1894 replies to this topic

[DominicGreene]

For some reason I wish there was a track on there called "Chasing Spies." I have no bloody idea why. It's just been lingering in my head!

[Glockenspiel]

Whats up with the Titlesong? Looks like theres not on the CD. And i think no Gunbarrel on the Score

May be at the very beginning of the track "Grand Bazar -Istanbul"?

[The Shark]

For some reason I wish there was a track on there called "Chasing Spies." I have no bloody idea why. It's just been lingering in my head!

"Like A Dog Chasing Cars" ?

[SecretAgentFan]

It´s interesting to see that the Bond films have gotten longer scores throughout the years. Maybe just a sign of the times - studios don´t believe in silence anymore, fearing audiences will tune out if there is no sound effect/music hammering away?

Then again, I must admit that I love every Bond score that has been done yet. And I trust Mendes to have a good feeling for which scenes need silence or score. So, 77 minutes plus X for a 144 minute film seem alright.

[junkanoo]

It´s interesting to see that the Bond films have gotten longer scores throughout the years. Maybe just a sign of the times - studios don´t believe in silence anymore, fearing audiences will tune out if there is no sound effect/music hammering away?

Then again, I must admit that I love every Bond score that has been done yet. And I trust Mendes to have a good feeling for which scenes need silence or score. So, 77 minutes plus X for a 144 minute film seem alright.

I think another piece of the equation is album sales. Obviously, album sales (in general) are being hurt by those buying only a track or two or by illegal downloads. I'd make a case that soundtrack fans are a more devoted group than most and therefore bucks the trend a bit. Would we be surprised that the information that an album score with more tracks sells better than a score with fewer tracks? Or that that information has been shared fully with film scorers?

[SecretAgentFan]

I don´t know - are score fans more important to labels than the mass audience buyer? I would hope so but I fear it´s not true. Only the specialty labels can market complete scores efficiently, I´m afraid.

In the new "The Music of James Bond"-book the author makes it very clear that the studios have become more and more the deciding factor in choosing the artist for the title song and marketing the whole thing. The score was never of much interest for them, only filler material to sell a CD containing the song.

But nowadays, with the song not necessarily being on the score CD, maybe they realize that the score is bought only by the true score nerds (like me) who will search for unreleased cues and even pay for them.

[DominicGreene]

For some reason I wish there was a track on there called "Chasing Spies." I have no bloody idea why. It's just been lingering in my head!

"Like A Dog Chasing Cars" ?

I completely missed that!

[junkanoo]

I don´t know - are score fans more important to labels than the mass audience buyer? I would hope so but I fear it´s not true. Only the specialty labels can market complete scores efficiently, I´m afraid.

Nothing is more important than the mass-market buyer. The single rules the roost right now just like it did before the Beatles changed things and the album became the dominate revenue stream. However, scores aren't the niche market they once were because they've become a large slice of the album revenue stream that does remain.

In the new "The Music of James Bond"-book the author makes it very clear that the studios have become more and more the deciding factor in choosing the artist for the title song and marketing the whole thing. The score was never of much interest for them, only filler material to sell a CD containing the song.

But nowadays, with the song not necessarily being on the score CD, maybe they realize that the score is bought only by the true score nerds (like me) who will search for unreleased cues and even pay for them.

Residuals are a factor too. It may depend on the individual composer and their contract. Some composers might not want a title song on the album if they think they can carry sales on their own. Other composers may not or leave that decision/judgement to others.

Edited by junkanoo, 08 October 2012 - 02:50 PM.

[marktmurphy]

Would the studio really have demanded Chris Cornell?

Actually I can't think of a scenario where either side would have demanded him!

[SecretAgentFan]

Well, they did. And rightly so, I think.

[Shrublands]

Suggested, rather than demanded, I'd say - it was never going to be a deal breaker.

[SecretAgentFan]

Right. But in the book there is nobody mentioned who wanted to break the deal. They liked Cornell.

[PPK_19]

Right. But in the book there is nobody mentioned who wanted to break the deal. They liked Cornell.

As do many people on here, you included SAF. I listen to You Know My Name on the way to and the way back from work at the moment, cracking theme.

In terms of the actual score to the film, it's not something i'm interested in i.e. i never by the soundtracks to the films. Of course, soundtrack geeks will go out and buy them.

The only soundtrack CDs i own are Reservoir Dogs, Jackie Brown and Pulp Fiction. And that's only because they are made up of pop-funk tracks, nothing instrumental. Each to their own i guess.

[Shrublands]

Right. But in the book there is nobody mentioned who wanted to break the deal. They liked Cornell.

That's what I mean - it was all rather cordial - they studio suggested Cornell, Eon liked the idea. But had they not, nobody would have been too upset.

[DamnCoffee]

[PeteNeon]

Only skipped through it, but it sounds great, and what I was expecting.

[QOS4EVER]

http://www.youtube.com/watch?v=8mtFEITbTk8

Thank you

[marktmurphy]

Ooh lovely; thank you- listening now.

[The Shark]

ing amazing.

Contemporary, funky, original, bold, fresh, lyrical and beautiful

[marktmurphy]

Very nice stuff; I can see this working very well in the film.

[archer1949]

Interesting...... Newman is better known for wispy, ambient kind of scores. I guess he stepped up his game. It's certainly a change from Arnold.

[Rich Douglas]

Now THAT sounds like Newman. Cool stuff.

[Mr Teddy Bear]

Yup - that's no Arnold impersonation.

Love it!

[sharpshooter]

ing amazing.

Contemporary, funky, original, bold, fresh, lyrical and beautiful

This.

[deth]

Sounds very very much like his score for Jarhead.

Not very Bondian at all in the sense we've come to know and love, but this is only a small part of the score. Perhaps other parts are different. It sounds good, but I'd never have known it was a Bond score if I wasn't told.

[QOS4EVER]

I hated the idea of replacing Arnold but have to admit this is not that bad !! expecially "new digs"

[marktmurphy]

Interesting...... Newman is better known for wispy, ambient kind of scores. I guess he stepped up his game. It's certainly a change from Arnold.

I'd say those are fairly ambient; but a nice, dark ambience. Feels more like Craig's Bond, somehow. Nice and dangerous. I never understand why Arnold didn't use more electric guitar as Newman does here- suits the current Bond very much I think.
Can't wait to hear more.

[QOS4EVER]

Sounds very very much like his score for Jarhead.

Not very Bondian at all in the sense we've come to know and love, but this is only a small part of the score. Perhaps other parts are different. It sounds good, but I'd never have known it was a Bond score if I wasn't told.

True that , I still preffer Arnold in that sense though

[JCRendle]

It will be interesting to hear his interpretation of the Bond theme.

[The Shark]

Not very Bondian at all in the sense we've come to know and love.

That's Barryian, not Bondian, and I don't love its bargain basement rip-offs (i.e. Arnold).

I'm getting a Serra vibe here. Not in the sound or fan backlash, but its swagger. It's got its own personality.