". But also similar to when Daniel Craig connected Sam Mendes with Barbara Broccoli in 2010 during pre-production of "Skyfall".
Most recent news about director Sam Mendes:
http://deadline.com/2016/11/sam-mendes-gay-talese-steven-spielberg-drop-voyeurs-motel-dreamworks-movie-dead-1201859603/
It confirms that right now Sam Mendes is pursueing other projects. After dropping out of "The Voyeurs Motel" project he said in this interview: "There is lots going on that I’m excited by and that’s one of the reasons I felt, well, there’s no point pursuing this [James Bond]. It’s had its day......[.....]....we were in a position to say we weren’t really given everything [story-wise] we felt we were being given. So we’re going to gracefully back out. I think they understand that.”"
Most recent news about other potential directors:
<<< ....NO NEWS.... >>>
Most recent news about the new movie distributor for Bond #25:
http://www.forbes.com/sites/markhughes/2016/06/10/how-james-bond-could-head-to-warner-bros-with-christopher-nolan-in-drivers-seat/#e4d16682557c
Why Warner Brothers is actually the most realistic candidate to take over the distribution rights from Sony Pictures. And make no mistake, this has to be dealt with before a realistic production schedule can be created for Bond #25. So that should actually be the most pivotal news for everyone in here, before we start gossipping about potential new Bond actors and/or Bond directors.
Most recent news about general location scouting by UK movie execs:
http://www.digitalproductionme.com/article-10603-top-us-and-uk-film-execs-visit-abu-dhabi/
You see Andrew Noakes representing EON Productions 3rd on the right. Again, this doesn't confirm anything, but fact is he's going there on payroll of EON Productions. So this could very well be early location scouting for Bond #25. Need I remind everyone that Andrew Noakes did the same thing back in early 2007 in Sienna, Italy, for the then yet untitled 22nd Bond film "Quantum Of Solace"?
So there you have it. The facts so far.
Exactly. I'm fine with him bringing back M's and Moneypenny's theme from the previous movie, and I even liked that he quoted Grand Bazaar in Backfire because that was one of my favourite tracks from Skyfall. But half of SPECTRE's score is just Skyfall themes over and over, which is a shame because there are some great new themes as well (Vauxhall Bridge, Snow Plane, Secret Room and Madeleine, for example).
Why are we complaining about that, when it was actually John Barry starting the recycling button with his own '007 theme'?
I mean, I think Bond is foremost a blockbuster franchise. It didn't irritate me one bit to finally hear some familiar leitmotifs and melodies that were used in previous Bond films.
Barry never used the same version of the 007 theme either. Each film it was used in sounded fresh and different each time. The same cannot be said about the recycled music used in Spectre which was exactly the same as heard in Skyfall.
No, Just no.
@Gustav_Graves, you must be having a laugh? The 007 theme being reused in Barry's day doesn't really make sense as a criticism for starters, considering its a pivotal piece of music that should appear at least once or twice in every film to give a particular moment Bondian flair.
Secondly, and most importantly, Barry was always switching things up, and that variety and experimentation extended to his Bond work thusly. It's why he started out simply in FRWL, carried on to massive big brass in GF, heavy booming instrumentation in TB, and by the time he hit OHMSS he was working with synthesizers. Every time it was a new musical experience, and he always sought new and interesting ways to produce sound, singe-handedly crafting all that we know of the Bond sound. This isn' t even to mention all his tracks he never replicated (as Newman has) or the double-duty he always pulled scoring the tunes for the Bond songs and all the songs featured in the films (OHMSS being a big example, where he composed 3 in addition to scoring the movie).
I won't have this talk of him being brought to the level of Newman, who frankly has footnote status on the Bond films at this point.
You must be joking :P
John Barry reused like 5 minutes of the 007 theme in subsequent movies, Newman used waaaaaay more than that.
The gunbarrel music is Skyfall's ending music (0:54)
After Bond shoots the case and the building collapse, we have Quartermaster from Skyfall (0:30)
Helicopter fight is Skyfall's PTS music (2:08)
Mother and Close shave from Skyfall are reused ( ~ 1:00)
The first minute of The Eternal City comes from Brave new World, then the last 2:30 minutes come from Skyfall (3:30)
Last third of Backfire is Skyfall's PTS music again (~ 2:00)
Tempus Fugit is another Skyfall's PTS rehash (1:28)
Blindfold comes from Skyfall's third act (1:29)
A lot of music from Careless, Detonation and Westminster Bridge is a rehash of The Moors (at least 7:00 mintes)
Do your maths, it's an awful lot of recycling.
Even worse, Barry always did a different take on the 007 theme (listen to 007 from FRWL, Underwater chase from Thunderball and Take off and flight from You Only Live Twice - they all sound different). Newman didn't bother rearrange his stuff.
Thanks @SeanCraig ;-)
By the way, did you notice that Adam McCarthy from Universal Pictures is on that picture as well? He's standing on the complete right side. He was production manager on Universal's "Fast & The Furious"-franchise, where he actively scouted for Abu Dhabi locations for "Furious 7". Perhaps......Adam and Andrew are teaming up a bit ;-)? Universal becoming the distributor of the Bond franchise?
Arnold is retired.......movie scoring-wise. It seems he doesn't give a shit anymore about movies. All he's doing now is staying in the UK scoring less-succesful BBC TV Series. I mean, look at his record. It's a big goodbye for him Hollywood-wise. He's old news.
No, I need Daniel Pemberton. He knows how to compose unforgettable melodies:
And here's a nice insightful documentary about Daniel Pemberton from 2012....before he got famous ;-):
And a documentary from late August, when he has become a Hollywood star ;-):
Is that true Arnold has stepped back from film scores? I like Arnold's love for Bond and Bond music and I like that he incorporates the Bond sound into his Bond scores but as a scorist he's not as there for me.
And yes I agree I would like to see Pemberton even he already scored Uncle.
Maybe if we do get Ritchie which I can live with I guess we might get Pemberton.