It looks like you're new here. If you want to get involved, click one of these buttons!
^ Back to Top
The MI6 Community is unofficial and in no way associated or linked with EON Productions, MGM, Sony Pictures, Activision or Ian Fleming Publications. Any views expressed on this website are of the individual members and do not necessarily reflect those of the Community owners. Any video or images displayed in topics on MI6 Community are embedded by users from third party sites and as such MI6 Community and its owners take no responsibility for this material.
James Bond News • James Bond Articles • James Bond Magazine
Comments
This might have been what I was thinking of.
I look forward to listening to those parts when I buy the film.
I really can't see Arnold returning. Once Dan Romer left, the opportunity was there to invite Arnold back. Instead they went for Zimmer. Arnold has had his run. Zimmer must be a near certainty for Bond 26.
Yeah, that's another worry.
True, I would be very surprised if Zimmer, Marr & Mazzaro are not already on standby for Bond 26. And I think EON should go back to rock music for Bond 26's title song. We've now had three ballads in a row...the problem isn't that the songs are bad, but the last two all want to be Adele's SF.
It's too bad they "go in for that sort of thing", Oscar winners and whatnot. I can see why, but it's kind of a shame if it's true they wouldn't go back to someone because they were never nominated by the Academy.
Yeah. I think after how SF took the world by storm, with Adele winning an Oscar and Newman nominated for best score, EON now have an insatiable taste for more Oscar wins...it's also evident with the Adele-type of title songs we've had ever since.
I mean when you look at Barry - the man certainly had clout and Oscar wins under his belt. But he was never nominated for a Bond film. Which is beyond bizarre. But Marvin Hamlisch was for TSWLM. Of course it certainly helped that he was the flavor of the month during that time in the 70s.
As you can see none of this reflects in any way on actual quality. The Oscars don’t make sense.
Correct on every count, sir!
Wow! It's so short.
Nice.But short.
Which I think is ridiculous. The focus should be on creative excellence and not being a pretentious glory hunter. Everything about CR wipes the floor with the majority of all Bond films, especially the 4 films that came after it and aside from Haggis' involvement EoN weren't exactly on a mission for hinting Oscar horcruxes. EoN need to focus on the art and quality and less on the "prestige". They got Oscar winners Waltz and Malek and quite frankly both were lacklustre at best.
They don't care (the Studios) about the final product, just about how they can market it. Hans Zimmer is reassuring to them due to his track record.
Do you mean the horn section action motif that starts at 00:10 sec into 'Square Escape' ?
I've always wondered why on earth Newman didn't use this at all, even Arnold only used that motif for about 5sec. in all of his scores.
It's a Bond film. A series that's been running for 60 years that for better or worse sells itself. You only have to look at how NTTD is performing internationally. Zimmer, Waltz and Malek certainly aren't major draws to the film. Although nice to have, they don't need Oscar calibre talent to draw in sponsors. If that really were the case, then the likes of Purvis and Wade would have been ousted when Brosnan left.
Just going by memory, that part of the Bond theme has rarely been used in the films, apart from those times when the original recording was played in FRWL, YOLT and OHMSS. It's really great that they made it such a relevant part of this score after so many years.
Another thing I like in this score is how the flamboyant brass passages in tracks like Message from an Old Friend and Cuba Chase are doubled by electric guitar, which off the top of my head I can't recall ever happening before. The instruments blend together very well, and of course, both the brass and the guitar are signature elements of the Bond scores. Even Arnold, who was very deferential to the traditional Bond sound, kept them separate.
Also, I've already expressed my appreciation for the final part of Someone Was Here, but now I find myself paying attention to the rhythmic staccato strings in the background. They're great; they have a fierceness to them.
Are you kidding? EON was campaigning hard for CR during awards season that they actually managed to get Daniel Craig nominated for a BAFTA.
The only awards organization they failed to get any noms from was the American Academy. That didn’t come along until they got Sam Mendes’s clout. But then again, SF is in every measurable sense a better film than CR.
The problem with Miami, for me, is twofold - 1, Bond looks terrible the whole time, and 2, we're basically watching the same thing twice from a narrative perspective: watch Bond foil Le Chiffre's plot to sabotage Skyfleet stock in Madagascar, and again in Miami.
But honestly, if the Miami stuff looked better / was more fun, I wouldn't have minded it.
NTTD may be the first Craig film where I actively look forward to each scene before it comes. But of course, that may change after the honeymoon phase. It just moves.
“Final Ascent” is what I would call a “standard epic Zimmer piece that’s supposed to pull on your heart strings” that could have been used in any of the epic films he’s scored - from PEARL HARBOR to INTERSTELLAR. There’s absolutely nothing Bondian about it. That’s why to compare it to anything from OHMSS is a joke. Everything in the latter is just pure Bond, and WHATTITW is probably the most romantic and iconic piece of music that we ever got in a Bond film!
“Final Ascent” could have been from any Zimmer-scored epic.
So the Bond series certainly never needed big names for its cast. The Bond brand sold itself. In fact it’s the obscure “foreign” actors that have often left the biggest mark. Same with the Bond girls.
On the other hand, you could make the claim that WHATTITW sounds like any other John Barry romantic melody from a non-Bond film. And you know what? That’s perfectly fine. Because in the end it’s about whether the music works for the film or not, and “Final Ascent” absolutely PLAYS for that moment of Craig’s demise.
True, but IMO, at least WHATTITW has a bit more of it's own unique identity, which enables it to be associated with Bond more. FA lacks this unique identity, which means, IMO, it would just slide off any long-term association with Bond it might have otherwise had.
“Final Ascent” to me is basically hero sacrifice music. Could be any series. In fact any series other than Bond because Bond doesn’t sacrifice himself. Bond always returns.
Exactly.
It could have, before it was in OHMSS, but because All The Time has it's own unique identity, and now that it's associated with Bond, it will remain associated with Bond.
Hopefully my above comments aren't invisible in this thread.