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Comments
It doesn't have to be 'blaring' all the time, but at least some recognisable melody.
The scene where Bond drives the boat out of the collapsing building at the end would have been raised up several notches by a blaring rendition of the Bond theme at this point.
I don't know how true this is but I read somewhere else that composers are reluctant to use the Bond theme so frequently any more because the royalties go to Monty. Not sure how true this is. You would think the composer would negotiate a fixed amount for writing the score and then after discussions with EON and the director they would tell him 'we really must have the Bond theme in this scene.'
Does anyone know how Monty's payments world work? Does he get a flat fee for every film that features the Bond film or does he get more if it is used more often? Therefore it could be penny pinching by EON to give him the bare minimum by not using it much?
This could incidentally explain why Newman copies and pastes so much from SF - repeat royalties.
Anyone out there an expert on film music remuneration who can shed light on all this?
i am no expert...
but in terms of royalties - typically - to use a song, it's one flat fee.... i am not sure how it's worked out between EON and Monty, but i have to assume he gets some $$ when they use the Bond theme... but i highly doubt the lack of it being used is due to penny pinching on EON's part..... i mean, according to the wikipedia article, between 1976-1999 he only made £485,000 off of royalties..... i feel like it's more a creative decision between the composer and director..
if Newman copy and pasted so much from SF, i doubt it's because of royalties - because he would share in (or own) the intellectual property of the music, since he created the score - (just what he created, ie: not the Bond theme used during "breadcrumbs" for instance).
It works astonishingly good in most sequences.
Especially the PTS is an audio-visual masterpiece.
I actually now see similarities in SP and GE's score. The biggest difference is that GE's score is unique, while SP's score of course is a re-work from SF's score.
In Skyfall, the score is boring as hell, but then so is the movie in various places.
With SP this kind of music works much better, or maybe Newman got a better feel of SP than of SF.
But even if I have learned to appreciate Newman's score for SP, I hope Bond 25 will see someone new like Alexandre Desplat.
Someone who likes melodic scores that don't feel metallic and cold.
I also agree on the SP score - it's really not bad and suits the tone of the film quite well. It's not a very exuberant film in my view - more low key in relation to SF, which was more charismatic, colour wise and performance wise (with OTT Bardem chewing scenery). I found Newman went even more 'mellow' with SP than he did SF (if that's possible) and somehow, for me at least, it works.
21,000 pounds a year for "doing nothing"? Yes please
I agree with this, I think he did a fantastic job on M:I. And he proved he's adept at weaving in well known theme music - I thought the M:I Theme and Schifrin's 'The Plot' were well used - so I think he would interpolate the JB theme better than Newman.