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*Sheridan Smith should be a Bond girl.
*Dean Norris should play Felix.
*Christopher Eccleston should play a villain, preferably Blofeld.
*Australia and Ireland should be locations.
*More brutal fight scenes.
*Noel Gallagher doing the theme song.
*A brand new Bond car, preferably the new Lotus.
*And most importantly of all: Fix the f***ing gunbarrel. Good design, properly paced, at the beginning.
And yes, I know most of these have nothing to do with the criticisms of Skyfall. But since everyone else is just using it as a wish list thread (how would adding a formula one scene solve Skyfall's problems?), I decided I may as well post this.
If you read my post carefully, it's not only about 'adding a Formula 1 scene'. It's also about bring some true and honest humour and suaveness back to the next Bond film. I found 'Rush' in that sense near-perfect. The whole lush and luxury entourage within the Formula 1 scene, could help make Bond 24 a bit more light-hearted, without becoming another 'Die Another Day'. Just think about the scenes of the girls in Piz Gloria in 'OHMSS'. It seems that's 'not done' anymore in the latest Bond films, while we did see that in 'Rush'.
My posts are usually a bittt more extensive and critical than you are portraying right now.
Also, I think in a sense this topic is much broader. It is in a way also about how we could make Bond 24 'The Best Bond Movie' of all time. It sounds a ridiculous task, but I think the Bond producers are always trying to do that. So why not brainstorming about several elements that could 'tackle every bit of criticism that surrounded 'SKYFALL' '. Hence the topic title.
I'd be happy to have a gunbarrel anywhere but the traditionalist in me does prefer in at the beginning. It has not been done for a while, so maybe that would be a good thing and feel fresh. I think Mendes considered it, no? But the PTS felt very appropriate the way it was, so personally I would not change it.
I think the humor also was well done and that is a tightrope to walk; not too OTT, but yes some wit and fun.
I think Adele's success is great and the producers an director are going to want another big hit for the theme song. Doesn't have to be a solo artist, but I think they will do that. I do not think it will be Adele again; not 2 in a row.
My only real criticism and change I want that happened in Skyfall and that I do not want for Bond 24 is the score - I really want the score to incorporate the theme song at times, hints of it, etc. and to incorporate the guitar Bond theme at times, too. I think Newman can do better. I do not mind if he returns, but I want more from him this time. There, that is the only point I can really contribute to re this thread's title.
I think my views on SF are well known, but one hopefully not too controversial thing I'd like to see improve is the music. I'm not a fan of Newman, but even I think he can do better than what he delivered for SF. I really don't understand why they couldn't get him to work more closely with Adele either. Working the title track into the main score is a signature of a good Bond movie and the one brief reference in SF felt tokenistic. I think he did it on autopilot, done by someone with little interest or belief in the project. Nothing about it stands out. It would be nice if the job went to someone with a bit of passion next time.
And I keep hearing how talented and great Newman is - so really, I wouldn't mind his return, but more passion, more theme song woven in, etc. is needed for sure.
http://www.mi6community.com/index.php?p=/discussion/comment/255035#Comment_255035
JamesPage is usually in the know about this sort of stuff. And if Newman isn't coming back, that means we'll probably get the return of David Arnold <:-P
If that's true - about Newman not returning - then I'll be very happy. I don't mind the idea of Arnold coming back at all, but am also happy to see someone else given a crack of the whip, but only if they have respect for the series and are really up for it!
Totally agree. He really got into the swing of things with CR and QoS. And Surrender and You Know My Name are IMHO two of the best songs of the past 25 years.
I am highly amused by the statement that DA got into the swing with CR & QoS, here he had a blank canvas to create a new Bondian theme and he came up with f*ck all, this made both soundtracks for me the most forgetable of the whole franchise. When people talk about either soundtrack they name some tracks but overal both soundtracks are NO better than elevatormusic, really forgetable.
Take Murray Gold he got the gig to write new music for Doctor Who, and that francise has some rabid crazy fans that make the worst of 007 look like total weenies, and he just nailed it. He did some lovely rewrites on the DW theme (DA did as well but that was cr*p imho, gladly they stopped using it) and created a whole new sound for the DW franchise which receives its fair amount of critism but his soundtracks are very well liked.
Now can we just forget DA or even Newman, who did not impress me all that much, and get a new composer that will create a new soundprint for 007. Or do we wait untill Craig buggers off before EON dares to put some creative guts towards some music composing.
One of teh great things I liked about the 007 franchise was the greatness of its musical score which to be honest has been rather bland in the Craig years.
At the beginning of Big Finish run with the 8th Doctor, DW BF 16-18.
CR & QoS are totally forgetable, their title songs are not that special except that QoS has the credit for having the worst theme song in the whole of the franchise.
SF is just not that great either, easily forgetable stuff as well. But as a composer he is leagues better than DA.
What I want for the franchise is an adult great composer that can create a new sound for the franchise. With DA we had JB in Drum 'n Bass and then when he could do it for himself there was nothing. With Newman a classic score but nothing that jumps out at you to remember except for the title theme he had nothing to do with.
GE's score is very fitting and having recently seen GE with the DTS soundtrack on the disk I found that the music worked very well with the movie, and actually sets it apart from the later movies. Stand alone the music has something mysterious and distant which fits 007 well enough. And I found it a highly original attempt to do musically with the 007 franchise.
Just listened to it and yeah, I really like Arnold's Bond scores but that did sound pretty terrible.
Part of what makes James Bond movies so great are the perfect use of the JB theme. CR? Used it three times. Once when Bond put his tux on, When Bond won the poker game and during the end credits. QoS? Also Twice. When Fields was introduced and again during the End credits. I'm sick of the lack of JB theme. I don't want it reserved for the end credits. It should accompany Bond on his journey. Not hide because it's a reboot and typical movie scores today are becoming themeless and generic.
Skyfall for the most part used it a fair bit. Which I'm happy. But the fact that Newman was forced to rewrite his score to incorporate it doesn't make me happy. It's a James Bond movie, use the Theme it was written for.
Rant over.
I thought the JB theme was barely used in SF and when it does appear it's as if Newman was embarrased.
But I am not here to defend Arnold. I think he did a decent enough job on CR and QoS but I totally agree that EON should always have been looking for something better.
And Newman was a step backwards IMO.
I also agree about use of the JB theme. The early films used it a lot, to great effect. I can accept that a composer wants to stamp their own mark but it's always annoyed me when there's a moment that's crying out for it's use and the composer pretends it doesn't exist.
A moment that stands out for me was at the end of the GE PTS, when the plane disappears for a second or two and then roars up out of the valley. That demands the JB theme, but the score is silent. Although the stunt sequence is totally implausible, I think the JB theme would at least have rounded it all off nicely. Instead we just get silence.
However, in Skyfall they are very, very glaring coincidences, far more so than in previous Bond films. Furthermore, I believe these coincidences are far easier to swallow if they turn in favor of the hero, whereas in SF they turn out in Silva's. When they benefit Bond/MI6 you can easily rationalize by saying well its the hero he always has to win. When the villains benefit it is more annoying as the villain always ends up losing anyway, making them simply feel unnecessary.
I think Arnold has done some decent work but he has not come up with any original themes to match Barry. That's a real shame.
Oh, I totally agree. You really don't need to convince me about this. ;)