It looks like you're new here. If you want to get involved, click one of these buttons!
^ Back to Top
The MI6 Community is unofficial and in no way associated or linked with EON Productions, MGM, Sony Pictures, Activision or Ian Fleming Publications. Any views expressed on this website are of the individual members and do not necessarily reflect those of the Community owners. Any video or images displayed in topics on MI6 Community are embedded by users from third party sites and as such MI6 Community and its owners take no responsibility for this material.
James Bond News • James Bond Articles • James Bond Magazine
Comments
So this why they want to ban plastic bags, so stuff like this doesn't happen. It's not about preventing litter, it's about stopping pretentious cinema.
Road to Perdition was a massive disappointment when I saw it. Have to say, it was this film that set the alarm bells ringing for me when Mendes was announced as the new Bond director. He had a great cast but the film just fails to ignite. Just like SF and SP from my perspective.
Or your bag.
Someone please explain what this means because I've got no clue.
We're not going through this bloody argument again, are we? Just because you lack a good music ear (and you do, otherwise you'd hear plenty of Bond theme in QoS score), it doesn't mean Arnold score suck.
Bond theme is featured in Field Trips, Oil Fields, Time to get Out, Perla de las dunas, Bond in Haiti, Bolivian taxi drive, Pursuit at Port Au Prince, Inside Man and The dead don't care about vengeance.
That's 9 instances.
CR is his best score.
I see, thank you a lot for explanation. This seems to explain why Grand Bazaar fits SPECTRE's PTS so well. It was a terrible idea, anyway. I was fine with them reusing a couple of themes from Skyfall (the Mother motif made sense where it was used, and I love Grand Bazaar and Drive to Skyfall so much that I'm glad those popped up), but too many tracks were reused. I also loved The Moors a lot, but I feel like it was overused during SPECTRE's climax.
Explains a lot.
Although presume Newman was stil quite happy to pocket his full fee.
The disturbing thing is, in the context of what Mr. Smith said this makes absolutely sense.
It seems they just copy and pasted SF's soundtrack (which is blatantly obvious if first viewing of the film) and that was job done.
I considered SP's soundtrack was a disgrace when I thought it was Newman hitting CTRL C, CTRL V. Now I know it wasn't even him doing that I think EON should be suing the guy.
Can anyone come up with a lazier, more shoddy soundtrack than what Newman foisted upon us with SP?
Careful. Much as I am with you on when it comes to slating Newman it's going a bit far to say SP's score is worse than NSNA.
But I can't forgive Newman's laziness so it will always be bottom three for that alone.
Just this. There are good bits. Enough to enjoy on their own, not enough to make up a satisfying listening experience. But the greatest crime here is the completely uninspired cut-and-paste (of a sound that is—let's face it—not the best for Bond to begin with).
My comment was meant to be sarcastic. eeeeck. LOL
Newman's music for SP was not nearly as good as SF. But SP features the stunning pre-title track, in which Newman fused Latin rhythms and the Bond theme--Arnold did a similar thing in QoS. SP also features two distinct and beautiful tracks for the leading women. Madeleine's theme, in particular, is a gorgeous piece of music.
I'm assuming you pulled the number 25 from the amount of tracks on the album release. Yes, these were newly composed and recorded tracks, but many of them—a few notable exceptions like Madeleine's theme aside—hew very closely to tracks from Skyfall: "Tempus Fugit," "Blindfold," "Careless," "Detonation." The unoriginality problem doesn't have to do so much with lifting whole tracks from Skyfall—though there is that, too—as it does with really failing to develop a new musical identity for Spectre. Again, Madeleine's theme aside.
That does make sense though if the film was temp-tracked with Skyfall and Newman was told by Mendes and company, hear what you did in Skyfall there? Yeah, do that again.
This too. Although I feel this mostly applies to Spectre. At least with Skyfall there was a certain freshness in his approaching a new genre, a new franchise. Not all of Skyfall works for me, but tracks like "New Digs," "Brave New World," "Shanghai Drive," "Jellyfish," "Modigliani," "The Chimera" reveal a playfulness and a promising originality that formed a unique take on Bond much as, say, Kamen or Serra had done before him. Some of the droning action and Newmanesque noodling in Skyfall didn't enthrall me so much, but there were at least those other standout tracks.
With Spectre, it's as if he lifted his most banal droning and noodling from Skyfall, added some ghostly ambient cues, and wrote one gorgeous new theme for Madeleine, then called it a day.