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Comments
You do know Bond starts designing the big action set pieces before anything else right?
Yeah agreed. I often say that one of the big strengths of LTK is how central to the plot of the entire film the plane/waterskiing action scene is. It changes the direction of the story and is back referenced later on too. I guess you could say the same of the Miami airport sequence in CR.
Personally I see no reason why the score can't or shouldn't be both, though I suppose that might be tough to describe in practice.
At the very least, I wouldn't say no to having McDonagh work on the script for a Bond film at some point in the future. Helps that his partner co-wrote the last one and has a pre-existing relationship with Amazon, so shouldn't be too hard to get in touch with him about it.
I think the Extraction films have great story and character. I do think Hargrave is above the rest.
Stahelski' John Wicks are a little thin, yes. But they do have great atmosphere and world-building. We'll see how Highlander goes.
Leitch I'm not so hot on but I though I should mention him. Too much weird humour that doesn't land in his movies.
Somehow I forgot to mention Scott Cooper as well, you might like him.
Thanks. I love that I timed the cop's head turning in tune, and also the final gunshot is perfectly timed to the brass. I had fun 13 years ago.
See Scott Cooper as mentioned above.
Crazy Heart? Damn... Actually liked that film, although I've not seen it in years! Not seen Black Mass in ages (although I remember finding Depp a bit ridiculous... guess it was ok..). Never seen any of his other stuff.
"Not believing" the praise was a bit rude. I rephrased that but I don't really hear much about the "new sound" of Bond. Newman was serviceable but not much more for me.
In terms of Bond and action cues, I think Arnold does fall off a bit in QoS. He does do his spin on the 4 descending theme and it does feel like there's some continuity in it.
Oddly, I feel like Zao had a theme.
I'd say Barry used short music cues and motifs specifically for characters, rather than full on themes: Oddjob, Wint and Kidd for instance.
There were also character tracks that didn't really make it into the films: Tanaka's World. Hamlisch did one for Anya.
I would hope the score for the new Bond film is memorable. Music scores today rely more on atmosphere rather than catchy themes. If I were asked to hum a few cues from the Marvel, DC or Jason Bourne franchises I'd be at a loss. Mission Impossible, maybe............
I really wouldn't mind Newman or Arnold returning. However, my hunch is Amazon may go in a different direction with their Bond.
I'd like to think that Amazon will keep the Bondian tradition of having a song and artist to accompany the title scene, but who knows? Maybe they'll omit that tradition altogether?
We might not see the title until the end of the film as is the case with many modern films today.
Yeah, with all the talk of the new producers wanting to honor the legacy of their predecessors I can’t imagine them throwing out any of the major Bond staples.
Also, Bond songs are currently on an Oscar streak as the last three have won best original song. They’re gonna wanna try keeping that streak going.
Yeah. Definitely.
I think it’s happened that the song comes along too late in the process for the composer to integrate and has to be sort of dropped into a handful of score cues, as with QOS, SF and SP.
NTTD’s score used the song pretty well I thought.
Another Way To Die is quoted throughout pretty much all of Quantum of Solace, though. And Writing's on the Wall was recorded in January 2015, which would give Newman plenty of time to incorporate it in the movie.
AWTD is quoted in little bits and pieces unlike the usual way a song melody is used- just a phrase here or there, I don't know if he was just popping the little slices in where he could into cues he'd already written or didn't want to use it more. I guess that's right about WOTW (although I don't know when the score was recorded); maybe, like Arnold with AWTD, he just didn't want to use it more. It still gets more of a quote in the score than LTK, DAD, GE or TND did.
Yes. I think Arnold liked AWTD a little bit, because he used it twice. But not fully like you said. I remember it being used a bit in the opening car chase and when Bond chases Mitchell.
There's quite a number of them, but they're all just little bits and pieces. This vid is really good on it:
Has Arnold himself actually addressed this?
Oh, interesting.
I dunno, I think they all hold up (maybe a couple are bit tough: I'm not too certain about the burning hotel cue). He has confirmed a couple of times that he used the song in the film, I remember him mentioning it on the Scala radio series he presented in the lead up to NTTD's release. Something like the "can't find the stationary" bit is very clearly the song.