61 replies to this topic

[Mr. Blofeld]

Could someone give me a hand with something? I'm trying to find the John Altman score for the GoldenEye tank scene, as recorded by Nic Raine, but unfortunately, since Geocities was taken down, the popular Bond music site Bond smells a rat has also vanished... taking the only free file of the cue that I know of with it.

Anyone know anyplace else I can get it? Thanks, in advance.

[sharpshooter]

Yeah, the end credits song is pretty awful.

Even though I think it does suit the tone of the film, that song is dire. Dreary whispering is not the way to end a Bond film. Nothing rousing or stirring about it at all.

[bondrules]

Yeah, the end credits song is pretty awful.

Even though I think it does suit the tone of the film, that song is dire. Dreary whispering is not the way to end a Bond film. Nothing rousing or stirring about it at all.

LOL. Indeed.

[St. John Smythe]

Oh, and although I didn't recall seeing it---Serra's "song" that ended the film was the biggest travesty of all. What a horrible way to send the audience exiting after a 6 year wait. To this day, GE remains the only film, when I screen at home, that gets stopped or muted before the credits finish.

What about DAD?

DAD should be stopped either a.) when Bond goes to Q in the subway, or b.) after the title credits. Your choice. Personally, I like DAD's theme/end credits song/remix. At least Madonna can sing on-key and on pitch (I'm comparing only the end credit remix of her DAD to the end credit poo-fest of Eric Serra's . . . "singing" - NOT Tina Turner's Goldeneye, which was pretty good, probably since Serra wasn't her collaborator) .

I guess Serra was too busy scoring the epic and critically-acclaimed masterpiece Rollerball to return for DAD. Such a shame . . .

Why didn't Serra come back for another Bond film? I mean, I'm completely ecstatic that he didn't, but can anyone provide a link or something? I'd like to believe that he wasn't asked, and that the people involved with the film were disappointed in the score (bringing in John Altman to re-score a scene doesn't help Serra's case), but I don't have any confirmation on that -- except the fact that he didn't do another score, which is semi-specious reasoning.

Edited by St. John Smythe, 08 January 2010 - 05:06 AM.

[Dr.Fell]

Oh, and although I didn't recall seeing it---Serra's "song" that ended the film was the biggest travesty of all. What a horrible way to send the audience exiting after a 6 year wait. To this day, GE remains the only film, when I screen at home, that gets stopped or muted before the credits finish.

What about DAD?

DAD should be stopped either a.) when Bond goes to Q in the subway, or b.) after the title credits. Your choice.
Personally, I like DAD's theme song. At least Madonna can sing on-key and on pitch.

I guess Serra was too busy scoring the epic and critically-acclaimed masterpiece Rollerball to return for DAD. Such a shame . . .

Why didn't Serra come back for another Bond film? I mean, I'm completely ecstatic that he didn't, but can anyone provide a link or something? I'd like to believe that he wasn't asked, and that the people involved with the film were disappointed in the score (bringing in John Altman to re-score a scene doesn't help Serra's case), but I don't have any confirmation on that -- except the fact that he didn't do another score, which is semi-specious reasoning.

Things didn't help either when Serra refused to score the Bond theme properly during the entire film as well as the main theme. I think that's why they ran to David Arnold because he was a Barry fan boy.

[Mr. Blofeld]

So... no responses to my post? Seriously, I'd like a little help here, guys.

[St. John Smythe]

Sorry, Mr. Blofeld - I have no idea where to find it.

Things didn't help either when Serra refused to score the Bond theme properly during the entire film as well as the main theme. I think that's why they ran to David Arnold because he was a Barry fan boy.

I thought he couldn't use the Goldeneye theme song in his score because the rights belonged to The Edge and Bono, and they wouldn't give the producers or EON or whatever permission to use the song (except in the title sequence), since they weren't doing the score. Is that right?

Also, I found this on the Goldeneye (Soundtrack) wikipedia page:

"GoldenEye is the soundtrack to the 17th James Bond film of the same name and was composed by Éric Serra. It was released by EMI on November 14, 1995. Serra composed and performed a number of synthesizer tracks, including the version of the James Bond Theme that plays during the gun barrel sequence, while John Altman and David Arch provided the more traditional symphonic music." - http://en.wikipedia....ye_(soundtrack)

Of course, there's no reference for that on the page - gotta love wikipedia. But: Where the heck does David Arch come into play? Gotta say, it seems like there wasn't much confidence in Serra and his score.

[Dr.Fell]

I thought he couldn't use the Goldeneye theme song in his score because the rights belonged to The Edge and Bono, and they wouldn't give the producers or EON or whatever permission to use the song (except in the title sequence), since they weren't doing the score. Is that right?

Actually I never knew the issue about the theme. Then again maybe it was a good thing we never heard it the movie. I can't imagine how any talented composer could incorporate it into the film.

Anyway thank god Altman scored the Bond theme properly during the tank chase. A scene that desperately needed something to pick it up.

Edited by Dr.Fell, 08 January 2010 - 07:01 AM.

[Mr. Blofeld]

Anyway thank god Altman scored the Bond theme properly during the tank chase. A scene that desperately needed something to pick it up.

So... could anybody find it for me?

[O.H.M.S.S.]

Anyway thank god Altman scored the Bond theme properly during the tank chase. A scene that desperately needed something to pick it up.

So... could anybody find it for me?

Sorry, wouldn't know where to look.

[The Cat]

I thought he couldn't use the Goldeneye theme song in his score because the rights belonged to The Edge and Bono, and they wouldn't give the producers or EON or whatever permission to use the song (except in the title sequence), since they weren't doing the score. Is that right?

That's not true. Serra didn't use the song because he had absolutely nothing to do with it. Simple as that.

[Mr. Blofeld]

Could you help me, Cat? You, of all the people here, know the most about film scores; surely, you can give me a hand in finding that Altman cue.

[Safari Suit]

[Arnold is] good for Michael Bay films like Independence Day, and that is no compliment.

It certainly isn't; especially seeing as that isn't even a Bay movie

A LOT of what you hear in GE was already done with his synth crap back for LEON. Of course, for LEON, it was a better score that actually really worked with the film.

So was it a good score, or was it "synth crap"?

That synth sound dates GE.

I suppose, but I don't think it date stamps the movie (certainly not any more than the movie's post-cold war theme already dates it). By 1995, synthesised scores were already pretty unusual in mainstream movies (after being somewhat in vogue in the 80s), at least ones that sounded like Serra's. I don't think Serra's score dates the movie in quite the same way, say, a Tangerine Dream score for AVTAK would have dated it.

I'm not necessarily a fan of Serra's score BTW. Parts of it work, parts of it don't. But I liked the idea.

[O.H.M.S.S.]

[Arnold is] good for Michael Bay films like Independence Day, and that is no compliment.

It certainly isn't; especially seeing as that isn't even a Bay movie

It isn't? Sorry, my mistake, Emmerich then? (same style, same explosions and CGI nonsense anyway, tend to confuse some of those directors since my brain is not to be used whenever I watched any of their movies)

Edited by O.H.M.S.S., 08 January 2010 - 11:07 AM.

[tim partridge]

Yeah, I don't think anyone's on the fence with this one. I think you either love it or you hate it.

Can't say I agree.

I love the dark ambience, I love how often it sounds more like something from a David Lynch score with a 90s ambient techno pulse. It toally mirrors the shadowy visuals.

I love the Severneya section up until the aftermath. I love how the EMP is unscored but has that atonal meltdown before the pulse blasts.

I also love the John Altman arrangement of the Bond theme during the movie tank chase. The movie really feels like it finds it's feet during this scene.

I love the music during Bond's meeting in the statue graveyard with Alex. To me it totally captures the understated classic Barry magic (reminiscent of the piano from a MWTGG cue), but also sounds nothing like Bond at all. Again, a perfect marriage of visuals and music.

Too bad the Serra material on the later Cuba part of the GE OST didn't make it into the film.

I dislike:

The gunbarrel, which is quite intrusive and inspired laughter when I saw it in cinemas in 1995.

The orchestral love theme used for Natalya and the music when Bond meets Xenia at the Casino. It seems they were trying to be very Barry with the dry flutes and strings, but they are so inappropriately downbeat sounding in tone. I find them to be a lead weight that pulls down all of the fun. Too on the nose for a comic book farce like GoldenEye, although I think the orchestration is spot on, stripped down, unlike when Arnold often tries to do a romantic Barryesque cue (and he has it arranged like his epic score for Stargate). I thought QOS managed to tap into this, though.

