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Then we watched two different movies both named Skyfall.
I concur with @Walecs, a different movie.
O:-)
Small world...
I'm not entirely sure but I thought that Adele's work on SF began late during post-production and therefore Newman didn't have a lot of time to incorporate it into his score.
Writing themes like '"Surrender", "The World Is Not Enough" and "You Know My Name" have made me extremely confident that Arnold can deliver a fantastic job of Barry proportions. By the way has anyone noticed the riffs from Arnold and Bassey's "No good without goodbye" in QoS? Shame the song didn't make it into the film.
You're certainly correct about No Good About Goodbye. Not only do I love that song very much, I too recognise a couple cues from the QOS score. I wish QOS could have used it as its OT music. That abomination they fetched for the final cut, AWTD, left me speechless when I first heard it - and not speechless with admiration...
http://www.thesun.co.uk/sol/homepage/showbiz/bizarre/3851837/Adele-records-new-James-Bond-track.html
I guess Newman didn't thought there was much need for incorporating the song:
http://www.filmmusicmag.com/?p=10217
Too bad. I actually like the cues in "Komodo Dragon". Wished he had done that more often.
But let's not get off topic: DA should return to the franchise. I would like to see him working with Adele and Paul Epworth.
I'd say Newman will be back as Mendes musician of choice.
This has all been covered in detail in the Thomas Newman thread.
Basically Newman had ample opportunity to include the title theme a lot more if he'd wanted to. Instead, as EON's insistence, it is referenced once, and this part of the score was not even written by Newman who claims he 'didn't have time', and delegated it to one of his team.
However, I do accept the argument that why should Newman include a theme in which he'd not been invited to collaborate. So I think it's essential that in future it is made very explicit that the composer must collaborate with the title tract artist, as Barry and Arnold often did, particularly if the artist/performer wants to compose the song themselves. It should be a basic given on every Bond movie. Artist and composer working totally independently should not be allowed as it is to the detriment of the films.
He has had some good moments over his 5 film run, most recently in QoS & CR, which were his better efforts in my mind. However, I still don't think he is of the right calibre to be scoring Bond now that the general quality level has gone up across the board in other areas since Craig has come on board. In my mind, he was more suited to Brosnan's time (and reminds me of that time).
I'd welcome Newman or someone else. I actually prefer when new composers come along from time to time and shake it up. I realize Newman was not to everyone's liking, but his sound was fresh in certain parts & it was good to hear something different (and to some extent inventive - particularly in Shanghai, when Bond was on the boat with Severine, & when Bond was going to visit the new MI6 bunker). I noticed some finesse in Newmans' action scoring (even in the finale scenes in Scotland) that is sorely missed in Arnold's work.
I do agree with others who have said that the title track must be incorporated in the score. That is something that is unforgivable if not done. However, I believe in some cases (not all) there are business reasons for this not happening (composer and artist not represented by the same company, or creative differences, or lack of time). It is something that the producers should insist on in the future. They should also insist that the artist come up with a melodic tune (unlike that showboater Madonna) so that it can credibly be incorporated into the soundtrack score.
Having seen Interstellar twice, I am now sold on Hans Zimmer. He did absolutely terrific work in that movie. Eargasmic has been thrown around a bit, and that is what his score for that movie is. If he can give Bond the respect that he should (and that's my concern), Zimmer would deliver a masterclass score. Otherwise, I'm happy with Newman or someone new. I'm even open to Trent Reznor.
And I'm sorry but I have to respectfully disagree with the thread originator. CR's score, while very good for Arnold, is nowhere near the 'best ever' for this 50 year series. I recommend listening carefully to TB & OHMSS for exceptional scoring, or the absolutely magnificent TLD for a different version of the Bond sound (think Bond meets Michael Jackson's Bad - Synthesizers & all)
In other words "freshness and difference" do not mean "good score"
I liked Serra's score and thought it suited GE perfectly BTW.
To each their own I guess. I was happy Arnold did not do SF & I am anxiously awaiting the announcement for composer on B24. If it's Arnold, I'll lick my wounds and look to other parts of the movie to enjoy.
Can't say I agree with you at all in this regard. Also considering Newman I take the term "threat" literally.
I actually did mean treat, and I feel ashamed by the mistake as the difference between the two is one letter and a world of difference.
Never mind.Happens to me (and the autocorrection )all the time, only in this case the chance of having a joke at Newmans expense was to good to ignore.
I agree. Moreover, DA did not exactly put up his A-game either. I still think we're comparing too much with John Barry. The days of Barry, Goldsmith & Morricone are over. Melodies aren't composed anymore. Music is following the movie scenes much more closely as of today. You can't enjoy them separately as much as 40 years ago.
Therefore it's not really fair to say DA is "more John Barry" than TN. Both composers are no John Barry at all. Having said though, I think the "Skyfall" has better re-listening value. It's composed slightly more skillfully and with more creativity. It also has more "layers" compared to DA in my opinion.