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Comments
The SP soundtrack is not on par with the soundtrack for SF, which I didn't really like. But it did have some interesting cues and a motif (the track 'Mother') which could be heard several times throughout SF.
SP is mostly generic filler stuff and recycled cues from SF. Take the track 'Tempus Fugit': that's largely 'Welcome to Scotland'. Also 'Backfire'. That's the 'Grand Bazaar'.
Unlike the SF soundtrack, variations of the Bond theme can be heard several times, though, which is probably a good thing, since it's the only motif there. The JB theme can be heard in 'Los Muertos Vivos Estan', 'The Eternal City', 'Detonation' and 'Westminster Bridge' (TB-variation).
My favorite part of the soundtrack is probably the middle part of 'Crows Klinik', and thats not saying much, since it only lasts 20 seconds.
Very disappointing OST from Thomas Newman.
There is some good stuff there but it's laid out pretty badly. The album needed a serious trimming to suit Newman's style. It feels extremely long.
Hmmm. Lets see how it works in the film.
EoN have not given a monkey's about Bond soundtracks since the 80's, so why should we suddenly get a proper one now?
Soundtracks don't sell a movie, and anything that doesn't sell is of no interest to Babs & co. She is unfit to be calling creative shots, as I have stated many a time.
The flipside to that is that it should work outside the film, too.
Great film composers paint the film with their music so that it tells the story without having to watch the film. Outside of the Mexico stuff, which is absolutely brilliant, Newman hasn't done that.
That's because he just isn't bothered.
Maybe, although I can hear him trying (in subtle ways) to move away from his own style and towards something more classic.
I wonder what direction he was told to go for by Babs and by Mendes.
Or maybe he's simply just not the right fit.
Yup ,
I like it more than the SF's soundtrack, SF was too mellow .
This sounds way more Bond than Sf's
Not always. Have you listened to The Social Network's brilliant score when not watching the movie? For me, only Hand Covers Bruise works. The rest, outside the film environment is quite dull and resembles just pure noise. However, they work brilliantly well in the picture and I believe it's a great score.
Ambiental scores, the type Cliff Martinez does for example, are not always wonderful when taken out of the film. The counterpart is they must work to perfection in their environment to be considered good in any way.
Exactly.
Very good example with the Social Network as well.
Precisely right.
The ghost of Barry, unfortunately but understandably, casts a long shadow.
Coincidentally two scores and three musicians that I don't like very much for the reasons outlined above. Different strokes, I guess!
Well, I love Barry, he's my favorite composer. I suppose you love Barry as well. Have you heard 4 in the morning? Do you know Jerry Goldsmith? Have you heard Planet of the Apes? Bernard Herrmann? The Day The Earth Stood Still? None of these scores work, at least for me, outside the film. They do, however, in their respective films. And so, I believe them to be great scores. The main purpose a score should have is to help the movie it is in. Its hearing outside this environment should be considered as secondary, and could, and sometimes should, be sacrificed if the film would benefit from having an ambiental score.
That I think is where we differ. Herrmann especially always worked outside of the film. The only Goldsmith score that focuses on ambience that works for me is Alien. Planet of the Apes never resonated with me.
And it still doesn't change the fact that something like Bond never once needed a focus on ambient music - outside of the stalking cues Barry gave us in FRWL.
A truly great score should be able to do both justice to the film and the two feet it stands on.
If you want a prime example of something that strives to enhance the ambient mood and still stands on its own - see Shire's work in The Conversation.
I haven't listened to it all, but what I've heard is absolutely brilliant. He even weaves in a version of the 007 theme.
EON should hire this chap (it will probably cost less too....heck he may do it for free). This is as close to Barry as I've heard, and very similar to Michael Giacchino's Incredible's score.
Ambient noise
The Skyfall score also never bothered me much in the movie, it's kind of just there and could very well be replaced by any other action soundtrack.
The same will apply to the new score I guess.
Well, in the teaser trailer
I’m so disgusted right now. I love Mendes, but I truly hope he doesn’t return for Bond 25 for the sole reason that he won’t be bringing Newman back with him. I have a feeling this will be the first Bond soundtrack I won’t buy.
1. Westminster Bridge - love it. It' recycled SF but with necessary Bondian bombast thrown in. As if Newman wanted to improve a previous track which he felt was unfinished. This is what I wanted more of. This, to me, is Newman meets Bond
2. Donna Lucia - magnificent but way, way too short
3. Los Muertos Vivos Estan - excellent use of the Bond theme woven in while still sounding fresh imho
4. Safe House - Superb ending - segues into Bond theme brilliantly. Again, an example of what Newman should have done more of (like Westminister Bridge or Los Muertos Vivos Estan), because he is pretty good at it when he tries to do 'Bond'
5. Backfire - it has grown on me with repeated listens and I'm sure will work well with the accompanying scene
6. Hinx - chilling
7. Vauxhall Bridge - suspenseful, again with subtle James Bond cues at the end
So you read illegally obtained material and now you're throwing your toys out of the pram because the score doesn't match your expectations for a specific scene? In this instance Newman did nothing wrong, you ruined it for yourself.
I have since listened to the entire soundtrack with a more open mind, and parts of it are quite good. However, I do stand by my initial opinion that none of it stands out to me as "Bondian." All of the action/adventure cues, at least, still strike me as generic action movie music. Some of the slower sections are lovely, though.
Thanks for calling me out and pointing out what a spoiled child I was being :)