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Comments
Durch, fur, gegen, ohne, um, wieder-der.
How hard can these prepositions be?
Indeed hehe. "Hotel" is sexe-less, so it is "Das Hotel". In the 3rd 'Fall' it therefore should be "Im Hotel" and not "In der Hotel" :-).
Why are Austrians not handsome, intelligent and can't play football??
Because then they'd be Swiss!!
The Swiss love to tell jokes about Austria. :D
"Welcomeee, Jasonnn. It's been a long time..."
How so?
On a computer screen in the finale you can see 'Pevsner Commerzbank'
Bond is half Swiss ...I forget that.
http://www.thebondbulletin.com/thomas-newman-scores-spectre-at-abbey-road-studios
Oh cool, didn't know that.
And a picture of the interior of the DB10, which will FINALLY be fully unveiled later this week :-):
http://www.thebondbulletin.com/db10-db9-db5-join-forces-at-iaa-motor-show-in-frankfurt
I would have thought he'd started earlier.
Anyway, now there's really no excuse to incorporate cue from Smith's theme into his score. Newman has everything he needs, there's really no excuse for his score to be lacking like I felt was the case with SF.
If it's only for the sake of 'forcefully incorporating the song's melody into the rest of the score', then I'm happy to let it out.
Look, during the Barry days, but also when David Arnold really composed his own songs as well as the score ("Surrender", "The World Is Not Enough", "Only Myself To Blame", "You Know My Name", "No Good About Goodbye"), this incorporation felt natural. But ever since Madonna was hired to compose the title song, things have changed a bit. Don't blaim Thomas Newman a bit. It's more or less rule now that score and title song are being composed/produced independently.
It's not something most Bond fans like, but for me the score is all about highlighting the actual film, the actual story and plot, and not another song or its forced incorporation into the score. That's the key to a good score if you ask me.
Exactly, and that motif doesn't necessarily to be part of the title song's melody. As long as there's some memorable motif/melody throughout the score.
One of the reasons why Barry's scores were/are so successful is because he gave his scores and the movies themselves a memorable identity that was distinguishable from every other movie not just in the Bond series but in general. I'm not advocating any type of force put upon by the composer because things shouldn't have to come to that. It's a Bond movie, the Bond movies by default operate using their own set of conventions independent from your average movie production. I really don't care about Madonna and I really wasn't impressed at all with what Newman did for SF. You talk about the score highlighting the film and tbh that goes without saying and is also something the Bond movies have excelled at for decades. Incorporating and weaving cues of a Bond theme score if done properly isn't supposed to take away from the score highlighting the film but add to it, really punctuating an identity and like I said, Newman has everything, all the tools at his disposal to do a stellar job. He's a talented and capable composer to pull it off with ease. Furthermore, he can be creative and give SP an identity, which is to be expected anyway but this is a Bond movie, the score needs some cohesion and synergy between Newman's work and Smith's theme and this is something that any composer scoring a Bond movie should be aware of without feeling as though their ego is being bruised up.
John Barry is dead. So are Jerry Goldsmith, James Horner, Elmer Bernstein. Very sad, but it's a fact. They are part of their own generation. And ever since then, new, younger composers stood up and became popular. Movie scoring / movie music has changed extensively. Not only in Bond films. The creativity of composing memorable melodies has changed into composing tracks that need to heavily fit every bit of action or every move or kiss.
That time will probably never come back. And although some composers are trying very hard to do so, or at least are reminiscent of the past (early days of David Arnold, talented sensation Daniel Pemberton, Henry Jackson, John Powell), the exact quality of the past will probably never come back.
If the studio recording starts today it obviosly means that most of the music is already written. I fail to see why that wouldn't be early enough...?
I think recording of "Skyfall" started during the first week of September 2012 in the Abbey Road Studio's.
Okay, so we are ONE week "late". Omg, I am seriously starting to fear for the outcome of this, what about you? :))
Everything to criticize Newman I guess...
I don't really see the point of you bringing up dead composers. Regarding Bond, incorporating techniques that Barry implemented for his Bond movies isn't difficult for any decent composer. Also, contrary to what you think the scores don't have to be the exact quality, no one's really asking for that but for a distinguishable sound that helps to carve an atmospheric identity. It's really not difficult at all.
Again, don't confuse Bond films with other movies when it comes to production conventions. The Bond films as I mentioned operate using their own set of conducts most of the time to bring the whole thing together. I don't buy into the bs that if the composer of the score wasn't part of the process of making either the main theme song or secondary (end credits) theme then he/she shouldn't have to incorporate cues of the theme into the score. Bullocks. Furthermore, such cues dont even have to be utilised so heavily. It's in no way a difficult task unless the composer just flat out abhors wanting to do so, which just comes off as petty and trivial. The only way a composer can get away with ignoring the theme is if the score is that damn good and distinct enough to really immerse viewers into a musical world within the film that resonates beyond any standard score and you and others may disagree with me on this but I don't think Newman has demonstrated such skill, at least there was no evidence I could identify from his work on SF. John Williams he is not.
In the end we have another wonderful James Bond film :-). Trust me. Butttt.....the closer we arrive to either October 26th or November 4th/5th/6th, the more lunatic we Bond fans become :-). It's in a way charming too.
I got to know Tom Pevsner reasonably well. He was a great supporter of mine when I was first pushing to write and direct. A true gentlemen with a warm wit and sparkle in his eyes. He was highly regarded by Eon. Nice they are showing their respect for him.