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Last heard in Moonraker, it's something that longtime fans have often wished for.
Could it find a place in Bond 26? Is it suitable for a modern Bond film, or has this beloved piece of music passed its prime?
I would love that, but I think just having the bond theme laced through out score again like in the 80's and 90's would be epic enough for me. It'd been so long since we had an exciting new rendition.
I thought he looked more like Rob Beckett!
I’d really like to see it return.
I'd prefer to hear it return, yes. ;-)
Honestly, I think Arnold could have made that tune work.
Same here. I'm sure there is a way to create a very contemporary version of it. They had some great variations of it in TB.
I don't think there's any sign she's involved with the writing of Indy. I think they wrote it so quick and with some pretty skilful people that it perhaps didn't have/need that long in development, but I can't pretend to have any inside line on that.
Rich Douglas did this back in 2008.
007 - Downhill Assault (Full Mix)
https://sndup.net/gt8g/
007 - Downhill Assault (Orchestra Only)
https://sndup.net/xhrg/
And that's why I think it's unlikely to ever pop up in the series again. It's an action cue, yes, but it's an old-fashioned style action cue. That's something that its use in Moonraker showed with that almost gentle use of it against the boat chase. To make it work in a modern score, you'd have to modernize it and while I like both of these versions that Rich Douglas did, I can see why modernizing it doesn't work for some. Not to mention that, outside of the Moonraker boast chase, it's a Connery-era exclusive.
Not to mention that, given the jeering reactions from certain corners over the use of a couple of OHMSS cues popping up in the score of NTTD, I can imagine what 007 popping up would receive these days. It's like fandom has gone from "There should be references to past films," to "There should be NO references to past films!" over the last decade or so.
I think references to specific films are what people take exception to. The 007 theme is different since it appeared in multiple films across several years and is sometimes labeled as the series' second theme. So I don't think it would be seen as blatant a callback in the same way as using cues from OHMSS was.
That said, I wish Zimmer had just expanded on the theme that was already created for Madeleine, rather than reuse “We Have All the Time in the World”. He did a good job of actually continuing both the Arnold and Newman sounds in his score. If Vesper’s theme has to appear once, why not Madeleine’s?
Perhaps. I do wonder, given that the 007 Theme hasn't appeared in so long (hence part of why we're talking about it) and it's largely vanished outside of fan discussions to the point that even the Best Of... compilation albums haven't featured it since the nineties. That said, having rewatched DAD, I did detect the echoes of it in the Iced Inc. track buried under Arnold's electronics.
I wonder what it says about how much attention I paid to SP pre-release publicity and trailers that I had to have someone point out the use of the OHMSS Theme in the later trailer before I realized that was what I was hearing. Though I would agree it would have been a nice call back for the film to make (especially since Irma Bunt was meant to be in SP at one stage) but it's another of the ideas that never got fully developed.
As for why Zimmer didn't use Newman's theme for Madeline, I have to confess that I didn't think much of Newman's theme personally. Indeed, it wasn't until someone (perhaps yourself) mentioned it on the forum that I gave the track a specific listening as potentially something stand out... and it wasn't for me. Which, to be fair, is true of how I feel about Newman's entire score for SP (which wasn't entirely his fault, given the decision by Mendes to re-use tracks from SF that weren't meant as temp tracks). Though I do wonder, with Vesper's theme appearing as fleetingly as it does, if that might have been a decision made in post in the same way that Newman tracks from SF were re-used in SP in favor of new tracks from the same composer?
Getting us back around to the discussion topic: While I'm always curious to hear what a new Bond score sounds like, hearing what Bond 26's will be like is an especially intriguing prospect. The question is do they bring back someone like Arnold with a proven Bond track record? Or Zimmer, given he's an industry darling and award winner? Or does a new Bond get a new composer?
The 007 theme, on the other hand, is basic Bond musical piece that just seems to have stopped being used for no obvious reason.
John Rocha and Jeff Sneider discuss the rumours surrounding Phoebe Waller-Bridge as the next Bond director. Discussions starts at (43:45).
I too would like to see the 007 theme return.
@Jordo007 I don't know what level of subversion means.
For me the success of the music in a film is whether the music is part of your recollection of the film. While there's some nice music in the DC series, apart from YKMN, no other title song or incidental music figure into my memories of the DC films. NTTD recalls OHMSS.
I overlooked LALD. This is one of my favorite soundtracks. I too enjoy how elements of title song are woven throughout the entire film.
Film is an exceptionally collaborative effort and if EoN likes a ballsy direction, I’m not sure if they’d care whether this vision came from a newbie or a veteran.
Also, if the next film has a leaner budget, they could save several million hiring a newbie with a great vision vs a veteran…
He’s my furry son! Better behaved than my human kids!!
Having connections to the production of the Bond films, I know that the films are NOT completely producer driven. Eon hires the production team and pretty much lets them go. Yes, they give notes but the directors and his team really set the pace and tone. Several of the directors have taken the series off the rails in the past. A newbie director is the last thing they need as they reimagine Bond.
I remember sam mendes talked a lot in interviews about how shocked he was at the level of freedom he had to make the film he wanted.
:))
I can believe that, he looks like a well behaved doggo.