1894 replies to this topic

[TheSilhouette]

@Matt_13 New Digs is very Newman. That "quirky" sort of rythm and use of percussion and plucking strings is part of his signature, but for me it's the bits at 1:07 and 1:50 that reek of his style, with the strings and horns coming in (see below video). I'm really glad that he didn't go the route of mimicing the typical "Bond" sound. While the blaring brass and Bond theme are great, that is a style that is very different from Newman's. I say it's a smart move to stick with his signature style with some Bond flavor in it. I also find it ridiculous that people are complaining over the lack of the Bond theme when we've got 3 tracks from a 77 minute score, not to mention the clip released has the Bond theme AND the title song is essentially a variation of the Bond theme.

Edited by TheSilhouette, 09 October 2012 - 10:47 PM.

[x007AceOfSpades]

I agree, I love 'New Digs' It's Newman all the way. Great track you posted as well, one of my favorites from 'Road To Perdition'.

I think of what we heard is fantastic and brilliant so far, I'm really excited to hear his rendition of the Bond Theme whether it plays on the soundtrack or it be in the film.

[TheSilhouette]

Sort of reminiscent of this track as well.

[Matt_13]

Thanks guys!

[archer1949]

I am little disappointment, thats sounds like an 08/15 Film, not a Bond-Movie.

I want a Bondian Score

To be fair, the music that was in that clip of the pre-title sequence sounded pretty "Bond". This is simply a few minutes out of a 2+ hour movie.

[MattofSteel]

Definitely the "there's no Bond theme!" crowd is majorly jumping to conclusions. We've barely heard anything, and in the one film clip we've seen, it's definitively prominent. That's the reason I'm warming up graciously to this particular preview video. I know the wailing brass - exactly as I want to hear it - is intact in other parts of the film. I'm comfortable with Newman being Newman-y in tracks like this.

(And, keep in mind, it's not as if something like New Digs is so un-Bond-like that it doesn't fit. It's not that far removed from something like QOS' Inside Man).

[TheSilhouette]

Definitely the "there's no Bond theme!" crowd is majorly jumping to conclusions. We've barely heard anything, and in the one film clip we've seen, it's definitively prominent. That's the reason I'm warming up graciously to this particular preview video. I know the wailing brass - exactly as I want to hear it - is intact in other parts of the film. I'm comfortable with Newman being Newman-y in tracks like this.

(And, keep in mind, it's not as if something like New Digs is so un-Bond-like that it doesn't fit. It's not that far removed from something like QOS' Inside Man).

Exactly. I love wailing brass as much as the next guy, but if you drown a scene or a film in that type of thing, it begins to lose it's effect. Much like the use of the Bond theme. It's okay to tease it here and there, but save the full blown thing for a proper moment.

[sharpshooter]

True. And we know for sure there will be wailing brass and Bond theme all over. It´s gonna work out just fine.

Indeed. I'd be surprised if there wasn't a big Bond theme moment.

People start to say things are un-Bond like, but at the same time we have people wanting a new sound. The new sound concept doesn't scare me. To me, these three track samples have a fresh, adult sheen to them. A tinge of darkness and melancholy but still lush. Eric Serra truly made a new sound and Newman seems to be putting his stamp on the music as well, which I can’t see being anything but positive. Each track flavour and colour.

[univex]

True. And we know for sure there will be wailing brass and Bond theme all over. It´s gonna work out just fine.

Indeed. I'd be surprised if there wasn't a big Bond theme moment.

People start to say things are un-Bond like, but at the same time we have people wanting a new sound. The new sound concept doesn't scare me. To me, these three track samples have a fresh, adult sheen to them. A tinge of darkness and melancholy but still lush. Eric Serra truly made a new sound and Newman seems to be putting his stamp on the music as well, which I can’t see being anything but positive. Each track flavour and colour.

Very well put.

[Harmsway]

(And, keep in mind, it's not as if something like New Digs is so un-Bond-like that it doesn't fit. It's not that far removed from something like QOS' Inside Man).

