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The 2 tracks that I do like are “Matera” (which is like a lovely romantic fuse of David Arnold and Eric Serra, combined with Barry’s OHMSS of course) and “Norway Chase” (especially the early part, before the choir kicks in - great suspense there).
Yes, the use of those pieces of music seems really odd to me, the Craig-Bond series has always been presented as an "alternative Bond timeline", unconnected to past Bonds, yet as they approach the end suddenly they introduce music connected to the death of Tracy Draco over 50 years ago. A character who was never mentioned or used in the Craig-Bond saga. Some kind of musical theme connected with Vespa Lynd would have made sense, but not Tracy.
Many Directors resort to using a popular song as an quick and easy way to elicit emotion from the audience, in lieu of doing the hard work needed to achieve the same result via images and dialogue, or come up with an original piece of music written specifically for the movie. It's a practise which I consider to be pure laziness.
Here's the URL of the MP3 file, directly from the website:
https://static1.squarespace.com/static/5e33b2332a9bf131f704a5e6/t/615f493645c11557841f3165/1633634638008/No+Time+To+Die+-+Safin+(Unreleased).mp3/original/No+Time+To+Die+-+Safin+(Unreleased).mp3
Exactly right.
I assume fans would have happily accepted 'If There Was A Man' in one of the Brosnan films? Yeah right.
It has nothing to do with any Bond film except TLD. And OHMSS has even less to do with Craig's era for the reasons mentioned by @Seve
So beautiful; thanks. What is this part called?
I don’t really care about timelines per se, I’m just of a fan of the films having their own musical identity. However, that’s not really been a thing of late.
Agreed. One of my particular disappointments with Spectre (though it still has it's standouts such as Los Muertos Vivos Estan (see below), Eternal City, and Secret Room (what I take as Madeleine's real theme). I was happy for NTTD's music to feel fresh, despite being a touch underwhelming and rehashing OHMSS (didn't mind that bit actually).
Cuba Chase is still my favourite track; I live for the Bond theme in musical styles from around the world (see above)! I'll Be Right Back might be my second favourite, good climactic action Bond music that I would have thought Final Ascent should have been, and I find myself really drawn to Home as well for the emotional aspect.
And it also is on YouTube. Has been for about three weeks.
So far Matera and Norway Chase (the early part, before the choir) are my favorites.
What do you guys think are the best tracks?
The only part which I rather struggle with is Good To Have You Back with the OHMSS theme. It's not that it's bad - it's more it just takes me out of the film - the scene in question is not helped by the fact that Bond and M weren't exactly being civil to each other in their previous scene (so them being more chummy together seems to come out of nowhere).
I think this score is a definite step-up from Thomas Newman's Spectre. I never really liked Newman's take on action much but he was good at the reflective mood music stuff (plenty of that in this one also). I think Zimmer and Mazzaro walked the delicate line of keeping true to the era (Newman and Arnold), whilst also putting a bit of their own spin on it. That was no mean feat!
The standout tracks for me are Matera, Cuba Chase, Home, Poison Garden and Final Ascent. I also like elements from others - eg. the last action-packed minute of Message From An Old Friend, I really like the opening part of Norway Chase before the chanting part, and enjoy the first minute or so of The Factory (love that villainous theme which build from around 30seconds in).
I like this track as well. I associate "WHATTINW" more with the love story between Bond and Tracy, rather than Tracy's death, so for me it seemed perfectly fitting to include in NTTD.
The OHMSS theme song, even more fitting here, because that song is more linked to being On Her Majesty's Secret Service than anything to do with Tracy, and so Bond linking back up with M / MI6 seemed a perfectly fitting opportunity to use this music.
But the more I listen to it, the more I like it. Comparing it to Newman’s efforts also helped me to enjoy it more, as daft as that sounds. I don’t think his scores had anywhere near the sense of intensity, which is what a composer needs to bring for Craig’s Bond imo. I loved the Mendes movies, but the scores did give them quite a stately and old fashioned feel at times (maybe Newman was working to a brief to be fair, Mendes seemed to be going for a modern day 60s vibe), that almost stripped Craig’s Bond of his virility a bit. I think Zimmer bought that virility and intensity back in spades, and if this is what he could do on such a tight turn around, then I’d love to have him back again with more time to prepare.
I could’ve done without it too, but I don’t think they did it out of laziness or as an emotional shortcut. I think it was there to wrongfoot fans. Evoke memories of OHMSS, get us wondering if Madeline is going to die, then that gets flipped on its head by the ending. I’m not a fan of the OHMSS nods, I think the story was strong enough to work without them, but I can see why they did it. Red herring, essentially.
Thank you very much sir!
I have the soundtrack downloaded on my phone but I removed 'good to have you back' as I really don't think it belongs. It's a very short track anyway.
But the soundtrack is growing on me with each listen. Final Ascent is a beautiful piece of music.
As mentioned, it's Final Ascent, to be specific, the last part of that track, and as you can hear, it is only the strings. The other instruments must have been recorded separately. That was posted on Fukunaga's Instagram account.
Steve Mazzaro also posted on Twitter this take of what can only be the gunbarrel music.
It's worth noting that this isn't the final version of the gunbarrel. The brass at 0:10 isn't like that in the film, and the closing part at 0:13 has the typical note lengths for each phrase, but they were slightly changed for the film.
I'm assuming this is from the PTS scene with Madeleine and Safin at the house?
I kind of agree. I think the track works well on its own and works best in the film when Bond leaves the bar and swings his machine gun into action. The rest of the track, along with the action going on just comes off like a noisy Tom and Jerry episode.
Yepp, it is!
Same here. Belter of a cue.
It's unreleased right now.