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In her THR cover story it said her character runs in high heels.
Good female characters are indeed not only the tough assured independent ones: women come in all shapes and forms. The important part is to give them dimension.
That's needlessly unpleasant. I was just replying to and paraphrasing what you wrote: you said when you hear it you "associate it with "better" Bond scores"- if I misunderstood what you wrote and you weren't talking about associating it with other scores you've previously enjoyed, feel free to correct me. There's an awful lot of namecalling and personal abuse involved in this for reason.
You can see it because you follow every single production. I doubt de Armas is aware of what’s even said about other characters in the past so let’s move on please :) Although also, no-one has seen the film? So how can we say her comments are false?
You're coming across really poorly now. This entire exchange has come from you latching on to something from me which you wrongly but then stubbornly considered pedantic (the difference between featured and interwoven, which despite your words previously, was the entire point of the exchange that you then jumped in on bullishly with your "who cares?" shhhtick). I'm at a loss as to how you could honestly consider that pedantic in a conversation about Bond music. If it were about food, there's nothing pedantic about a pinch of seasoning and a substantial amount of it. It's very relevant to Bond music, whether you like it or not.
If you're coming at it from a general observation point of view (as in "does the audience care as long as the music works for the film?") then the answer is both yes and no. I think general audiences do pick up on it even if it's not the most important thing to them. But myself and @MakeshiftPython were talking about our own personal preferences, clearly. Not whether the films were ruined because of this or that. So, ultimately, you got an obvious answer to your obvious, condescending question of "who cares?".
It's not a good look for you. You either knew what we meant and decided to be a dick, or you didn't actually grasp the conversation at hand. Either way, it's on you. Don't be offended by people calling you out on it. Move on.
Because the conversation started with Tuck asking "Surely they must know the theme by now. It may be interwoven into the soundtrack."- it was simply about whether or not the theme was known to those making the film. That was the conversation -about the current movie (the subject of the thread)- which got diverted by pedantry about how the songs hadn't been featured enough for some people.
I'm less interested in all of the personal abuse; if you're hoping I'm going to join in you'll be disappointed.
Well I was only brusque because of the pedantry, which as I say, I'm not a big fan of. But my point was that I'm not convinced it is ultimately as important as it's made out to be. A nice to have for us, certainly, but not really an essential. I don't think many people beyond a percentage of fans like us (and the subset who are interested in the soundtracks) really do care. And even then is it just because they used to do that (as you appeared to be saying, unless I misunderstood your reasoning) or because it makes a movie -any movie- better? I think it's an interesting question. I don't know the answer.
Okay; you're not interested in a conversation; just abuse. There's no point in talking to you. Shame; hopefully there are more civil other people around here. I'll have to make a note to not engage with you any further on here; it's not worth it.
And fans complaining over Bond actresses hyping up about how different their characters are is just as tiresome.
Hi,
don't worry, I know it for certain that I was told "early December" and my source for this is UPIG. So I think it's the best we can get for now.
But as I also stated in my original news 3 weeks ago, it looks like things are changing quite rapidly behind the scenes for NTTD, but early December was the PR plan for the trailer back then and it was the date UPIG had in their schedule.
So, of course they (EON/Universal/MGM) can always change their schedule, but I don't see a reason why they would do it (even with the latest MGM call). I still think early December for the trailer is legit. Maybe we'll already get some teaser material or a countdown next week? Who knows.
If we haven't seen a trailer by let's say December 12, I would ask my source again for an update... But for now, I just sit and wait ;)
I will be checking my schedule for when I will be able to see it a second and third time, then counting down the weeks for digital release, hoping for good behind-the-scenes footage.
...but I do hope people understand that they're gonna take bit of a break after this. It's expected, and also that they're going to take the time to recast James Bond, so it's gonna be really annoying if people start complaining we haven't heard anything this time next year.