Yes. In a way, this sound feels like a natural progression after QUANTUM OF SOLACE.

[univex]

(And, keep in mind, it's not as if something like New Digs is so un-Bond-like that it doesn't fit. It's not that far removed from something like QOS' Inside Man).

Yes. In a way, this sound feels like a natural progression after QUANTUM OF SOLACE.

Harms, do stick around old pal. Good stuff going on these days in the forums. Have you been spoiler free down at B&B? What are your views on everything so far? Curious to know.

[Harmsway]

Oh, I'm not spoiler free. And I think SKYFALL--with a few reservations--is shaping up very nicely.

[THX-007]

Loving the samples from the Newman score.
Since this was brought up, I really like Serra's score for Goldeneye. It perfectly matches the tone of the film and I particularly like the Goldeneye Overture and Run, Shoot, Jump. The only track I didn't like was Ladies First and Serra's original score for the St. Petersburg chase, I liked the John Altman's music used for that scene. If the film used the big John Barry brass I don't think it would've matched the tone of the film. Anyway just my two cents.

[junkanoo]

Since this was brought up, I really like Serra's score for Goldeneye. It perfectly matches the tone of the film and I particularly like the Goldeneye Overture and Run, Shoot, Jump. The only track I didn't like was Ladies First and Serra's original score for the St. Petersburg chase, I liked the John Altman's music used for that scene. If the film used the big John Barry brass I don't think it would've matched the tone of the film. Anyway just my two cents.

I'd suggest that Fatal Weakness was pretty fatally weak. I agree for the most part except that I like Ladies First. Ladies First was interesting, different and distinctive cue that fit the scene rather nicely. I never did understand the (seemingly ) massive number of complaints about Serra at the time (and for years after) but obviously a bunch of it was the un-Barry-like = un-Bond-like sector weighing in.

[THX-007]

Since this was brought up, I really like Serra's score for Goldeneye. It perfectly matches the tone of the film and I particularly like the Goldeneye Overture and Run, Shoot, Jump. The only track I didn't like was Ladies First and Serra's original score for the St. Petersburg chase, I liked the John Altman's music used for that scene. If the film used the big John Barry brass I don't think it would've matched the tone of the film. Anyway just my two cents.

I'd suggest that Fatal Weakness was pretty fatally weak. I agree for the most part except that I like Ladies First. Ladies First was interesting, different and distinctive cue that fit the scene rather nicely. I never did understand the (seemingly ) massive number of complaints about Serra at the time (and for years after) but obviously a bunch of it was the un-Barry-like = un-Bond-like sector weighing in.

On the contrary I really liked Fatal Weakness especially in the Severnaya scene where we see the Goldeneye in orbit getting ready to fire. It creates a sense of dread about the weapon unlike other films where the big weapon is revealed with a flourish of horns.
The complaints about Serra's score centers around one thing: no horns. The only time horns fit the film was the tank chase and it was a perfect place to put the James Bond Theme. Anywhere else it would've been out of place.

Edited by THX-007, 10 October 2012 - 02:48 AM.

[The Shark]

Since this was brought up, I really like Serra's score for Goldeneye. It perfectly matches the tone of the film and I particularly like the Goldeneye Overture and Run, Shoot, Jump. The only track I didn't like was Ladies First and Serra's original score for the St. Petersburg chase, I liked the John Altman's music used for that scene. If the film used the big John Barry brass I don't think it would've matched the tone of the film. Anyway just my two cents.

I'd suggest that Fatal Weakness was pretty fatally weak.

Not at all. It's one of most effective non-Barry Bond suspense cues written, whether it's the variation for the Severneya or train countdown. Pulsing didgeridoos, ghostly synth voices and and that strange percussion sound heard throughout many of Serra's scores of that era (turns out it's a tambourine sample pitched down real low) building into a harsh cluster at the end. Despite its ambience, it's of the Barry school of less is more. Gumbold's Safe, Meeting at St. Sophia, The Chase Bomb Theme etc.