The Experience of Love also has that inappropriately draining, downbeat sound that I think zaps the cartoon fun out of the film. All the references to love for the first time and whatnot... Not very Bond in my opinion.

The original tank chase cue, which just seems so over the top and aggressive.

The lack of the Bond theme at key uplifting moments, such as the freefall plane catch up in the opening.

[Conlazmoodalbrocra]

Yeah, the end credits song is pretty awful.

Even though I think it does suit the tone of the film, that song is dire. Dreary whispering is not the way to end a Bond film. Nothing rousing or stirring about it at all.

LOL. Indeed.

I really like it. But as I've said many a time, I have poor taste!

[trs007]

So you don't just hate Eric Serra and love Arnold, even worse. You want Bryan Tyler to ruin the Bond franchise. God helps us then.

Oh, and although I didn't recall seeing it---Serra's "song" that ended the film was the biggest travesty of all. What a horrible way to send the audience exiting after a 6 year wait. To this day, GE remains the only film, when I screen at home, that gets stopped or muted before the credits finish.

What about DAD?

I am not sure why you feel Brian Tyler would ruin the Bond franchise. I think he has done an excellent job with several action scores over the years. EagleEye and Rambo come to mind, not to mention Children of Dune.

The end title sequence of DAD, although not great by any means, still allows me to make it through the credits without wanting to "toss up my lunch", unlike the Serra "song" which, according to the surgeon general, causes bleeding out the hears and an intense desire to head to the nearest toilet.

I am curious, if not Serra, Arnold and Tyler---who's you choice for the series, either a "wish they did" or going forward if Arnold were to step down?


PS: There was another post asking if I liked LEON. Although I still maintain it is more Serra synth-crap, I did enjoy it more than GE and thought it worked better with the film. Still, don't take that as high praise. I like peas more than brussel sprouts, but it doesn't mean I am REALLY enjoying either dish.

[Syndicate]

Could someone give me a hand with something? I'm trying to find the John Altman score for the GoldenEye tank scene, as recorded by Nic Raine, but unfortunately, since Geocities was taken down, the popular Bond music site Bond smells a rat has also vanished... taking the only free file of the cue that I know of with it.

Anyone know anyplace else I can get it? Thanks, in advance.

The name of the score for that scene is called, Pleasant Drive in St. Petersburg. Try Limewire in trying to download that score, on any other MP3 downloading sites.

[Dr.Fell]

I suppose, but I don't think it date stamps the movie (certainly not any more than the movie's post-cold war theme already dates it). By 1995, synthesised scores were already pretty unusual in mainstream movies (after being somewhat in vogue in the 80s), at least ones that sounded like Serra's. I don't think Serra's score dates the movie in quite the same way, say, a Tangerine Dream score for AVTAK would have dated it.

I think Serra's score does date the film but it certainly wasn't the only culprit; Everything about the film seems like a 90's time capsule. The Severnaya facility looks like something strait out of Terminator 2, ditto the cradle with a dash of Jurassic Park. The ugly cinematography is simply a rehash of Martin Campbell's previous feature, No Escape. More Jurassic Park when Bond crash lands in Cuba. It's a very dated looking film. Compare Goldeneye to Octopussy made a dozen years earlier; Even after nearly three decades that film still looks fresh.

[Nicolas Suszczyk]

I like it. Not my favourite, but, IMO, is not as bad as some fans say.

[The Shark]

So you don't just hate Eric Serra and love Arnold, even worse. You want Bryan Tyler to ruin the Bond franchise. God helps us then.

Oh, and although I didn't recall seeing it---Serra's "song" that ended the film was the biggest travesty of all. What a horrible way to send the audience exiting after a 6 year wait. To this day, GE remains the only film, when I screen at home, that gets stopped or muted before the credits finish.

What about DAD?

I am not sure why you feel Brian Tyler would ruin the Bond franchise. I think he has done an excellent job with several action scores over the years. EagleEye and Rambo come to mind, not to mention Children of Dune.

Sorry, I was confusing Brian Tyler with Tyler Bates. Brian Tyler is all right, but a bit boring and uninspired. I wouldn't want him near the Bond franchise.