I didn't think about B25 for a while after SP either. For the first few months after I actually leaned toward the idea that Craig was done. So glad he's getting one more stab at it though, because SP is less than satisfying as a whole for me. And yes, we'll probably be in for another lengthy gap due to the recast and setting other things up (like I said before, even if Craig decided to come back yet again, there'd still be a big break based on the trend). Hopefully NTTD can be satisfying and keep us tied over for a while.
Hopefully he gets a couple of dialogue scenes. I know a trait of some of the iconic henchmen we've had has been strong but silent, but I'd have liked Patrice to have gotten a word in. It seems Dali's character in NTTD will be involved a bit more than Patrice (just my gut feeling) so it'd be nice to have a few words exchanged. Not even with Bond but with his handler.
This.
Editors strive to deliver a first cut within a week or two after principle photography has wrapped, so the NTTD cut would have been viewed, probably, a couple of weeks ago. Editors hate the term "rough cut" because it implies the editing is just "rough", but that's far from the truth, editors present the best and sharpest cut possible. Once that first cut is viewed, then the editors and the director, with producers chiming in ideas, begin to refine and, of course, trim and tighten things up, or rearrange scenes or cut scenes out etc. etc.
yes, it's still expected to come out in early December. I guess by end of next week we'll all be fine ;)
The music cues are timed (very precisely to the frame) after the scenes are locked (or close to being locked) so the music matches the edited action cut by cut (and also sits with the sound effects which are plotted by the sound editors), and sometimes, once the score is recorded and laid in, the editors might make tiny trims to the action, and also the music editor (who works hand in hand with the composer and the editors) will make clever and precise trims and edits to the music if required.
She looks good here, I must say.
Yes, that's standard textbook. I am referring to not standard. Untraditional. Leone, Tarantino etc. Even Barry to some extent. Having a beautiful piece of music being centerpiece and the cuts being edited to match the music, instead of vice versa. Sort of montage-like. That's probably why Morricone is one of my favorite composers. Leone and Morricone did that a lot.
I see. Yes, what Morricone and Leone did on Once Upon a Time in the West in particular was brilliant. Unfortunately, most films today have such tight schedules etc. it's hard for filmmakers to do the same with an original pre-recorded score, although directors do sometimes play suitable music (scores from other films) on set for certain scenes to create mood or set the scene's rhythm etc.. Tarantino, as we know, uses themes, songs, and cues from other films or from past artists and plays those cues over scenes he is filming. It's a great thing to do. It's possible Cary did the same on NTTD for certain scenes.
"Which comes first, the movie or the music?
https://www.classicalmpr.org/story/2014/11/05/film-score-picture
Once Upon a Time in America (1984): The film was in production for so long that Mr. Morricone ended up writing most of the music before a single scene was shot. In some cases, Leone played the music for the actors on the set to help them get into character."
And a little less of this, like you were saying:
"Matching music to scenes is much simpler to achieve with today's technology. Composers often deliver "stems" of their score, allowing significant reworking and manipulation as is called for in the editing process. However, in that situation it is rare for the music to play anything other than a supporting role. Composers are typically brought in with only a few weeks to turn something around, so true integration and conversation are streamlined for accessibility and speed, often dependent on temp tracks that limit composers' flexibility."
Because I do agree with this:
"Positioning a composer at the front end of a production uniquely empowers him or her to collaborate and create the film with the writers, cinematographers, actors, directors, etc. The music informs the film's rhythm — indeed, its soul — from the beginning."
Lesser directors would accept anything by Morricone, who was extremely productive in the sixties or seventies (he could score a dozen films within one year) but can be uneven.
I believe many filmmakers would love the opportunity to hire their chosen composer early enough to do exactly what Leone and Morricone did so brilliantly. Unfortunately, with budgets and schedules being what they are, it becomes increasing difficult to do that. But it can still happen if the filmmaker (Tarantino for example) is powerful enough to demand such an approach.
Thanks for clearing that up. The person I spoke to was not a film authority... they are from another industry heavily involved in the movie. Their impressions was that it "looked great." Sorry I don't have more, but I like this person and they like their job.