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Hope you got a better deal than I did.
I think the name choice is entirely intentional — https://en.wikipedia.org/wiki/Swan_maiden
I agree. Madeleine isn't Tracy but she's probably the closest thing to Tracy in this era. I like what Zimmer does with the WHATTITW theme but I'm not reading too much in it either. Lest we forget, Serra toyed with the GF theme in his GE score and there was no connection there either.
What track does Serra do that in? Curious as I haven't ever picked up on that before
The brassy hook in The Goldeneye Overture.
Cars can be converted to swap driving position. If we can believe the one in Spectre was a rebuilt version of the same one that got blown up in Skyfall, then I'm sure Q is able to swap a driving position! :)
Yes, my own personal version of the story (just for fun) is that Bond won the car but when he was drafted back onto the mission everything he did in the Bahamas was post-rationalised as part of that official MI6 mission, therefore the car became MI6 property (although as they have no particular use for it it was kind of a grey area and just seen as Bond's car)- Bond was happy with that because it meant they paid to have it shipped back to the UK. Bond was also friendly with a fellow car enthusiast in Q Branch and got him to swap over the driving position. And then also as a favour he popped some gadgets in from an old Q car they had lying around the place! :)
Yes I think it's a bit silly not to realise that half of these conversations are just had for fun: this is a 'safe space' where we can all be geeks together: telling us that we're overthinking it is kind of missing the point a bit! :)
Yes I've always thought that his gunbarrel was a GF sample for the fanfare too, but it's hard to prove.
Also I thought it popped up as a sample in the Rome chase in Spectre too: there's an echoey appearance of it which sounds very similar.
It's fan service just like bringing Dench back as a different M for the Craig era, the db5 returning in CR, SF & NTTD and now also the v8. Personally, I don't let these things bother me. The story, character and plot are far more important.
What you hear at 2:42 is from Goldfinger.
I thought it would haven been 2:45...? i.e Start of GF Gunbarrel
Oh, that too, I guess. But the 2:42 bit is the second part of the opening hook to the GF theme. Like how LTK used the first part in its theme song.
We're in a sampler/repurposing/TikTok music world now. Barry wasn't.
I'm just happy that there's *any* sort of melody in the score after the last two cacaphonous ones.
There's plenty of melody in the last two, don't be silly. Or rather there's a similar amount to in NTTD: this isn't a score for folks who want every cue to be a lovely whistlable tune. If you like lots of percussion drumming away, Hans is your guy.
Getting a little muso here, but I don't think that's from Goldfinger. There is a very subtle difference to the chord; Goldfinger uses a major third whereas this sample uses a minor third (i.e. the third is flattened).
It certainly evokes memories of Goldfinger though, which is probably what Serra set out to do.
If I had to guess, Bond and Madeleine get back together in the end. I'm not seeing any other love interest in the film for Bond: Nomi and Paloma seem all business.
You mean a chord in the three-note top line hooky bit? Or what mtm better described as the response to the call of the opening two big notes (in Goldfinger)? I'm non-muso enough that I wasn't sure if they were chords at all! :)) Which one is different, or is it all three?
I'd say so. Newman seemed to be attempting to channel Zimmer in some of his action cues but nothing is quite like the real thing.
Exactly. And I think Newman's best Bond action cues are Silhouette, Enquiry & The Moors. I love his romantic and quieter moments of course. Tracks like Old Dog, New Tricks are ultra-Bondian and possibly his best Bond cue. Action simply isn't his forte and it shows. Although, I think SF is where his action music works than SP. He went for a more travelogue and romantic sound in SP and it worked...but he couldn't just nail the action scenes. And since Mendes wasn't a fan of Arnold, he should have at least keep Paul Epworth to assist Newman and we would have had more of Adele's theme in the score and judging from the song's instrumental, Epworth can do good action.
I have to admit I was afraid of what Zimmer would do. As far as I've seen, or rather heard, I needn't fear. However, as said before, I won't fully rate the score until I watch the flick.
Skyfall:
- Bond approaching the casino by boat
- bond and severine on the boat approaching the abandoned island
Spectre
- bond and Maddy in the rolls Royce approaching the base
- The rome sequence in front of the Vatican
- bond approaching mr whites house
Mainly I think he seems to be good at melodic atmosphere and anticipation. I don’t like the climax in the Thames with the electric guitar.
Grand Bazaar, Istanbul is a brilliant atmospheric/action cue. Tennyson/Enquiry is brilliant. The action cues in Skyfall, the manor itself, are also brilliant.
It's true that, especially with Snow Plane, Newman seems to have run out of ideas and he tries to channel his inner Zimmer, which ends up being his worse action cue, IMHO.