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Comments
I call it "great"
In the " Jellyfish" fight sequence, as it's all punches and kicks, he used mainly
Percussion, to add to the drama of the scene. I find the reason behind why composers
Use the sounds and arrangements to their tracks , very Interesting. ;)
http://www.bol.com/nl/p/spectre/9200000049886928/
Thanks for the news @M_Bakje! Seems a reasonable date to me :-). One or two weeks before the premiere. Bit similar to Joe Kraemer's score for "M:I-RN" and Daniel Pemberton's "UNCLE" score.
I'll definitely watch Bridge of Spies for clues about Newman's form. There's a lot riding on the score for SP. Hope he lives up to it.
http://s.s-bol.com/imgbase0/imagebase3/large/FC/8/2/9/6/9200000049886928.jpg
Cd wil include score version of Writing's on the wall.
This is quite nice!!!!
It would be nice yes. But ever since the score for "DAD" Eon prefers to separate the movie score production from the title song performer production. Which is sad...but what can you do about it.
The title song "WOTW" (...instrumental) on the actual movie score hasn't happened in a while though! So that does bode well. Permission from Capital Records was necessary to put it on the Sony Classical Records album of the Thomas Newman score. So it could very well be that Thomas Newman has cooperated slightly more with Jimmy Napes and Sam Smith.
October 23rd! Next pivotal date! :-D!
I think Joe Kraemer showed how to do it earlier this yr with MI-RN. Be creative and incorporate it, twist it and manipulate it while still keeping it clearly recognizable. Barry was a master at this in his later years, and Kraemer did a great job with the MI theme. Even John Powell did it very well with the Bourne theme he created in Identity with Supremacy and Ultimatum (crafting it and manipulating it while still keeping it real).
My biggest desire (more than Bond theme and more than score incorporation) is for excellent hummable melodies, finessed & rhythmic (rather than noisy) action scoring and a little more 'amped up' score this time. I want more percussion and orchestra.
It's not since DAD. They've been separating the score from the song ever since John Barry stopped doing the music - Licence to Kill in 1989 marks the break point. Ever since then, with a couple of exceptions with David Arnold's input, the song and score have been separate.
If there's an instrumental version of WOTW on the soundtrack then surely that confirms that Newman has incorporated it into the score?
Seconded. Giacchino seems not just a far better fit for Bond - some of his work almost sounds like a proper Bond score already...
Shore was 'chosen' simply because Mendes knows him & likes working with him, nothing more. He was not handed the job because he is the best man for it... a recurring theme with EoN these days...
As the title of the thread is 'appreciation' I suppose I better say smth nice as well before the lynching starts. Shore is a talented composer, yes.
Just not one who (so far) 'gets' Bond.
No, I think Henry Jackman ("Kingsman") and Daniel Pemberton ("UNCLE") in my opinion are the frontrunners to replace Thomas Newman...IF he wants to quit after "SPECTRE".
Because let's give the poor man a chance OK? He only composed ONE score so far. Perhaps "SPECTRE" will be great. Don't be too harsh on Thomas Newman.
Who is Shore?
Replace all 'Shore's with Newman. Always get those two mixed up.
Agreed. Just this morning, I was randomly replaying the PTS of LTK in my mind and I remembered how dramatically awesome it was when the Bond theme kicked in the moment Dalton started "fishing for Sanche". If SP did that at some point for its PTS I'd be jizzing in my pants.
IMHO Giacchino is great when he works for animated movies :The Incredibles, Ratatouille, UP or Inde Out have indeed wonderful scores.
But I am not a huge fan of his compositions in movies.
In fact that's one of the best score tracks of the entire series imo.
Fully agree. I like it more than "Time To Get Out" from the QOS PTS.