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Comments
EDIT: This one:
My honest opinion is that the Skyfall OST isn't one that sounds at it's best in isolation like other Bond soundtracks. It's less in-your-face than previous efforts so it works well in the context of the movie I think, but listening to it on it's own I can see how some might not like it...
I don't hate it at all, not by a long shot, but I do miss David Arnold's efforts a bit!
Well, that's my opinion.
I heard bits and pieces before I went to the cinema and was very underwhelmed but thought it may work in context of the movie. Now it's not a bad score but it just doesn't add anything special imo. There were so many scenes where I hoped the score would underline the moment or add to the drama and the excitement and it just did not happen.
There was something missing in the PTS for me and I did not know what it was. I think now that it was the score.
Now DA is not JB but he did some great stuff for Bond imo and "Time to get out" was stuck in my head after the movie and really added excitement and power to the car chase. I had not one piece of music stuck in my head after Skyfall...well, except the Adele Song ;-)
I really only realised how much I missed it, when the
Is Newman a better composer than Arnold? Maybe. I kind look at it like I look at Campbell - to my knowledge he hasn't done many masterpieces and I think rather some really average action movies (though I may be wrong, surely don't know all of his work)...but when it comes to Bond, he just clicked. He just understood Bond.
Somebody already said it, only because someone is a fantastic composer doesn't mean he is rigth for Bond. An A++ composer with a passion for Bond? Bring it on! But I don't get the feeling Newman had that passion.
See I don't say DA has to return, but as for now, I rather have him back than Newman. I have the feeling Newman did it because of Mendes, not Bond. DA may be a bit weaker but made it up with a lot passion.
That said, I am also very much willing to have someone totally different try his luck!
I am gonna watch Skyfall soon again for a second time and will see if I am wrong on Newman. But as for now, that is my impression.
The sound effects in the PTS were very flat. When they take the bikes across the roofs you don't get any cracking or smashing tiles. It looks like pure CGI even though it's just the faces that have been CGi'd. I found the whole chase strangely lifeless. The fact they'd shown most of it in the PTS didn't help.
Giving him the job time after time with no rest was giving him no challenges now he's had someone else step into the role and what has widely been regarded as many but not all as one of the best Bond's ever he will come back fighting for Bond 24.
Newman's score just felt fresher and while he took influence from Arnold I saw subtle hints of Barry, that theme where M looks over the coffins which was reprised again later in the film reminded me quite a bit of Barry,
I'm not saying Newman is anywhere Barry's standard, quite frankly not many film composers are he's one of the all time best but it was nice to listen to someone else have a go after listening to Arnold's patchy repertoire for 5 films.
Arnold has run his course, five scores are enough.
Hopefully Sam Mendes and Thomas Newman will be back for Bond 24!!
Shite, third rate OUT OF AFRICA pastiche. Sometimes being a John Barry fanboy isn't enough.
Loved what Newman gave for SKYFALL. The best Bond score in 17 years. Unlike Arnold, he understands what made the Barry scores work. Streamlined composition, economy of orchestral resources, playfulness, wit, repetition, restraint, and packing a huge punch only when needed. Less is more.
Bingo.
Everything from the sudden beginning to the ethnic music that sets the Turkish atmosphere is great, and it really pulls the punches and you feel the action going on. I will keep listening, but for right now it is good, but hasn't reached legendary standards like say...a Hans Zimmer Bond score might. :D
The part where Bond is running down the street, towards Whitehall, combined with M's reading and this score, is brilliance.
Is restraint something that most people really associate with a Barry Bond score? I thought he said something along the lines of 'there is no place for subtlety in a Bond score'...?
No restraint is not something associated with a Barry score, it is anything but. I pointed out on another thread that Barry's music tends to accentuate the action, unlike Newman's. I'm sure people can dig up tracks to the contrary but on the whole the bulk of his scores are completely bombastic.
My favourite track in SF. Love it.
Flat? :))
I'm guessing if Shark dislikes Arnold's soundtrack from TWINE he also hates this: