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What has happened to the Bond theme in the Craig era ?
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BUT it had a great soundtrack,score to keep us going and ended it with the Bond music as he walked up the steps after shooting Mr White and then of course the end credits.
This got a standing ovation from the cinema audience.
But since then ,they still carried this on,instead of bringing it back ,as Bond had now become Bond,and the soundtracks and scores have been gradually getting worse.
Annoying.
2) Newman doesn't like the Bond theme
3) Producers don't care enough about the Bond theme (they don't care about the gunbarrel so anything is expendable now)
4) They don't want to send Monty Norman a checque every few years
I miss the days when a new Bond film pretty much had it's own distinctive recording of the Bond theme incorporated throughout. Even during the later Moore films when Barry's theme sounded somewhat same-ish, he would something distinctive with it. For instance the chords that punctuate the white dots in MR are completely different from OP. He also uses those chords during the parachute sequence.
I do like the use of the theme throughout SF, though as he's en route to the casino. Very Barry-esque.
It could be because I found Arnold's other themes and melodies woefully lacking during that period (and I did), and so the Bond theme just sort of stood out to me. It could also be because I didn't find enough variation in the manner in which Arnold incorporated it - in comparison to Barry. I'm not sure.
I am much happier with the sparing way Arnold used it in CR. It had significant impact when it blared at the end of the film. Moreover, I found his other melodies in CR/QoS to be far superior to what he came up with for the Brosnan era.
If it is to make a comeback, then I would like it to be incorporated seamlessly into a distinct melody, as Barry did so well, and which all the other composers did so well also. Even Eric Serra incorporated it superbly into The Goldeneye Overture in a modern way. Newman did an excellent job in a similar fashion during the SP pretitles.
I would also like to hear it in all its traditional glory once during the film, during an action sequence perhaps.
@ToTheRight, I completely agree on your point about Barry making the theme sound distinctive every time he used it, including during the gunbarrel. That is what I appreciate so much about his compositions. He had an ear for finessed detail which truly was impressive.
Couldn't agree more @ToTheRight . Just think it lost its impact with Arnold when it was used for anything slightly heroic from our tuxedo wearing hero. It was becoming pastiche to be honest.
Never bothers me that it's there since the rest of the score has so much iconic music. I always loved the James Bond With Bongos rendition.
The Bond theme in FRWL checking for bugs wasn't Barry's idea and he didn't intend fo it to play during that scene.
Given they have used the same arrangement for the whole of the Craig era (and only during the end credits) is there some sort of thing with royalties where Monty only gets paid at 2006 rates every time they play it? Does anyone know how royalties work?
Or is it really that Newman thinks he can do better because that's a f**king liberty quite frankly.
I don't even like that arrangement particularly. Why can't they just use the original FFS? Someone correct me if I'm wrong but wasn't the last time we heard that during the final battle in OHMSS?
I wouldn't agree it can never be overused as the FRWL bug scene is terrible but you're right about Superman. I loathed Man of Steel but if halfway through the tiresome final battle when Superman looks beaten and is lying under a load of rubble I would've forgiven everything if the theme had started up and then he had flown out and kicked Zod's ass.
Bottom line it's a Bond film so use the Bond theme.
If you don't like paying Monty his dues then just cut down on pointless expenditure like errr I don't know... how about a f**k off big explosion that cost the same as Zambia's GDP? And then just pay the man.
And if you've hired a composer who doesn't want to use it then either sack him or tell to shut it and that you are in charge like Big Sam would've done to Gary Nev.
You have to think it might well be about money as they love stuffing homages down our throat at every opportunity. If they are happy to flog the DB5 to death then why such restraint over the Bond theme?
Given the legal wrangling Monty went through to get his credit he's hardly likely to relinquish it in his lifetime I think.
Best hope would be to wait till he dies (he's 88) then offer his relatives a nice juicy one off sum.
Given the increasing rarity with which Bond films are released these days they might prefer a one off payment than ongoing royalties once every 3 or 4 years.
Or do EON have some sort of veto?
It's quite an interesting subject. Especially given that I'm of the opinion that Barry should've got some sort of joint credit. Yes I think it's been proven that Monty came up with (most of) the melody but it was John Barry who grabbed it by the bollocks and made it legendary.
Therefore Thomas Newman happened.
Both couldn't care less about the Bond legacy that much was clear after Skyfall I would think.
One can only hope BB doesn't get another director that has his own composer as a pet.
The exception being Nolan. =P~
yes that is both remarkable and unforgivable. The most iconic sound of Bond.