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He’s probably been influenced by his collaborators, as one is, and is filled with artistic choices to use in his own accord. I have faith in his choices, even if I’m not mad about his work so far. I do like his love for cellos. That’d be interesting to explore. A love theme on cello can be hauntingly beautiful.
Anyway, I don’t see the need to provide musical continuity. Not when Newman provided so little himself leaving off from Arnold or even the greatest musical innovator John Barry. I’d rather Romer do his own thing rather than ape dreary Newman.
Agreed, @bondsum. What we need is a composer bringing original work to the movie. He can chase some of the well-known flavours of Bond music, but he shouldn't try to mimic others. Originality in NTTD will bring me ameliorative relief.
True, but it would be really nice if Romer brought the themes of Vesper, Quantum and Madeleine back for this movie considering it's going to tie the Craig era.
Always sends a shiver down the spine when heard via a live orchestra! :-bd
Thanks for this: a shame it's the only bit of it on YouTube: I'd like to actually hear how they recreated Newman's bits!
Brilliant isn’t it. Gets better each time I listen. David definitely has a future scoring another Bond imo.
I so very much miss David Arnold's take on Bond music. He's still the right man for the job.
All you Arnold naysayers go hang your head in shame.
What's the betting Romer doesn't come up with anything as cool as this in his entire score?
BTW, I'm very very curious to see what Romer will come up with.
I said as cool, not original. Pretty safe bet on that score.
He undoubtedly shows there he has a deep love for Bond, though I'm willing to see what Dan Romer comes up with.
I don't think this is the same case with him as was with Arnold, this score will undoubtedly if he gets it right catapult him into the main arena of composers, this is a game changer for him and I'm pretty sure he knows it.
Newman was completely different kettle of fish, already attached to Mendes, worked with any number of big directors, an established recognised sound. More likely to be pretty much convinced his sound was right for the film whether is sounded Bondian or not and not wanting to collaborate with the title performer.
The fact he couldn't even come up with a new arrangement of the Bond theme seems strange, possibly he didn't want to, might explain why DA's was used, I don't know?
I don't hate Newman's work, I think his Skyfall for the most part is very good, I'm looking very much forward at the end of the year to seeing Skyfall in concert.
I also understand that the choices of SPECTRE weren't him but Mendes and the editor, although I wouldn't put it up with the best work of the series or look it as the watermark of this era, Arnold's QOS score and then the CR one is much more satisfying to me.
Romer doesn't have this legacy, this film could write his meal ticket so I think although he won't be a yes man, he might be open to suggestion that Newman was unlikely to have adhered with.
I do hope though that Romer does get to interpret the Bond theme, a new fresh take on it would be most exciting to hear.
Much of this film is an unknown quantity and this score is one of them, we haven't had this much mystery surrounding a Bond film in well over a decade, this aspect and others excite me tremendously.
Thanks for posting this, very interesting. Live performances like this always get the adrenaline going - this sounds more David Arnold rather than Thomas Newman though! ;) Someone really should have pointed out that's the wrong note at 0:39. As a composer myself this is obvious, jarring and can't believe they didn't spot it. Half the orchestra is playing the note wrong - so must be transcription error.
I think regardless of the reason why Romer was in the audience, it was good to have him there. If nothing else it will highlight the sense of weight and responsibility for NTTD - and hopefully he got a few insights into how to approach the gig. On paper - I'm still not entirely sold on him as a 'good fit' composer for Bond, yet it would be very unfair to judge before watching the film and I really hope he knocks this out the park!
Interesting to hear David Arnold's music on the cashmere ad, of course it's largely derivative of his own style. That outfit at the end looked very FYEO! But the star of this are the Scottish visuals which elevate the ad, found myself trying to figure out where exactly in Scotland it might be (looks very western hebrides).
As did I your SF one in the DC thread.
I hope Romer proves to be a more inspire choice. It's also really exciting to hear someone new get a chance at updating the sound.
I love Arnold's music but I didn't like this. It sounds like two different tracks being played together. And I also agree it's mere pastiche.
But yeah, the instruments are classic Bond, there is more Bondian sound in this track than there was in Newman's 1 and 1/2 scores.
Funny how things work.
@Satorious glad to hear a professional view here ;)
As a Bond fan the track gave me goosebumps and i'd say it was the best Bondian music i've heard since QoS.
I just wonder if Romer had come up with this track the reaction would have been different from the recent lukewarm posts on this thread...
But hey, each to their own...