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Compare that to the Williams "The Force Awakens" soundtrack I bought upon release, why because it is so bloody energetic and SW.
And that has been my beef with Craig era when it comes to music, too lackluster and the best music was actually written for the opera so a borrower from a brilliant composer [better than Barry I would say]. The music compartment does need a kick in the behind and could use some original and exciting talent.
You both are pretty much spot on here, although I consider your 'good riddance' comment a tad premature @doubleoego. Babs will move heaven and earth to get Mendes back and if he returns I'm afraid we're stuck with Newman again.
Given his name is being bandied about I'll ask the obvious question seeing as no one else seems to want to: why not John Williams? Is his fee that prohibitive? Did he once come out in an interview and say he regarded it as Barry's gig?
Given the calibre of acting talent we are hiring these days in terms of Bardem, Waltz and Fiennes why not go for probably the greatest film music composer of all time too?
It would be fantastic to see what he could come up with and I am 100% confident he would turn in something that elevated the film several notches instead of taking it down several notches a la Newman.
That would be a dream come true for me, although I do think it would be Williams' own decision to not do it that would be a clincher. I doubt he could be talked around.
The Mr. Brooks score isn't orchestral at all. In fact it's almost Nine Inch Nails sounding, but I could tell he had potential when watching the film. His Game of Thrones score is outstanding, and is very orchestral.
This is what I expect someone at EON to be doing. Doing some scanning of the up and comers and trying to see who has potential. This year, Johann Johannsson really impressed me with the Sicario score.
PS: on a related note, there is a great song at the end of Mr. Brooks as well, by The Veils entitled Vicious Traditions.
Djawadi is getting better as a composer as time goes on. I also really enjoy "Clash of the Titans" - which incidentally also is an example of him working with a title song written specifically for the film with Neil Davidge from Massive Attack.
and quite liked it, yes there is a lot of SF in it, but there are a few great tracks.
Yeah there was a couple of interesting inserts there. Aside from that, most of the other unreleased stuff is from the PTS. An extended film version of Los Muertos Vivas Estan would be great.
The biggest problem, like with SF, is that it does not have a clear motif!
The composer is clearly not interested in Bond, it's musical heritage, or coming up with a memorable soundtrack. He was offered the gig - scribbled some generic action cues - and CASHED THE CHECK.
SP is the Treat Williams of Bond scores...
The score was definitely not as memorable as the SF one in my view, and neither was the film. The two sort of went hand in hand for me. Tired.
Which is why I firmly believe we need a new composer and a new director for the next go-around, no matter what direction they decide to take us in (direct sequel, new unrelated story, or soft-reboot). A creative rebirth is definitely necessary now more than ever for Bond.
I agree, though it seems some are quite happy to persist with the Mendes/Blofeld line. I think a completely new creative team is direly needed.
Babs needs to take some ballsy creative decisions like back in '05 when she cast Dan.
=))
I enjoyed that instrumental track after the fight with Hinx too and the one as the DB5 drives away. Really top work Mr Newman.
lectured by a poster here that's old school, time to move on. Here's an essential difference With that old school stuff, you could drop the needle (old school) on almost any track a find a piece that was distinctive. Barry rarely included a forgettable track.
Not so in the post-Barry years. Too much these days sounds generic, as if it could have been lifted from a variety of films. There's some good pieces, but not much that delivers the feel of a Bond film as Barry's compositions did. In the modern era, CR is the one I like best. Best title song in years.
I agree. Unfortunately it's Vivaldi's genius.
Same goes for the Bond theme at the end and the best track on the score - the instrumental of WOTW (although I think 'genius' is a rather too extravagant way to describe Sam Smith).
Here's a novel idea - how about you write some decent music yourself Tom rather than just plagiarising?
Actually scratch that. As these are the 3 best tracks in the film we'd be properly buggered if Newman didn't go about thieving off others.
The PTS was, after the bomb goes off, 95% SF.
There was the reuse of the M theme (which I guess was ok given the context of the scene) and the MP theme which is supposed to be sort of 'cheeky' but is just annoying and naff.
During the car chase once they get onto the river there's a nice copy and paste from the SF PTS.
The Bond theme at the end is pretty much identical to the last 2 mins of SF as well I think, although as it's the Bond theme I guess it's a little hard on Newman to say it's a direct steal.
I'm sure there are more but not got the DVD yet.
Really can't argue with a word of that (apart from your use of 'most laziest' obviously).
Although D- a bit generous surely?
That's me being nice. As I enjoyed the Gunbarrel music and Los Muertos Vivos Estan.
Back lashing the very least you deserve. I would start with that then move on to hanging, drawing and quartering.
In the last week I've seen someone ranking the Hollis/Rietty FYEO over the Waltz version, but now this. 'My opinion', before the forum police chime in, but preferring Newman over Barry is tantamount to enjoying the effects of Ebola over the effects of a pint.