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@Murdock yeah did you see my other comment about Bond 25 Pretiles sequence?
@mattjoes =))
Yes I did, It would be perfect. :))
Glad to know it only took you about 20/30 minutes to understand that Bond films have their own theme songs, instead of having more hallucinations that I was talking about the Bond theme.
@Murdock ;)
Would the score of Skyfall really had been any better had it featured an instrumantal version of Adele's song? Am I the only one who finds this obsession of yours a bit weird?
Does he always respond?
@mattjoes usually to jake 24 yeah he does don't know what's taking him so long
Given you use the Oscar nomination card every time Newman is attacked, I'll let you know that Adele actually won an Oscar for her SF theme song, which means, based on your own argument, it is a fact that Newman's compositions for SF are the worst thing about the soundtrack because he only managed an Oscar nomination for it, while Adele's work actually won your precious Oscar you keep mentioning.
And by the way, you seem to have serious hallucination issues, because once again you are imagining things. I never said SF's soundtrack would be better with instrumental version of Adele's theme, but that it would make it a better Bond score. Which obviously you'd agree with, since it would mean more Oscar winning material in SF's soundtrack, instead of merely Oscar nominated material.
During Barry's time (and even some of Arnold's), the composer wrote the title track and cooperated with the artist. Somewhere around AVTAK/TLD Barry started complaining about the artists not cooperating and being divas. There were creative differences with both Duran Duran and A-ha. Some of this was also due to the changes in the industry I believe (with record companies/artists having influence etc.).
Correct me if I'm wrong, but my understanding is that these days the composer doesn't write the track. It's done independently. That can impact things.
I also believe there could be some rights and royalty elements between various production studios when it comes to using the title track. I don't think YKMN is even on the CR soundtrack album for example.
Additionally, there is the tight turnaround post-production. Barry could handle it as an experienced old-hand, but I can imagine someone who has other composing commitments could have more difficulty.
If we want to go back to the days of having the track seamlessly interwoven into the soundtrack then they should allow the composer to write and compose the track imho.
Not only for CR but Arnold weaved no good about goodbye all throughout the quantum soundtrack too. He seems to like making the title song, while newmann doesnt seem to be able to.
There weren't many 'romantic' moments in SF where Adele's slow track could be used (in contrast with TLD where they were many). I liked 'Severine' and am glad Newman used that for her scenes instead.
In the case of SP I didn't miss its use because I personally detested WOTW with a vengeance.
Still, I'd love to see it incorporated going forward if they can do it. That's something Bond films were renown for in the past. I've stated before that the 'soundtrack' is one area where they have failed since Barry's retirement from Bond, and I stand by that assessment. None of the newbies (including the so called 'successor') have come close imho.
Neat, I'll listen for that next time I watch it. Oh, and I don't think Madonna's theme is used in Arnold's score either. Or did it pop up during the ice palace bit? It's been awhile since I last watched Die Another Day
You clearly haven't read my comment about the Oscars on page 991. :)) And frankly, I find the idea that there is a difference between a "great score" and a "great Bond score" pretty dumb.
What's actually dumb is your way of arguing in an incredibly narrow state of thought regarding certain things. There is frankly no point trying to have an argument with you when you hold certain views like I've seen over the recent months in this thread. You seem blatantly unable to comprehend that when you make a film that's part of a pre-existing franchise like James Bond, you not only aim to make a great ''film" but a "great Bond film". Because, it frankly does not matter if Bond 25 were to be a cinematic masterpiece made by Nolan (like you wish as director) if the film doesn't remotely ressemble a Bond film. You can't make a Bond film in the same style/genre as 'Interstellar' or 'Jurassic Park' and slap the Bond brand on it, because on their own they are brilliant films but as Bond films they would be worthless junk because Bond shouldn't be fighting dinosaurs or travelling through worm holes. Similarly, you can't just ask Bob Marley to make the score for a Bond film in the same style he's world famous for, because even if he were to write the greatest reggae album in history, it would still totally out of place if it was an actual Bond soundtrack.
I think they can be incorporated into the scores, just probably not as romantic themes. I have a half-completed arrangement of DAD in attempted John Barry style. I just tried my hand at it to see what I could come up with, and it wound up sounding like a funeral dirge. I can see it being appropriate for at least one scene in the film. (I may upload it when it's finished.) The DAD song may not be suitable to be the "main theme" of a score, but it can be integrated into it in another capacity.
As you may remember, the theme of The Living Daylights was incorporated into the score not as a love theme, but as an action and suspense one, with Barry using If There Was a Man for the romantic scenes. So there's always a way.
I agree that there's always a way. I just don't think it should be a necessity to do it if the track doesn't 'readily' lend itself to that type of use. Why go through all kinds of effort to squeeze a square peg into a round hole, so to speak? When Barry wrote his title tracks he always ensured they had a distinct melodic & hummable hook to them, thereby lending themselves to incorporation into a composition. Lots of highs and lows. I can understand a composer (who by his/her nature is a creative type) not wanting to manipulate someone else's work which he/she didn't write.
Yes, I agree on TLD. However both A-ha's main track and The Pretender's Where Has Everybody Gone were reasonably fast paced, lending themselves to action scenes.
Not frequently used, but there. Also, "Another Way to Die" uses an element of the "On Her Majesty's Secret Service" title theme. It's not so out of left field and non-Bond.
Breaking news, since you still don't perfectly understand (but we are getting there): I do not have a 'rigid' formula for what constitutes a 'great Bond film' - I've long advocated that EON should give way more free-space than they currently do to directors they hire providing the current Bond actor's tenure doesn't have extreme tonal shifts between each outing that turns the tenure into a giant mess. But the point is you can not completely throw out the Bond formula to the point the film becomes unrecognizable as a Bond film. Which like it or not is also true for the soundtracks. You can not sign a reggae, heavy metal or rap artist/band to write the theme song and/or the OST for a Bond film because even if were to be a classic/masterpiece album in its respective genre, it deserves to go straight in the garbage can and be forgotten forever if it were marketed as an actual Bond soundtrack. There is countless ways to make Bond films and soundtracks for them without resorting to come up with something that would be impossible to guess is part of the franchise.
And I'm guessing you believe it would be impossible to guess the score of Skyfall is part of the franchise...
You're just putting words in his mouth, and you're not even doing it subtly.
We are going in the opposite direction again, since your hallucinations are happening again. Not once have I said SF's score is impossible to guess as part of the franchise. Maybe the problem is your English comprehension skills are having some black outs occurring tonight, because I said SF's score can't be described as a 'great' Bond score, which does not mean in any way that it is not recognizable as a Bond score. As for your first paragraph, if you think I need the Bond theme during every action scene, or gadgets every 5 minutes or a tuxedo during the entire film, you must have turned on your simple minded thinking process again, as absolutely none of the 24 existing Bond films even remotely fit the description you made there. Which begs to wonder why you use untrue generalizations about Bond films that I assumed, until now, were more common from people who aren't Bond fans arguing that Bond films are the same thing over and over again.
And by the by, one of my favorite Bond films is QOS, which doesn't feature Q, Moneypenny, the 'Bond, James Bond' line, meaning it is even less close to the Bond formula than SF, the very same formula you think I am very rigid about.
I wouldn't be averse to Newman returning (seeing as he's worked with Demange), but I just hope he doesn't recycle this time.