1894 replies to this topic

[PeteNeon]

Am I the only one who is waiting to see the movie first, then listen to the score?

I'm doing that. I know if I listen once, I'll want to listen again, and then when I'm watching the film I'll start recognising the separate tracks!

As soon as I've seen it though, I'll be listening over and over.

[MattofSteel]

Despite having multiple opportunities to do, I'm forcing myself not to obtain the entire score by any means until after I've seen the film. Despite having listened to 30+ minutes of preview twice. This is...so much harder than it sounds. (Or should be).

That's what she said?

[Satorious]

Go on MattofSteel, just one more time - you know you want to!!

[MattofSteel]

I do. I really do. But no. I did exactly that for QOS, and it significantly affected the experience. In a negative way.

[junkanoo]

I do. I really do. But no. I did exactly that for QOS, and it significantly affected the experience. In a negative way.

Maybe that was simply because QOS stunk

[MattofSteel]

BURN!

No, I mean, it really takes the steam out of a film when you know the specific turns in the music coming. And by that point, I was tapping my foot and humming along with some of it. Never again. I've already heard too much.

[junkanoo]

No, I mean, it really takes the steam out of a film when you know the specific turns in the music coming. And by that point, I was tapping my foot and humming along with some of it. Never again. I've already heard too much.

Which is fine, to each his own. If you feel it affects the film in a negative way, it does. I just struggle a bit with the logic. As it would seem that you would not be able to enjoy any film after you are familiar with the soundtrack. Can't you enjoy seeing a movie a second time without it being negative? Or does knowing what's coming a problem?

[MattofSteel]

Well yeah, that's it. The first time I see a film, I want to be surprised. I still enjoy watching them many subsequent times, but you only get the chance to be surprised once. Isn't that logical?

[JimmyBond]

I can see where you're coming from. There are a few moments when watching a movie for the first time I go "Oh yeah, I remember that bit from the soundtrack." But more often than not it's not something I'm really conscious of, mostly because I'm just really into the movie.

[MattofSteel]

I envy you. I get obsessive about the soundtrack listening. I could have the entire damn thing memorized by November 7th if I start listening now.

[junkanoo]

Well yeah, that's it. The first time I see a film, I want to be surprised. I still enjoy watching them many subsequent times, but you only get the chance to be surprised once. Isn't that logical?

Yes.

[Nicolas Suszczyk]

What I didn't really like about Newman is that he repeats the "Turkish" music A LOT, even in tracks that doesn't seem to appear in the Turkey scenes (i.e. "Adrenaline", "New Digs", etc.)

[Vauxhall]

What I didn't really like about Newman is that he repeats the "Turkish" music A LOT, even in tracks that doesn't seem to appear in the Turkey scenes (i.e. "Adrenaline", "New Digs", etc.)

I think "Adrenaline" will probably be a Turkish scene. "New Digs" won't be, but I'll need to relisten, as it never struck me as particularly Turkish.

[PeteNeon]

The back cover:

http://www.amazon.co...51162154&sr=8-5

And just in case it wasn't clear, "this album does not contain a recording by the artist Adele."

[SecretAgentFan]

I can promise you this:

Arnold´s cue is only there for a very specific reason in a very short scene - and thematically it makes total sense. Exactly like the position of the gun barrel. EON knows precisely what they are doing and one can only applaud them for their idea.

And Newman´s score works spectacularly. It is perfect for this magnificent film.

[PeteNeon]

I can promise you this:

Arnold´s cue is only there for a very specific reason in a very short scene - and thematically it makes total sense. Exactly like the position of the gun barrel. EON knows precisely what they are doing and one can only applaud them for their idea.

And Newman´s score works spectacularly. It is perfect for this magnificent film.

I'm thinking perhaps some kind of visual reference to the end of CR.

31 and a half hours until I see it!

[junkanoo]

I can promise you this:

Arnold´s cue is only there for a very specific reason in a very short scene - and thematically it makes total sense. Exactly like the position of the gun barrel. EON knows precisely what they are doing and one can only applaud them for their idea.

How do you know that idea (and I don't want to know what it is) came from EON?

Edited by junkanoo, 25 October 2012 - 02:05 PM.

[The Shark]

I can promise you this:

Arnold´s cue is only there for a very specific reason in a very short scene - and thematically it makes total sense. Exactly like the position of the gun barrel. EON knows precisely what they are doing and one can only applaud them for their idea.

How do you know that idea (and I don't want to know what it is) came from EON?

He IS EON.

[junkanoo]

I can promise you this:

Arnold´s cue is only there for a very specific reason in a very short scene - and thematically it makes total sense. Exactly like the position of the gun barrel. EON knows precisely what they are doing and one can only applaud them for their idea.

