23 replies to this topic

[ckharrison]

So, while many people considered the recent story of Muse considering doing a Bond title to be nothing more than tabloid filler while we wait for EON to start doing something, I got thinking to music.

For one, I'd be ecstatic if Muse signed on to do the Title for Bond 23, and I'm sure that they'd do a phenominal job and potentially could make one of the best titles in the franchise.

Now, ever since seeing the 'Watchmen' trailer (and subsequently the film), I was astounded with hoe well Philip Glass' "Pruit Igoe" blended into Muse's "Take a Bow" and got to thinking, "well, what if Philip Glass did an orchestral tribute to some Muse song?". Taking that thought one step further, what if Philip Glass were to write the score for Bond 23, with Muse doing the title.

Let it be known that I have nothing but respect and admiration for David Arnold, particularly after QoS, and have no interest in seeing him leave the Bond franchise. I just wanted to see what you guys would have to say about that.

[Tybre]

I'm pretty sure it was Tyler Bates who pieced together the trailer, and in fact it was Tyler Bates who scored Watchmen. Four Philip Glass pieces appear in the film, but whether or not they're actual inserts of Glass & co, or if it's Bates & co covering, I've no idea. That said, totally would be on board for Philip Glass composing a Bond film. The man does brilliant, brilliant work.

[Qwerty]

I'm not quite sure how a Philip Glass-composed Bond score would sound, but would love if we were somehow treated to a "what-if" preview of what he could do.

I love some of his recent work, such as the particularly unnerving Notes on a Scandal.

[00Twelve]

Harms, where are you on this?

[Harmsway]

Harms, where are you on this?

I adore Philip Glass. But I can't help but think that Glass on Bond isn't a particularly good idea, unless EON is looking to make a very different kind of Bond film than the franchise has given us to date.

[The Cat]

I'm pretty sure it was Tyler Bates who pieced together the trailer, and in fact it was Tyler Bates who scored Watchmen.

First half not true, second half true.

The Glass excerpts in Watchmen are in deed the original recordings and replaced actual Bates compositions because the Glass works were part of the temp track and those happened to work better for the director. They can be found on the original soundtrack (not the score album, the song compilation).

[The Shark]

Not particularly a fan of Glass or Michael Nyman for that matter, though Arnold definitely needs to go.

[ckharrison]

I'm not quite sure how a Philip Glass-composed Bond score would sound, but would love if we were somehow treated to a "what-if" preview of what he could do.

I love some of his recent work, such as the particularly unnerving Notes on a Scandal.

Harms, where are you on this?

I adore Philip Glass. But I can't help but think that Glass on Bond isn't a particularly good idea, unless EON is looking to make a very different kind of Bond film than the franchise has given us to date.

There's probably a very select audience that would sit through a James Bond film scored by Glass, but I agree, it would be just a fun thing to hear what he could do, if it were only a sample, or a scene or something. I don't think he should ever write a score, but I'm intrigued by the possibilities.

[Judo chop]

After having just seen NOTES ON A SCANDAL and having found myself completely immersed in the score, I vote “YES” to Philip Glass.



It just occurred to me what a cool name he has. I find I'm often saying it just a few seconds before closing time at the brewpub.

[Qwerty]

After having just seen NOTES ON A SCANDAL and having found myself completely immersed in the score, I vote “YES” to Philip Glass.



It just occurred to me what a cool name he has. I find I'm often saying it just a few seconds before closing time at the brewpub.

Have you seen The Illusionist, Judo? His work on that one is slightly reminiscent of Scandal's score (although not quite as successful, IMO).

[Harmsway]

After having just seen NOTES ON A SCANDAL and having found myself completely immersed in the score, I vote “YES” to Philip Glass.

Well, he'd certainly be different. As I say, I'm a fan, but this wouldn't be anybody's basic idea of the Bond sound (he likely wouldn't even utilize the famous theme if selected).

Anyway, if you liked his work on NOTES ON A SCANDAL, I point you towards his greatest scores: KOYAANISQATSI and MISHIMA.

[Judo chop]

After having just seen NOTES ON A SCANDAL and having found myself completely immersed in the score, I vote “YES” to Philip Glass.



It just occurred to me what a cool name he has. I find I'm often saying it just a few seconds before closing time at the brewpub.

Have you seen The Illusionist, Judo? His work on that one is slightly reminiscent of Scandal's score (although not quite as successful, IMO).

I have. I own it. A wonderfully engrossing little film that achieves a greater success than it seems it ought. One wonders if it's all... an illusion. I recall loving the score, but didn't do my research to see that it too was Mr. Glass. Very interesting. I'm due for another viewing. I'll make sure my ears are at full attention next time.

BTW - you'd be proud of me, Qwert. The past couple months I've been tearing down Hitchcock Blvd, making good progress, and enjoying the trip immensely.

[Judo chop]

he likely wouldn't even utilize the famous theme if selected.

Why do you say that? I'd like to think he'd use it sparingly, and in ways that are tasteful and subtle so that only the astute ear might notice, but use it nonetheless.

Anyway, if you liked his work on NOTES ON A SCANDAL, I point you towards his greatest scores: KOYAANISQATSI and MISHIMA.

The first looks like a documentary of some kind. Shot in Chicago, I see.

Is MISHIMA worth anything as a film?

[ckharrison]

I'd like to think that Glass would indeed use the theme, perha[s sparingly, or maybe perhaps staying true to his minimalist style, constantly underlying every phrase. He'd certainly make interesting use of it, and might skew some tones for tension and drama.

I actually just got the Koyaanisqatsi soundtrack last week afer having watched the film nearly six years ago in a high school literature class.

I still highly doubt that Michael or Babs would ever invite Glass to score a movie, but I would really love to see what he could do.

Particularly with Muse's interest in doing a title song, and after seeing how well their "Take A Bow" wove in with Glass' "Pruit Igoe" in the Watchmen trailer, the resulting Bond-Glass-Muse combination could be nothing less than epicly ground-breaking.

[Qwerty]

I have. I own it. A wonderfully engrossing little film that achieves a greater success than it seems it ought. One wonders if it's all... an illusion. I recall loving the score, but didn't do my research to see that it too was Mr. Glass. Very interesting. I'm due for another viewing. I'll make sure my ears are at full attention next time.

It is indeed a fun little film. Works as a nice companion piece to The Prestige.

BTW - you'd be proud of me, Qwert. The past couple months I've been tearing down Hitchcock Blvd, making good progress, and enjoying the trip immensely.

Good stuff. Any particular standouts?

[Loomis]

he likely wouldn't even utilize the famous theme if selected.

Why do you say that? I'd like to think he'd use it sparingly, and in ways that are tasteful and subtle so that only the astute ear might notice, but use it nonetheless.

Anyway, if you liked his work on NOTES ON A SCANDAL, I point you towards his greatest scores: KOYAANISQATSI and MISHIMA.

The first looks like a documentary of some kind. Shot in Chicago, I see.

Is MISHIMA worth anything as a film?

I haven't seen MISHIMA, but I'm reading The Japan Journals 1947-2004 by Donald Ritchie, a friend of Mishima, and he mentions his (Ritchie's, not Mishima's) encounters in Tokyo with Coppola and Paul Schrader and their tussles with Mishima's widow Yoko, who apparently wanted a whitewashed portrait of her husband. Makes me want to rent the film (as does listening to bits of Glass' score on YouTube). So I think I shall.* I believe George Lucas was involved with the film in some way, and it certainly sounds like An Interesting Curio™ if nothing else.

As for KOYAANISQATSI, just see it. Now.

*ETA: Apparently unavailable on DVD in the UK, darn it.

[Judo chop]

As for KOYAANISQATSI, just see it. Now.

Good grief. My Netflix queue is about to burst at the seams!

Scottie: "She caan't take much mooorre, Captain!"

Good stuff. Any particular standouts?

VERTIGO, NBNW and RW are the top-3 for sure.
Further down the chart are MAN WHO KNEW, DIAL M and MARNIE. I know you're a big fan of MARNIE, but I have to say I thought it was the weakest of the six (so far). Not terrible by any stretch, but easily the most shakey, less assured of what I've seen.

TO CATCH A THIEF is next, followed by 39 STEPS.

[Loomis]

As for KOYAANISQATSI, just see it. Now.

Good grief. My Netflix queue is about to burst at the seams

Just lie back and think of England. Harmsway will agree that KOYAANISQATSI is absolutely essential viewing.

[Harmsway]

Is MISHIMA worth anything as a film?

I have no idea.

Harmsway will agree that KOYAANISQATSI is absolutely essential viewing.

Indeed I will. KOYAANISQATSI is a "one-of-a-kind" cinematic experience.

[Qwerty]

Good stuff. Any particular standouts?

VERTIGO, NBNW and RW are the top-3 for sure.
Further down the chart are MAN WHO KNEW, DIAL M and MARNIE. I know you're a big fan of MARNIE, but I have to say I thought it was the weakest of the six (so far). Not terrible by any stretch, but easily the most shakey, less assured of what I've seen.

TO CATCH A THIEF is next, followed by 39 STEPS.

Hey, fair enough. It's certainly got tough competition when put up against those other five you mentioned.

Enjoy To Catch A Thief. Most definitely not the most important film Hitchcock ever made, but an absolute joy to watch thanks to the stunning locations an flawless performances by everyone involved - most especially Kelly and Grant.

[ckharrison]

It's been a while since anybody or I posted here, but I was just thinking about it again. I've also been wondering about Laday Gaga doing a title, but we'll save that for a thread of it' own...

Anyways, I think Philip Glass has become a bit more mainstream, largely in part due to his score for 'The Hours', but I think he's mellowed out or evolved or devolved, or whatever you want to call it, from his experimental and philisophical times of Koyannisqatsi. I think that he'd do a really good job of picking up the Bond triad theme, and it would fit pretty well with his minimalist/repetative kind of theme.

food for thought...

[The Shark]

Honestly, I'd rather someone along the lines of John Adams or Harrison Birtwistle scored a Bond film.

[Harmsway]

John Adams would be nice, but there's no way in hell he'd do it. It's like me expressing my desire for Kar-Wai Wong to direct a Bond film. Sure, it would be mighty lovely if he did, but it just ain't happening.

[The Shark]

Birwistle would be second on my list, though the only film score he's ever done was THE OFFENCE, and that's nearly 40 years ago. I take it wasn't a happy experience.