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Comments
Haven't you stated this already? Anything new to add to this thread?
I find that a lot of your comments are about criticizing other members. Why is that?
It's funny, I was just about to say something nice about you then too. Are you looking at starting any arguments again, because I'm not.
Personally, I thought Arnold's TND soundtrack was better, more Bondian, and more complete than SF. And what Arnold does exceedingly well and better than Newman is the romance pieces. I found "Severine" to be very weak in comparison to Arnold's Paris, and especially his Vesper work. Not as complex and lacking in the same emotional content.
Totally agree. Have been saying this for ages. It was an outrage that such important work was ever handed to Purvis and Wade. If they're going to develop new stories they need somone very good on the case. I don't know if Logan is that man, but I do hope so.
Ta Sir Henry.
I enjoyed seeing Tanner and Q putting the "breadcrumbs" up to Scotland, and seeing the rest of MI6 in action, as well. The cast of Skyfall is rather superb.
One thing that has been bothering me;
The script between Bond and Eve, during their scenes in the hotel room and the casino, and between Q and Bond in the National Gallery, was kinda "clunky". I could see what they were trying to do, back to the sixties in terms of the characters dialogue, but it didn't have the same class and wryness. It reminded me of the exchanges in the Brosnan era.
Good point @jetsetwilly, about the music being over dramatic, in the PTS and the helicopter scene, respectively. I said to my friend that, the latter in particular, started an alarm in my head; it was dangerously close to parody. Luckily, my friend stated that it was ok; he's rather cynical when viewing a movie. It didn't bother him. As a Bond fan, I confided, I'm always on the lookout for "Austin Powers-eques" moments, I'm hyper aware of any moments. He said I didn't have to worry. So if he's satisfied, I can rest.
About the score: Some of the most wonderful parts on the soundtrack isn't in the movie. For example "Mother." It sounds beautiful IMO midway through when the strings kick in, but in the movie the track is cut off right before (the scene where M dies).
That being said I would really be disappointed if Arnold, who's always very passionate when scoring Bond-movies, don't return, because I don't find Newman's score very memorable.
I'm sure it will come as a huge surprise to hear to that I thought the soundtrack was flat and lifeless. There was not a single memorable theme throughout the film. Arnold's recent work was frankly far superior. Having read German Lady's original very brief 'review' of SF I know that I am in good company in saying this, because she posted pretty much the same view.
GE is by far the worst Bond score IMO, and SF is not in that league, but it was utterly forgettable.
I hope Logan reads all the Fleming books (maybe he already has), and looks to start bringing scenes back like Maibaum did. I'm not entirely sure whether P&W tried to do this, but because everything is done by committe, certain scenes may have been altered or toned down once everyone started having their input. Who's to say DAD started off as a TMWTGG opening, with the MR novel as a basis by P&W, but then bit-by-bit the whole thing got trashed by everyone having their input and altering the script to the point it became a mess.
At least Craig recognises where to draw the line in terms of cheese, and his voice his heard from the powers that be. I got the impression this was never the case with Brozza - he was just along for the ride, without ever really fighting to go back to Fleming. He always went on record saying he wanted more drama, but I never recall him saying he wanted to go back to the novels (I could be wrong though).
On the evidence I've seen P+W can't do plot or dialogue. Logan I know can do dialogue and often very entertaining dialogue. But I'm not sure if can write a decent story. I suppose Gladiator was decent enough, if a bit derivative.
I'm only posting this in anticipation of how it may fuel another argument again. Having been a resident MI6 member long before this rebranded site (I was posting on the old MI6 back in 2005) I know what kind of posts can trigger arguments again, so I'm trying to stamp out any potential fire before they start (although sometimes I know it doesn't always seem that way with my posts...) ;)
SF is the first Bond film I've seen since LTK which didn't really have any cringeworthy dialogue for me, and I'm guessing this was down to Logan's influences.
I think you have to put these down to "awkward getting to know you" type of stuff and a different writer (Logan). That said, I greatly prefer the Eve dialogue to the eye rollers we got in the Brosnan era. A sense of class to it that Lois would have approved of.
Well, I can remember "Grand Bazaar", "Severine" (although I feel it to be rather weak), Breadcrumbs", and I since I genuinely find the SF theme to be catchy and memorable, I remember "Komodo Dragon" well. Most of it though is fairly generic. If you are referring to Arnold's QOS work, I agree with this. I like it better than SF to this point. But to be fair, like the actual QOS movie this soundtrack may be a grower. I do like it better and better with each listen.
I'll buy you a pint for that last comment about GE.
You can buy me one too, as I also think GE is the worst soundtrack.... ;)
I own the soundtrack
Done :)
@ BAIN- I think this comes from your general love of GE. I get that, I'm a fan of GE and you will read why when we start up the originals reviews. I love the GE title song. But the rest, no, in this instance I find the rest of the soundtrack to be ill fitting for a Bond film and appallingly bad. I've gotten to listen to other work Serra has done and it's awful even by his standards.
Saying that though, I listened to the original tank chase track on Youtube and it sounded terrible. It would've ruined a great moment and I'm really glad they used the Bond theme instead.
That is a terrible track and thank god they didn't play it in the film.
On it's own it sounds good. (I listen to it on the way home from school.) But in the movie it would have been awful.
Bro, if you think so then feel free. I'm a person who appreciates originality, but it has to be in a Bondian context and Serra totally ignored this. I don't even remotely like the orchestration and melodic structure and almost any composer could have captured the post Cold War atmosphere just as well while delivering Bondian tones that fit.
I've only heard EON express regret once over their choice of composer, and that was for this film. Dead on assessment.
:))
This is one area where you two can be the best of pals on ;) See, we can play nice after all!
I think the soundtrack is probably the worst in the series (although I'm not a huge fan of DADs either, too techno) but I've always thought the film was brilliant.
I love the movie so I'm not going to be a part of the slating. General consencus is that it is a decent film too (although I will admit it has dated somewhat)
Laugh if you like, but after recently listening to both soundtracks I think Arnold uses a lot more techno in TWINE. Almost every song has some weird noise going on in it. Aside from the Madonna song, I rate DAD as a better overall effort.
:P