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Agreed, those are some of the best tracks on the score and uncoincidentally the most “Newman” sounding. I especially enjoyed the quieter themes that come back in Secret Room and when Bond and Madeleine part ways after the safe house. If we had more of that and less of Skyfall it would’ve made a world of difference, but Mendes fell in love with the temp score and the rest was history.
The only returning theme that is justified, IMHO, is Judi Dench's M's theme when she unexpectedly reappears.
It’s stuff like “Someone Usually Dies” being reused for the Nine Eyes vote that makes no sense.
I really wish Mendes didn’t fall in love with the temp score because that robbed us a whole new score just when Newman got more confident and playful.
The issue for me is he never really, as far as I can recall, uses the "swing" bit of the theme - he instead opts for the "morse code" fanfare for the Bondian moments like the bike going off the bridge in Skyfall or the helicopter sequence in Spectre
The swing bit is referenced as he walks over the digger into the train, for one- there may be others. I can't think of Arnold using it in Quantum though.
Amazon send me a message that I shall receive the CD by October 1st. In Germany, that is.
Yeah, we might be having the odd distribution problem here...
Can't do a full review, but some initial thoughts:
C’mon, it’s not that.
Feels weird saying this having only heard it in the film, but I will say: it works spectacularly well in said film.
Greatest score in the series? Likely not. For me, I'm not sure that Goldfinger, OHMSS, YOLT and Casino Royale can ever be truly dethroned.
But Zimmer's effort is a damn, damn good one and -- strangely -- almost specifically the precise one I've been hoping to hear for many years.
I'm also shocked how humble of a work it is by Zimmer. It's definitively a Zimmer sound and score at times, but the way he completely gives himself over to the musical language and legacy of Bond was so comforting and inspiring. As he said at the premiere last night, "my heart was in this," and you can truly hear it. My heart was in it too.
Yeah, I didn’t massively enjoy listening to it as a separate score but I did definitely get the feeling it would work really well in the film.
As I still haven't heard the full score on its own, I can't say! Ha.
Might have a better idea on Friday after I've purchased and listened to the whole thing.
I will say (musical spoilers ahead, but no plot spoilers):
(Biggest spoiler, look away!) But this is the kind of stuff I nerd out about. The Bond vamp is everywhere in the score, but there's a particular piece of the Bond theme I love that Zimmer uses as a recurring motif in action moments. It's the "swing" section, and he gives it a low brass growl treatment that is both definitively Zimmer and yet also sounds like it could be straight out of Goldfinger. I've been waiting, literally, years as a Bond music fan for a composer to give that bit of the Bond theme that sort of treatment. And whooboy does it ever work. In fact, it's nearly identical to the way it's treated starting at 2:10 in Trailer 2:
Music by Hans Zimmer
Score Producer: Steve Mazzaro
https://planetradio.co.uk/scala-radio/shows/the-music-of-james-bond-with-david-arnold-and-mark-kermode/
Oh yes this is really beautiful. The Track is called "Home" on the OST
@jake24
The Beginning in Norway is missing. But there is maybe more
The Matera Chase is a little bit different on the OST, that Bridge-Clip Music isn't featured on the OST.
Also missing is the following part, but it's also missing in the movie i think. Tomorrow i see the movie again