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I get the feeling that they will once again just let the chosen artist(s) do his/her/their thing, using the script and comments by the director as a guideline. If the title artist is quick enough, Romer will have enough time to fit an instrumental version in the score a couple of times. But I think chances are low he's going to help the artist write the song. That's the other side of letting artists that are a bit more famous do the title song: they want to use their own team.
Also: not based on anything, but I'd like to lock in a prediction: the title of the film will be sung in the title song.
That's pretty much been the norm for the latter half of this entire franchise now. When you think about it, there has only actually been TWO title songs ("The World is Not Enough" and "You Know My Name") woven into the score for the past 30 years. There's also "Surrender", but that was rejected in favor of a different song and was relegated to the end credits.
I think this all stems from the clash between A-ha and John Barry when making the song. John Barry was used to composing his own music with artists that were strictly singers that worked to his tunes. It turned out fine with Duran Duran because they were open and trusting to his suggestions/rearrangements musically. Then A-ha and Barry have a clash over the direction of their song that gets dirty. EON from that point on decided to give their selected artists the freedom to work with their own regular collaborating producers, unless they take the option to work with the composer. That's only happened three times, two of them being the only ones to be granted as the title songs.
I also think this is because none of the composers that came after Barry had as much clout. Barry was an accomplished composer with several Oscars under his belt, so he was always going to have a final say on the song because he was that big.
That was just an instrumental remix of the Madonna song played over the scene. As far as I know, David Arnold never actually used Madonna's song in any of his score.
Here's music he did write for the Ice Palace scene you mention, which ended up being scrapped in favor of that Madonna remix.
Maybe working with Cary on music for Bond 25.
Is it impressive? The only bit that pops to mind is "Field Trip" with very brief a solo flute thrown in, otherwise it's pretty much nonexistent in the score.
I can't wait to return home from my holidays so I can make that famous video and prove you're wrong :P Nothing personal :D
Yep.
According to the Indiewire story, Romer was about the go to London and begin work. So i assume he's with the editing tea and Cary currently. I imagine Cary will post something on Instagram soon enough.
Is there a chance that a Universal artist could do the theme? i looked on their website and Beyonce is not signed to Universal. However, both Lana Del Rey and Arianna Grande are......
It be kinda great if they got Arianna Grande. I've heard her name mentioned and then followed by people saying she's "too young" but she's 27 and i think both Adele and Sam Smith were around 22 or 24 when they did their themes. Arianna just looks young.....
After the double-Oscars for SF and SP - Eon basically have their pick of artists.
'Another Way To Die' appears in several places throughout the Quantum score, but it's much more subtle than previous theme songs.
Plus we also have the weird case of 'I Will Return' appearing all the way through the DAD score but it's a song no-one has ever heard! :)
Subtle would almost be an exaggeration.
I mean impressive in how often he worked it in within such limited time. Several people on here can hear that it does feature on numerous tracks.
A bloody big box office success dud.
Well, not really: it's in there. From memory I think the entire film ends on a quote from it.
On top of that....if you imagine the opening hook from Another Way To Die performed by horns, brass or strings, the similarities with You Know My Name are uncanny, which doesn't help.
I always thought that was deliberate ,with the strong link to CR.
What do you think ?
Exactly that ;)
I could definitely hear it in “Talamone”, but “Inside Man” is having me scratch my head wondering where that reference is placed.
Certainly a rarity for a title song to carry over onto another flick. I can only think of Barry’s callback to McCartney’s LALD in TMWTGG.
It sure is deliberate, I think. But still, it has the knock-on effect of making the White/Keys song more anonymous.
Barry didn't return for License to Kill because he was sick. He was approached for Goldeneye, but he just had a kid and wanted to spend time with him. He was approached again for Tomorrow Never Dies, but negotiations failed precisely over money and creative control of the song. But he still suggested them to work with David Arnold, as he had been impressed by what he had heard from Shaken and Stirred.
Universal Music is not connected anymore to Universal Pictures. At some point, both of them were owned by Seagram, then by Vivendi. Vivendi sold Universal Pictures to General Electric, which then sold it, along with NBC, to Comcast in 2011. But Vivendi still owns the Universal Music Group.
There's the same situation with Time Warner (now Warner Media) and Warner Music. The two companies are under separate ownership.
I don't think Barry was asked to do Goldeneye iirc. It was in one of JBR's podcasts where they were discussing Barry's legacy with his former agent. I can find the episode if you want.
[Jamaica]...Following the PTS
Bond has just come back from a little outing on his sailing yacht; swimming, diving, spearfishing.
Brings back his catch of the day. Cleans the fish on the decks of his villa and then prepares a campfire on the beachfront outside his house.
The sun sets, he reclines in a deckchair on the sand with a Heineken in hand, while the fillets are cooking. Meanwhile Romer's new rendition or even Barry's original recording of Underneath the Mango Tree plays faintly from inside the villa.
Life is good for the old boy...