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Comments
Only if he’s allowed to collaborate on the title track. The only times I think he’s been allowed to do this was TWINE and CR. TWINE is Garbage sadly. With YKMN it works a treat.
More often than not EON have foisted some has-been pop star on for the title track and ended up with total crud.
Such a shame uber bore Newman didn’t want to work with Adele’s title tune - would have elevated SF soundtrack massively.
Agreed.
The Group was garbage,the title song and score certainly wasn't,i think its excellent.
I'm more skeptical about Hodge than Boyle to be honest. I've never been a fan of Logan but he could write strong characters and dialogues, sometimes even great ones. It was his plotting that was muddled up (it's almost part of his style). I find Trainspotting overrated but I guess Hodge overall got stronger credentials.
I am not familiar with Hodge, but the way they are apparently going about this (dueling scripts, or at least entirely separate concoctions) suggests that they want to avoid the issue with SP (too many cooks stinking up the broth). It's either one way (P&W) or the other (Hodge) this time.
Yeah, the dueling scripts approach is interesting. You may be right that the writing process on SP had something to do with it.
Has Eon ever had more than one script on the table to put into production before?
That laugh! Maybe he should have played a Bond villain himself? :))
Fingers crossed !!
I don't think they've had two seperate and distinct scripts before. They have of course had scripts that have ended up very differently but based on earlier screenplays - e.g. TSWLM's original script had the submarine idea and the idea of Bond falling for a Soviet spy but was quite different - taking a lot of inspiration from Moonraker the novel. Michael France's first GE draft is very different to the final screenplay but a lot of the original ideas are there - the character of Trevelyan - the lines spoken at the climax asking if the vodka martinis Bond has drunk has silenced the screams of his assassinations and finding forgiveness in the arms of willing women came all the way thru from that draft.
With Arnold I would at least enjoy the score. With Newman, it really just ruined the film experience for me.
Wonder how much of the script that's written. would be lovely with confirmation of their involvement soon.
Newman hammered the final nail into SP's coffin.
I will never forgive him for being so lazy,presumptious and arrogant by re-cycling SF score (which isn't one of my favourites in the first place !!)
I have no time for Newman.
Cool! Atleast we have something to discuss! His laugh is infectious for sure!
I remember getting angry when I first heard the recycling at the cinema. Didn't help that I left the cinema somewhat disappointed by the film as a whole, either.
A discussion for a different thread, but I have actually yet to speak to someone who was at all positive with SP. Went to see it with some friends, and they labeled it as boring, slow, bad, shit, etc.
The final decision and buck stops with Newman,imo.
There are certainly a few references in Trainspotting.
He has been a big fan for a long time,luckily.
That laugh is incredible!
I'll take it! If for only the fact that we don't have Mendes coming back to continue the poorly executed Blofeld reboot. Not a bad resume either. Here's hoping for a proper standalone film for Craig's farewell. Oh, and let's keep Feinnes, Harris and Wishaw at headquarters and only featured in the first 25 minutes of the film (and maybe the closing scene for a quip).
I left the cinema feeling I had just seen a work-print for SP in which the actual score hadn't been composed yet. It was astonishingly lazy and disappointing.
I'd much rather have Arnold back, TBH. I'm sure there are some excellent composers today, but 99% of the films I've seen recently do NOT have memorable music. That includes Wonder Woman, Batman V Superman, the latest Spiderman,...really all the DC and Marvel films. They all blend together to me. The music in the Taken films sounded exactly like the music in Hitman for instance.
I stand firm by my belief that each Bond film should have a memorable score that gives each film it's own identity. FRWL, GF, YOLT, OHMSS. MR, all had vastly different sounds but each was undeniably Bond. Same with the non Barry composers of the Cubby era. LALD sounded different but very Bondian to me.
I most certainly hope there is a composer out there who understands Bond music.
i didn't think a Standalone 25 could be a possiblity, until Boyle confirmed his involvement.
I don't see how he would even want to continue that mess, and i don't think his "idea" has any connection to what came before