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Comments
I preferred it. I found there was a little more orchestration in it compared to Vesper's that was primarily piano as I recall. I particularly liked it in Shanghai after Bond dropped Patrice out of the tower (actually that one may be Modigliani - a variant). However, it wasn't played enough or prominently because she had so few scenes before being killed.
Tracks I like(14)
Grand Bazaar, Istanbul.
Severine
Brave New World
Silhouette
Modigliani
Komodo Dragons
The Chimera
Close Shave
Enquiry
Breadcrumbs
She's Mine
Mother
Old Dog, New Tricks
Tracks I don't like.(12)
New Digs
Shanghai Drive
Day Wasted
Quartermaster
Enjoying Death
Health and Safety (I absolutely hate this track. It belongs in Wall-E)
Granborough Road (DUN DUN DUN DUN DUN DUN DUN that's all I hear.)
Skyfall (not Adele's song.)
Kill them First
Welcome to Scotland
The Moors
Adrenaline
Tracks with mixed opinions.(7)
Voluntary Retirement
Jellyfish (I don't care for the beginning but when Bond is sneaking in the glass rooms that's where the song picks up.)
Someone Usually Dies.
The Bloody Shot (don't care for the first minute but the rest of the track is solid.)
Tennyson
Deep Water.
I'm going to buy it in the next few weeks in preparation for SP.
I liked how the score fit the movie when watching it, but I wonder how I'll feel when I hear it on its own.
Personally, my favourites are (in no particular order):
1. New Digs
2. Sévérine
3. Shanghai Drive
4. Chimera
5. Adrenaline
6. The Moors
7. Grand Bazaar - Istanbul
8. Quartermaster
9. Someone Usually Dies (Bond theme is here for those who did not know)
10. Komodo Dragon (brilliant and a little Barry'ish)
11. Health & Safety
12. Granborough Road
13. Tennyson
14. Kill Them First
If anyone knows who composed that amazing piece of thumping techno music for the teaser trailer, please let me in on it?
Vesper's theme also had wonderful string section among others in "City of Lovers". It's a marvellous piece.
I listened to Skyfall last night once more, "She's Mine" is a pretty good track that works really well in the film, too. I think the theme for M works, too - has a nice sense of foreboding on it. Just don't think the entire thing gels all that well, despite some pretty good moments.
It's not a childish question. I'm being very serious with my question and I think it's a fair one to ask. If that offends you, then you know what you can go and do with yourself.
Both the trailers were composed by Thomas Newman I'm pretty sure.
What I really loved about Skyfall's trailer music is that across the trailets it clearly progressed/evolved. Check this page from the people that edited the trailers
http://theppc.com/departments/film/skyfall
(They have a brilliant campaign breakdown vid and the IMAX trailer in HD)
David Arnold really excelled here. Perfectly combined strings with sincere and wunderful piano music. Just some examples from the TWINE-track that IMO are really better than most of CR's romantically themed tracks:
And not to mention the complete absence of a 2nd title song on CR's album. I think CR really needed it. CR needed a full 2nd melody that enhanced and supported all romantic parts in the film:
1. CCTV
2. Solange
3. Vesper
4. Night at the Opera
5. Camille's Story (particularly the Flamenco second part)
6. Brave New World
7. Komodo Dragon
8. Someone Usually Dies
9. Severine
10. The Chimera
I would be interested to see what he can do with a title song, for what I want most of all is a title song that is fully integrated in the score - as it should be. And a big, loud, brassy action cue that is fun to listen to in its own right would also be much appreciated this time around.
I hope upon hope he does Craig's 25th and final film.
Thus rounding out the Craig era and bringing back the YKMN melody as I think it's the middle modern equivalent of 007 theme as a great alternative sound to the Monty Norman theme.
SF lacked a melody that tied the film together and the rendition of Adele's song in the Casino scene felt 'for the sake of it' as he was pretty much made to include it and no interest in having it in the film.
CR and QOS were superior scores and had progression. SF could've continued this as the Criag era is one narrative.
The fact SF got an Oscar nomination is proof the Academy is a sham. The John Barry scores were much more deserved of an Oscar.
In all honesty SF Score is so generic it could be used (with the exception of the Bond moments which BTW are rushed) in literally any prestigious event film and you wouldn't know it was written for Bond which is a very specific sort of film taut requires a well defined Bondian score.
I love the sense of building dread it creates, rather than tune after tune.
The opening shanghai sequence, the approach to Silvas island, the entry to the casino, m with the coffins - it holds together spectacularly well.
If anything it's less generic than Arnold's scores which had a sense of Barry fan boy attached to them
That said id like to hear a swaggering rendition of the main theme in Spectre along the lines of OHMSS before the beach scene.
However, I did not particularly like his action scoring which was very noisy to me and lacking in finesse and clarity for the most part. Like a blunt instrument rather than fine scalpel to the ears. Therefore I was not disappointed when he was not brought back for SF.
I'm in agreement with your assessment on this. He was short on melody on his first outing, should have used Adele's title song more in his score and perhaps should have had one more scene with the Bond theme, but I think it was a great first effort. I enjoyed it immensely. However, I do want a more orchestral score next time around.....something grander. I know Newman can do it, and if he does it will blow Arnold away. The question is will he?
I had the same feeling about the scores for QoB & CR, generic scores that could fit with any kind of actionmovie but not especially a 007 movie. The general scores lack any identity for me. With every new movie I realize what a brilliant composer Barry actually was and how EON should be blamed for not having done everything in their power to use his skills for as long as possible..
the best 007 soundtrack was for me in recent times is The Incredibles by Michael Giacchino who also rebooted the ST movie music in a wholly believable way. I would love to see this mans take on an actual 007 movie. I hope they will start using him when Craig retires so that the next 007 gets a whole new sound.