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Comments
I know English spelling can be such a pain in the posteriour.
So how was the name Philistine or Filistine originally written?
;)
Samples for every track at Amazon.de
Faith in Newman restored!
These samples really got me very pumped to see Skyfall :) I think this is the first time in the Bond series we get a score that sounds so mystical and at times playful, almost like a Harry Potter or Tim Burton film ('Brave New World'). I'm interested to see how that plays out.
Newman seems to have three modes in this soundtrack: 1. Newman-esque, 2. Arnold-esgue (especially in the action) and Barry-esque. I like that, he's been able to incorporate both major composers of 007 into the score, while still doing his own thing.
Maybe it's just me, but it sounds like where Arnold would have gone more techno, Newman goes more hip-hop. (New Digs, Shanghai Drive) I kinda like that :)
Well, it is if it's not by Arnold.
I like Arnold's work very much. But what's the point in hiring a new composer if he's going to sound like his predecessor? George Martin's Live And Let Die for example didn't sound like Barry's work at all. Neither did Bill Conti's For Your Eyes Only.
That's one of the main reasons I'm not very impressed by these samples from SKYFALL.
He may lack what some people think is imagination, but part of Bond is the sound and the underlieing riff has to remain to keep the character. Don't change too much if it aint broke.
I say I hope he gets it if for no other reason than continuity is important at the moment.
Besides Mendes and Newman have done several movies together, so I guess hiring Newman was on his request.
No Skyfall theme, nowhere...
What is going on here? I thought Newman had had enough time on his hands to incorporate both in the score. This could be music from any movie. I never thought I would say this, but really, I think I wish they brought David Arnold back. This will not be music that I listen to at home and that gives me the Bond feel.
Shame on you, Newman!
not bad. It definitely is something "fresh" but it doesn't scream Bond to me. However it's not bad- it won't ruin the movie by any means.
Lets hope not. But as I said in an earlier comment - the score for me so far is the only dissapointing aspect of the build up to the film. I was expecting so much more and for the moment the sneak peeks at the soundtrack haven't convinced me. I don't think we are talking a catastrophe of GE proportions here but with all the talk of this being classic Bond with a capital B - for the moment the music isn't demonstrating that. Hopefully I will be proven wrong...
Five noticed you're using my avatar ;)
Look, I think from the samples it's hard to tell. I do know that DA was really hitting his stride with CR and QOS, from the reoccurring motifs to the exciting new sounds, and I also know I would hate for Skyfall to be marred by a below average score. But I think it's to early to tell.
I think it all has to do with what makes a Bond film. And part of that DNA is the sounds that Barry created and has become so associated with the Bond films. Its like some of John Williams finest work. An Indiana Jones films without the Indy theme would just be another adventure film...Star Wars without the Star Wars theme would just be another sci fi film...I don't think every Bond film should have the same sounding score but I do think that it needs to have an identity that when you hear it by itself without images you can hear that it is indeed from a James Bond film....and not just any random action film....
I'll have to take you out for a drink some time @Zekidk. Exactly the definition I would give of Bondian music.
Nice one.
Actually 15 minutes (30 x 30 seconds). Almost an hour unheard, so it's still to early to judge. Some people may be surprised.
Sony gave us 6 minutes from 3 tracks. Deduct 3*30 secs = 90 secs heard again on Amazon.de samples Therefore we've heard 15 mins from Amazon + 4 and a half minutes from Sony. Gives us just under 20minutes!
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You can compare with 'Severine' by Thomas Newman:
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And having said that, I think John Barry always sounded more crispier. His string sections sounded so incredibly smooth. Perhaps it is because his orchestra was conducted in such a good way. Or perhaps Barry's orchestra got more...violins? Like Newman's recording in Abbey Road Studio's?
Moreover, Newman's, thus also Barry's, romantic themes always sound slightly more exotic, more mysterious than David Arnold's romantic themes. Perhaps it is Newman's use of instruments, for example the harp, the german flutes, etc.? I also think Arnold's romantic melodies sounded a bit clichéd.
You've got me there! Very well done. Still too early to judge so I'll defend off the naysayers.
Clever scoring.