SPECTRE: Thomas Newman is Back! (appreciation topic)

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  • bondjamesbondjames You were expecting someone else?
    edited January 2015 Posts: 23,883
    This is the scene that I think we're both referring to. Very Barry'esque to me with suitable crescendo. There should have been more of this type of orchestration in the film:

  • doubleoegodoubleoego #LightWork
    Posts: 11,139
    Eh? Severine's theme was forgettable and doesn't come close to Vesper 's.
  • bondjamesbondjames You were expecting someone else?
    edited January 2015 Posts: 23,883
    doubleoego wrote: »
    Eh? Severine's theme was forgettable and doesn't come close to Vesper 's.

    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.
  • MurdockMurdock The minus world
    Posts: 16,351
    I don't hate Newman's score but I don't think it's all that great. I've done a tally of what I think is good, bad and alright. I'm surprised their were more tracks I liked than disliked. But I really hope Newman incorporates more Bond theme into SPECTRE's score. Craig's Bond has more than earned it. He's begging for it.

    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.
  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    @Murdock: Funny, that's pretty much my feelings about the tracks.
  • Posts: 4,619
    New Digs might be the single greatest piece of music written for a Bond film ever.
  • doubleoegodoubleoego #LightWork
    Posts: 11,139
    Are you joking or being serious?
  • Posts: 11,119
    Just keep in mind. TASTE is a subjective thing ok? Respect it and don't immediately write childish questions like "Are you crazy??" or "Are you serious?" It basically implies that people make mistakes with their personal taste. And that's nonsense really.
  • bondjamesbondjames You were expecting someone else?
    edited January 2015 Posts: 23,883
    I actually don't have the SF soundtrack on CD. It's the one soundtrack I don't have (except for NSNA).

    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?

  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,205
    bondjames wrote: »
    doubleoego wrote: »
    Eh? Severine's theme was forgettable and doesn't come close to Vesper 's.

    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.

    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.
  • TigerTanakaTigerTanaka Welcome to Japan, Mr. Bond
    Posts: 50
    Severine's theme is just beautiful...just over too soon IMO. Glad that Thomas Newman is doing the score for Spectre. Though David Arnold did a great job in the Brosnan Bonds, I just think there was too much music in every scene that it becomes tiring to listen to.:)
  • doubleoegodoubleoego #LightWork
    Posts: 11,139
    Just keep in mind. TASTE is a subjective thing ok? Respect it and don't immediately write childish questions like "Are you crazy??" or "Are you serious?" It basically implies that people make mistakes with their personal taste. And that's nonsense really.

    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.
  • jake24jake24 Sitting at your desk, kissing your lover, eating supper with your familyModerator
    Posts: 10,591
    bondjames wrote: »
    I actually don't have the SF soundtrack on CD. It's the one soundtrack I don't have (except for NSNA).

    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?

    Both the trailers were composed by Thomas Newman I'm pretty sure.
  • Posts: 3,164
    The trailers were done by Pfeifer Frankfort (formerly Pfeifer Broz). They have a huge library of Bond music to use in trailers and spots etc...
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    Thanks guys. Hopefully we get something as good for the SP teaser. The SF teaser just blew me away, and the music had a lot to do with it.
  • Posts: 3,164
    bondjames wrote: »
    Thanks guys. Hopefully we get something as good for the SP teaser. The SF teaser just blew me away, and the music had a lot to do with it.

    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)
  • Posts: 11,119
    Personally, I think the music from TWINE weirdly enough trumps the music from CR. Especially from a romantic viewpoint.

    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:
  • I'm with you Gustav Graves. I think TWINE is an excellent score with two great songs fully integrated into it. (The last time we got that was The Living Daylights.) Too bad the album presentation leaves something to be desired. The beautiful, Barry-esque 'Snow Business' cue is sadly missing, while, on the other hand some of the lengthier action cues just go on and on and on and on. Why Arnold did not trim away some of that fat (in the 'Submarine' cue, for example) in favour of 'Snow Business' is beyond me.
  • TripAcesTripAces Universal Exports
    Posts: 4,582
    My top 10 tracks from the DC era (in chrono order):
    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've resigned myself to the return of Thomas Newman. I really like some of his other work (particularly Angels in America and his theme for Six Feet Under), but I found his Skyfall score decidedly underwhelming - especially when listened to on album.

    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.
  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    antovolk wrote: »
    The trailers were done by Pfeifer Frankfort (formerly Pfeifer Broz). They have a huge library of Bond music to use in trailers and spots etc...
    Tell that to Activision, who've been using the same bloody music for every single trailer of GoldenEye and 007 Legends.
  • ml94ml94 Finland
    edited January 2015 Posts: 88
    John Barry is my favourite.
    DarthDimi wrote: »
    @ml94, please make constructive posts rather than these short, meaningless ones.
    Im finnish...so... :)
  • DarthDimiDarthDimi Behind you!Moderator
    edited January 2015 Posts: 24,157
    @ml94, please make constructive posts rather than these short, meaningless ones.
  • edited January 2015 Posts: 51
    Nothing Thomas Newman did was that remarkable. It's got nothing in the score that's even that different from David Arnold. At least he would've made a continuation of the melodys he started in CR and QOS. I hate that they snubbed Arnold for the 50th anniversary film and we arn't getting him back for SP.

    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.
  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    00Dalton wrote: »
    Nothing Thomas Newman did was that remarkable. It's got nothing in the score that even soy fed that different from David Arnold. At least he would've made a continuation of the melodys he started in CR and QOS. I hate that they snubbed Arnold for the 50th anniversary film and we sent getting him back for SP. I hope open 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 is the 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 shame. 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.
    Post of the month.
  • edited January 2015 Posts: 51
    I hope you mean for my opinion and not the iPhones typos!
  • Posts: 1,314
    I find the Skyfall score brilliant. Maybe shorter on melody but as a mood-enhancing element it captures the feeloif the film brilliantly.

    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.
  • bondjamesbondjames You were expecting someone else?
    edited January 2015 Posts: 23,883
    Arnold's best work was in CR & QoS imo.

    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.
    Matt007 wrote: »
    I find the Skyfall score brilliant. Maybe shorter on melody but as a mood-enhancing element it captures the feeloif the film brilliantly.

    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.

    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?
  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    00Dalton wrote: »
    I hope you mean for my opinion and not the iPhones typos!
    I didn't even notice the typos.
  • edited January 2015 Posts: 7,653
    00Dalton wrote: »
    Nothing Thomas Newman did was that remarkable. It's got nothing in the score that's even that different from David Arnold. At least he would've made a continuation of the melodys he started in CR and QOS. I hate that they snubbed Arnold for the 50th anniversary film and we arn't getting him back for SP.

    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 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.
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