FWIW, I've always hated the Altman tank chase cue. It's like proto-David Arnold. No subtext or atmosphere. Just lazy, loud, box-ticking. Takes me out of the out movie.

[THX-007]

Since this was brought up, I really like Serra's score for Goldeneye. It perfectly matches the tone of the film and I particularly like the Goldeneye Overture and Run, Shoot, Jump. The only track I didn't like was Ladies First and Serra's original score for the St. Petersburg chase, I liked the John Altman's music used for that scene. If the film used the big John Barry brass I don't think it would've matched the tone of the film. Anyway just my two cents.

I'd suggest that Fatal Weakness was pretty fatally weak.

Not at all. It's one of most effective non-Barry Bond suspense cues written, whether it's the variation for the Severneya or train countdown. Pulsing didgeridoos, ghostly synth voices and and that strange percussion sound heard throughout many of Serra's scores of that era (turns out it's a tambourine sample pitched down real low) building into a harsh cluster at the end. Despite its ambience, it's of the Barry school of less is more. Gumbold's Safe, Meeting at St. Sophia, The Chase Bomb Theme etc.

FWIW, I've always hated the Altman tank chase cue. It's like proto-David Arnold. No subtext or atmosphere. Just lazy, loud, box-ticking. Takes me out of the out movie.

Whats your opinion on Serra's original tank chase score, "A Pleasant Drive in St. Petersburg"? Personally I'm glad they went with the Altman score. Yeah isn't the best version of the Bond theme but fits more than "Pleasant Drive." To me "Pleasant Drive" sounds more like a bonus track in similar vain to Moby's version of the theme.

[MattofSteel]

Since this was brought up, I really like Serra's score for Goldeneye. It perfectly matches the tone of the film and I particularly like the Goldeneye Overture and Run, Shoot, Jump. The only track I didn't like was Ladies First and Serra's original score for the St. Petersburg chase, I liked the John Altman's music used for that scene. If the film used the big John Barry brass I don't think it would've matched the tone of the film. Anyway just my two cents.

I'd suggest that Fatal Weakness was pretty fatally weak.

Not at all. It's one of most effective non-Barry Bond suspense cues written, whether it's the variation for the Severneya or train countdown. Pulsing didgeridoos, ghostly synth voices and and that strange percussion sound heard throughout many of Serra's scores of that era (turns out it's a tambourine sample pitched down real low) building into a harsh cluster at the end. Despite its ambience, it's of the Barry school of less is more. Gumbold's Safe, Meeting at St. Sophia, The Chase Bomb Theme etc.

FWIW, I've always hated the Altman tank chase cue. It's like proto-David Arnold. No subtext or atmosphere. Just lazy, loud, box-ticking. Takes me out of the out movie.

Proto-Arnold is an apt description. And yet it's the most rousing music in the film. I can't imagine Serra's original track playing over that sequence.

[x007AceOfSpades]

For what it was, I think Serra's score did the job and fit the film just fine.

[The Shark]

Since this was brought up, I really like Serra's score for Goldeneye. It perfectly matches the tone of the film and I particularly like the Goldeneye Overture and Run, Shoot, Jump. The only track I didn't like was Ladies First and Serra's original score for the St. Petersburg chase, I liked the John Altman's music used for that scene. If the film used the big John Barry brass I don't think it would've matched the tone of the film. Anyway just my two cents.

I'd suggest that Fatal Weakness was pretty fatally weak.

Not at all. It's one of most effective non-Barry Bond suspense cues written, whether it's the variation for the Severneya or train countdown. Pulsing didgeridoos, ghostly synth voices and and that strange percussion sound heard throughout many of Serra's scores of that era (turns out it's a tambourine sample pitched down real low) building into a harsh cluster at the end. Despite its ambience, it's of the Barry school of less is more. Gumbold's Safe, Meeting at St. Sophia, The Chase Bomb Theme etc.