Who would I want instead of Arnold? I've got four names:

- Elliot Goldenthal
- Howard Shore
- David Newman
- Thomas Newman

[St. John Smythe]

Who would I want instead of Arnold? I've got four names:

- Elliot Goldenthal
- Howard Shore
- David Newman
- Thomas Newman

Wait, not Randy Newman? That would be a new level of fresh hell.

I think these are all great suggestions, actually. I know a lot of people will probably throw up in their mouths when I say this, but i think Hans Zimmer would do a great job. I play his soundtrack for "Hannibal" quite a bit - "Vide Cor Meum" is a masterpiece. And any man who creates a choral version of "Spider-Pig" is okay in my book. I also love Gabriel Yared. I wish I still had the soundtrack to "The Talented Mr. Ripley," but alas, I lost it years ago. I also think the Brazilian dj/artist Amon Tobin could bring something to the table Four Ton Mantis is a really fascinating song (and incredible video), and holds up well for being 10 years old . . . but he's pretty experimental . . .

I have no problems with Arnold's soundtracks, and I love that he's been a Bond fan for ages, but a new fresh perspective wouldn't hurt (as long as it sounds nothing like Serra). But if it doesn't happen, I'll be fine with Arnold.

ETA: Also, I think the group Cinematic Orchestra could really bring something interesting as well. Their soundtrack to the 1929 silent Russian film The Man With the Movie Camera was on my constant rotation when it came out in 2003.

Edited by St. John Smythe, 09 January 2010 - 04:24 AM.

[Dr.Fell]

I know a lot of people will probably throw up in their mouths when I say this, but i think Hans Zimmer would do a great job. I play his soundtrack for "Hannibal" quite a bit - "Vide Cor Meum" is a masterpiece.

For some reason, Hans Zimmer is a genius when he is with Ridley Scott; I love his work in Hannibal and Matchstick Men. Anything else he does is just background noise.

Edited by Dr.Fell, 09 January 2010 - 04:32 AM.

[The Shark]

I play his soundtrack for "Hannibal" quite a bit - "Vide Cor Meum" is a masterpiece

I really hate that piece. Trite, simplistic and boring, trying to be Opera, yet with none of the passion, beauty or complexity.

[St. John Smythe]

I play his soundtrack for "Hannibal" quite a bit - "Vide Cor Meum" is a masterpiece

I really hate that piece. Trite, simplistic and boring, trying to be Opera, yet with none of the passion, beauty or complexity.

I'm shocked that you disagree with me.

Except not.

At all.

[Harmsway]

I know a lot of people will probably throw up in their mouths when I say this, but i think Hans Zimmer would do a great job. I play his soundtrack for "Hannibal" quite a bit - "Vide Cor Meum" is a masterpiece.

"Vide Cor Meum" wasn't composed by Zimmer. It was composed by Patrick Cassidy.

[St. John Smythe]

I know a lot of people will probably throw up in their mouths when I say this, but i think Hans Zimmer would do a great job. I play his soundtrack for "Hannibal" quite a bit - "Vide Cor Meum" is a masterpiece.

"Vide Cor Meum" wasn't composed by Zimmer. It was composed by Patrick Cassidy.

Ah, a technicality I will concede. It is, in my iTunes, attributed to Zimmer, though. Yeah, Zimmer and Cassidy produced it, but yes, it was composed by Cassidy.

I have to say though, Mr. Shark, it's "trying to be opera" because it's supposed to be opera. Obviously. Still though, Zimmer's soundtrack for Hannibal, with Avarice, Aria de Capo, Virute, Let My Home Be My Gallows, and Dear Clarice, is one of my favorites. Much better than the film deserved.

Unlike (if I may get back to the topic at hand) Goldeneye, a pretty good Bond film that deserved a better soundtrack.

[The Cat]

Could you help me, Cat? You, of all the people here, know the most about film scores; surely, you can give me a hand in finding that Altman cue.

Simple as that:

http://www.amazon.co...e...712&sr=1-85

[St. John Smythe]

Could you help me, Cat? You, of all the people here, know the most about film scores; surely, you can give me a hand in finding that Altman cue.

Simple as that:

http://www.amazon.co...e...712&sr=1-85

Excellent job, Cat!

[Harmsway]

Still though, Zimmer's soundtrack for Hannibal, with Avarice, Aria de Capo, Virute, Let My Home Be My Gallows, and Dear Clarice, is one of my favorites.

Another heads-up: Aria da Capo belongs to J. S. Bach.