How do you know that idea (and I don't want to know what it is) came from EON?

He IS EON.

Good. Perhaps he can get me an EON flag ... just on the off chance that I might want to wave it.

[Vauxhall]

I can promise you this:

Arnold´s cue is only there for a very specific reason in a very short scene - and thematically it makes total sense. Exactly like the position of the gun barrel. EON knows precisely what they are doing and one can only applaud them for their idea.

And Newman´s score works spectacularly. It is perfect for this magnificent film.

This all sounds great. Thanks for the insight, SAF.

[SecretAgentFan]

I can promise you this:

Arnold´s cue is only there for a very specific reason in a very short scene - and thematically it makes total sense. Exactly like the position of the gun barrel. EON knows precisely what they are doing and one can only applaud them for their idea.

How do you know that idea (and I don't want to know what it is) came from EON?

He IS EON.

I wish... well, professionally maybe. Or financially...

And the idea I´m talking about - well, you will see it when you see the film. It is pretty clear.

I can promise you this:

Arnold´s cue is only there for a very specific reason in a very short scene - and thematically it makes total sense. Exactly like the position of the gun barrel. EON knows precisely what they are doing and one can only applaud them for their idea.

How do you know that idea (and I don't want to know what it is) came from EON?

He IS EON.

Good. Perhaps he can get me an EON flag ... just on the off chance that I might want to wave it.

Great idea!

[MattofSteel]

Your inbox appears to be full, SAF. Incidentally, I'll relay my very mildly spoiler-laden questions here, since they're all musical:

Spoiler

-Is it true the *original* Monty Norman/John Barry Bond theme recording is used, specifically when the DB5 is revealed? Or is that 'Breadcrumbs' from the OST?

-Is Arnold's "The Name's Bond...James Bond" cue played in its entirety, or just part of it? And is it the same recording from CR, or a re-orchestrated version (like Breadcrumbs' opening).

-Does the Bond theme (any version) get more than one 'distinct' play, at least, more times than is evidenced by Newman's OST?

[Nicolas Suszczyk]

The back cover:

http://www.amazon.co...51162154&sr=8-5

And just in case it wasn't clear, "this album does not contain a recording by the artist Adele."

Thanks. So finally "Old Dog, New Days" is iTunes exclusive.

[The Dove]

The back cover:

http://www.amazon.co...51162154&sr=8-5

And just in case it wasn't clear, "this album does not contain a recording by the artist Adele."

Thanks. So finally "Old Dog, New Days" is iTunes exclusive.

Yep, looks like it Nicolas... No problem for me...I'll just simply buy that one track off iTunes and will have the rest when my CD copy of the soundtrack arrives..

[gkgyver]

And which one would that be?

There's the M theme in Voluntary Retirement and Mother, the urban theme in Shanghai Drive and Adrenaline, the exotic motif in Komodo Dragon and Enjoying Death, Silva's ostinato in Someone Usually Dies and Deep Water, a signature bitonal chord progression (try and sustain and Em chord in your left hand, and play another Em chord on your right, followed by an F# chord) heard in Someone Usually Dies, Kill Them First, Breadcrumbs, and The Moors, Severine's theme heard in Severine; Modigliani and Komodo Dragon, plus the Adele theme.

Whether or not you find them memorable or hummable enough is up to you, but I'm fine with 'em.

I don't think the hummability of Newman's "themes" is at debate when compared to earlier films. It's no comparison. I don't think anyone in their right mind would put them on equal grounds. I don't think anyone watching this film would care about or remember for more than one day a freaking "Silva ostinato".

Thomas Newman singlehandedly (even with playing a bitonal motif with his other hand) delivered the most anonymous Bond score since License To Kill - which at least had some oomph - and in a series that is so closely tied to its musical identity, not to come up with a single theme that is able to stand on its own beside the Bond theme, in the 50th anniversary movie, is simply not acceptable.

Implying that some muddy "M theme" or that Requiem For a Dream motif fits that bill cannot be taken serious.

A piece like "Deep Water" could be placed in any movie, from Bourne over Thor to Planet Of The Apes.

[JimmyBond]

It's all a bit subjective though innit? How can you know what Shark is getting out of the score? Just because he sees it (or hears it, I suppose) differently than you doesn't make him wrong by any means.

For what it's worth, from the few pieces available to me the score sounds decent.

[The Shark]

And which one would that be?