FWIW, I've always hated the Altman tank chase cue. It's like proto-David Arnold. No subtext or atmosphere. Just lazy, loud, box-ticking. Takes me out of the out movie.

Proto-Arnold is an apt description. And yet it's the most rousing music in the film.

The most bombastic for sure. I don't think it works for GOLDENEYE, though. Kills the mood.

[JimmyBond]

I don't think it works either. I actually prefer Serra's original piece for the tank chase. And if you search you should be able to find a video of it on youtube. It works better than I think some people think.

[sharpshooter]

I don't think it works either. I actually prefer Serra's original piece for the tank chase. And if you search you should be able to find a video of it on youtube. It works better than I think some people think.

Agreed. I wish they went the whole way with Goldeneye's soundtrack, instead of getting cold feet and omitting cues, ala the tank chase and 'Boris and the Lethal Pen'. The industrial clangs, background voices and electronic notes are the true musical DNA of the movie. Regardless of your individual opinion, Serra provided a memorable soundtrack which stands out amongst the others as distinctively its own thing.

I do like several cues from Arnold, ala Time to Get Out and City of Lovers, but on the whole album listening experience, I prefer Serra. These Skyfall samples have me excited. It has funk, and isn’t shy about expressing itself. Between Adele’s song and these three samples, I think the sound and general tone are appropriate.

[Arbogast777]

I had the same reaction as many at first - that it didn't sound very "Bond" - but upon reflection the "Bond" sound we think of is very 1960's (and the Bond theme at it's heart is a jazz piece). That sound certainly doesn't fit with who the modern Bond is, but this music does...

Edited by Arbogast777, 10 October 2012 - 05:08 AM.

[x007AceOfSpades]

Eric Serra's score I think works well with GoldenEye, because it has cold war feel to it, which feels appropriate to the film.

Just my opinion.

[Odd Jobbies]

Loving Newman's score thus far.

[SecretAgentFan]

I´m listening to the three cues again and again... and I´m starting to like it more. But still, I absolutely hope that the rest of the score will expand from those tricks Newman uses and become more of the traditional Bond sound.

And I´m also hoping that David Arnold will return. In my opinion he made the perfect combination of the trademark Barry sound with his own modernization of it.

The Shark will heavily disagree, of course, and I respect his knowledge of composition. But I like stuff even if it is not considered "good".

[QOS4EVER]

I´m listening to the three cues again and again... and I´m starting to like it more. But still, I absolutely hope that the rest of the score will expand from those tricks Newman uses and become more of the traditional Bond sound.

And I´m also hoping that David Arnold will return. In my opinion he made the perfect combination of the trademark Barry sound with his own modernization of it.

The Shark will heavily disagree, of course, and I respect his knowledge of composition. But I like stuff even if it is not considered "good".

I so desperately hope we get Arnold back for Bond 24 and again and again!

[Satorious]

I'm hoping if nothing else, the producers now realise that the sound really needed updating and that they should not fly autopilot straight to Mr Arnold's door. I suspect they still will however. That is unless Mendes directs another in which case Thomas Newman is likely to return once more.

[QOS4EVER]

There is absolutely no doubt whatsoever that if mendes return, we will be getting Thomas Newman again.

[MattofSteel]

I´m listening to the three cues again and again... and I´m starting to like it more. But still, I absolutely hope that the rest of the score will expand from those tricks Newman uses and become more of the traditional Bond sound.

Reflects my feelings exactly. The first 2 minutes of New Digs, especially, have grown on me as very Bond-y. All I could hear yesterday was a Thomas Newman sound, but today, I'm picking up much more of a hybrid effort. Tremendously excited for the rest of the album, now.

Just found out there's a midnight screening on November 7th at the theatre beside my house, too. All in all a good day.

SOMEWHAT SAD UPDATE: Tony Lewis confirms the iFly music isn't Tom Newman.