There's the M theme in Voluntary Retirement and Mother, the urban theme in Shanghai Drive and Adrenaline, the exotic motif in Komodo Dragon and Enjoying Death, Silva's ostinato in Someone Usually Dies and Deep Water, a signature bitonal chord progression (try and sustain and Em chord in your left hand, and play another Em chord on your right, followed by an F# chord) heard in Someone Usually Dies, Kill Them First, Breadcrumbs, and The Moors, Severine's theme heard in Severine; Modigliani and Komodo Dragon, plus the Adele theme.

Whether or not you find them memorable or hummable enough is up to you, but I'm fine with 'em.

I don't think the hummability of Newman's "themes" is at debate when compared to earlier films. It's no comparison. I don't think anyone in their right mind would put them on equal grounds. I don't think anyone watching this film would care about or remember for more than one day a freaking "Silva ostinato".

Thomas Newman singlehandedly (even with playing a bitonal motif with his other hand) delivered the most anonymous Bond score since License To Kill - which at least had some oomph - and in a series that is so closely tied to its musical identity, not to come up with a single theme that is able to stand on its own beside the Bond theme, in the 50th anniversary movie, is simply not acceptable.

Implying that some muddy "M theme" or that Requiem For a Dream motif fits that bill cannot be taken serious.

A piece like "Deep Water" could be placed in any movie, from Bourne over Thor to Planet Of The Apes.

You're a bit of a broken radio, aren't you mate?

That's simply unacceptable.

[littlenellie]

And which one would that be?

There's the M theme in Voluntary Retirement and Mother, the urban theme in Shanghai Drive and Adrenaline, the exotic motif in Komodo Dragon and Enjoying Death, Silva's ostinato in Someone Usually Dies and Deep Water, a signature bitonal chord progression (try and sustain and Em chord in your left hand, and play another Em chord on your right, followed by an F# chord) heard in Someone Usually Dies, Kill Them First, Breadcrumbs, and The Moors, Severine's theme heard in Severine; Modigliani and Komodo Dragon, plus the Adele theme.

Whether or not you find them memorable or hummable enough is up to you, but I'm fine with 'em.

I don't think the hummability of Newman's "themes" is at debate when compared to earlier films. It's no comparison. I don't think anyone in their right mind would put them on equal grounds. I don't think anyone watching this film would care about or remember for more than one day a freaking "Silva ostinato".

Thomas Newman singlehandedly (even with playing a bitonal motif with his other hand) delivered the most anonymous Bond score since License To Kill - which at least had some oomph - and in a series that is so closely tied to its musical identity, not to come up with a single theme that is able to stand on its own beside the Bond theme, in the 50th anniversary movie, is simply not acceptable.

Implying that some muddy "M theme" or that Requiem For a Dream motif fits that bill cannot be taken serious.

A piece like "Deep Water" could be placed in any movie, from Bourne over Thor to Planet Of The Apes.

You're a bit of a broken radio, aren't you mate?

That's simply unacceptable.

When you say broken radio...do you mean making the same point over and over? Isn't that broken record?. Or does broken radio mean a radio that makes no sound

[The Shark]

And which one would that be?

There's the M theme in Voluntary Retirement and Mother, the urban theme in Shanghai Drive and Adrenaline, the exotic motif in Komodo Dragon and Enjoying Death, Silva's ostinato in Someone Usually Dies and Deep Water, a signature bitonal chord progression (try and sustain and Em chord in your left hand, and play another Em chord on your right, followed by an F# chord) heard in Someone Usually Dies, Kill Them First, Breadcrumbs, and The Moors, Severine's theme heard in Severine; Modigliani and Komodo Dragon, plus the Adele theme.

Whether or not you find them memorable or hummable enough is up to you, but I'm fine with 'em.

I don't think the hummability of Newman's "themes" is at debate when compared to earlier films. It's no comparison. I don't think anyone in their right mind would put them on equal grounds. I don't think anyone watching this film would care about or remember for more than one day a freaking "Silva ostinato".

Thomas Newman singlehandedly (even with playing a bitonal motif with his other hand) delivered the most anonymous Bond score since License To Kill - which at least had some oomph - and in a series that is so closely tied to its musical identity, not to come up with a single theme that is able to stand on its own beside the Bond theme, in the 50th anniversary movie, is simply not acceptable.

Implying that some muddy "M theme" or that Requiem For a Dream motif fits that bill cannot be taken serious.

A piece like "Deep Water" could be placed in any movie, from Bourne over Thor to Planet Of The Apes.

You're a bit of a broken radio, aren't you mate?

That's simply unacceptable.

When you say broken radio...do you mean making the same point over and over? Isn't that broken record?. Or does broken radio mean a radio that makes no sound

I meant broken record.

It's been a long day.

[MattofSteel]

Every day is long for me at this point. 13 and counting.