1894 replies to this topic

[The Shark]

Personally I find Alexandre Desplat a very dull composer.

That sentence makes your opinion even less valid in my eyes.

Any tips on how I can further lower it?

[Skull Kid]

The man actually has variety and class about him, and i would throw back that Tinker Tailor is no more inspired or interesting than Desplat's work. That's not a dismissal of the score, i actually like it also, but more a statement that i think it's not far removed from some of Desplat's work. Very similar in places, in fact.

Any examples?

And Desplat is a maestro compared to Newman to be honest.

Couldn't disagree more -- I find Newman's use of modality, unusual tone colours, influence from jazz harmony, minimalist textures, streamlined approach and dramatic understatement, much more compelling than what Desplat's got to offer (often just a poor man's Philip Glass), and all of which has more in common with the late John Barry -- but I digress.

Well i just simply disagree with this summation. Desplat's music has some actual emotion in it, it has the ability to stir the soul, much the same as John Barry. His music often elevates a picture, and works beyond as a stand alone listening experience. Plus, he has some VARIETY. Newman barely registers on the ability to get under the skin, as his music is (mostly) so cold and forgettable. If he threw a pebble into a lake it would skim a few times and then somehow manage to float on the surface, failing to make so much as the slightest splash. I don't see how Philip Glass enters the equation either. Newman has just as much in common with Glass as Desplat, I get the impression you're basing this view purely from the Tree of Life. Desplat has a signature style for sure, but has covered WAY more varied musical grounds than you are giving him credit for. French crime thrillers, big fantasy epics, Wes Anderson films, romantic dramas- for example, The Ides of March sounds nothing like fantastic Mr Fox. The Painted Veil sounds nothing like The Ghost. And yet they all retain the Desplat feel. Clearly, you are either not familiar with his breadth of work or it's just not for you. I suppose really, why would you be familiar with all his work if you don't like him, why would you listen to it.

As for examples of Desplat's work being at times similar to the Tinker Tailor score, I wonder whether there is any point in me making suggestions. I get the feeling you will seek the differences rather than acknowledge the similarities. Their melodic phrasing, use of space and sparseness, string writing, use of the piano and solo wind instruments... I mean, there are even similar bits in the above Largo Winch clip.

Compare the minute or so from 3.20 in the above Largo Winch clip to the track Islay Hotel from Tinker Tailor. Without an argument over whats better, there is no denying they are extremely similar in mood, instrumentation etc!

[The Shark]

Well, as much as I can try to intellectualise what I dislike about what I've heard of Desplat's oeuvre, the truth is that it just doesn't do much for me Some composers connect with you and others don't, and Desplat falls in the later camp.

For the record, I've listened to most of his English language work, but I'm less familiar with his foreign scores. Any recommendations?

[Skull Kid]

So you do hear the similarities then?

I'm sure there are far better authorities here on Desplat than myself... I literally just discovered his new Rise of the Guardians score, which sounds excellent and again very different to what he has done previously. I don't know if it's cool to post links to non-Bond related material on here(?) but do a search in youtube if your interested. (Suite number one is what i listened too). Very John Williams, sounds like a lot of fun.

Have you heard the scores to Birth, Painted Veil, Lust, Caution, etc? I know you said you have listened to a lot of his English work but in truth if you don't like any of that his foreign stuff probably won't do much for you either... although I'll admit I don't know much of it myself aside from The Largo Winches and his work with Jacques Audiard. One that is quite different in style (again) is a film called L'enquete corse. About as far from Philip Glass as you can get! There are amazon samples etc I'm sure.

[DCI_director]

After seeing Skyfall twice, I can honestly say that I'm not impressed with the score. I felt that it was rather dull and at times irritating. I miss David Arnold and I am hopping for his return for Bond 24.

[The Shark]

What was so great about Arnold?

MattofSteel, I'm not asking for another love letter to DA.

[DominicGreene]

Anyone here listening to the soundtrack non-stop? I got them all stuck in my head now!

[x007AceOfSpades]

Anyone here listening to the soundtrack non-stop? I got them all stuck in my head now!

You and me both!

[JimmyBond]

Anyone here listening to the soundtrack non-stop? I got them all stuck in my head now!

Not so much lately, but after I saw the film for the first time I pretty much listened to it non-stop.

I find it interesting that Arnold thinks Sam would be asked back (it's not an unfounded rumor, methinks), but too early to say anything for sure.

[SecretAgentFan]

Anyone here listening to the soundtrack non-stop? I got them all stuck in my head now!

Same here. This is easily one of my favorite scores of this year and... yes, of all Bond scores.

[Satorious]

, Download with AllDebrid

Skyfall is the best non-Barry material for sure. With regards to Goldeneye - I understand Serra's approach and wanting to shake things up. Some of the tracks are beautifully craftted (notably Natalya's theme). But the simple fact remains that Skyfall fits it's visuals like a glove, whereas Serra's material is at times is completely at odds with the mood/tone of the onscreen action (such as the clawingly overbearing Casino scene). There is nothing like this in SkyFall.

I don't mind Desplat, I actually think he'd be an interesting choice as Bond composer. His Largo Winch main-title theme has a rather catchy Bondesque swagger about it (about 1min 45 secs in):

[The Shark]

Sounds like Joel McNeely's Arnold-lite score for THE AVENGERS.

[QuantumOfRoyale]

Anyone here listening to the soundtrack non-stop? I got them all stuck in my head now!

Same here. This is easily one of my favorite scores of this year and... yes, of all Bond scores.

Agreed. I daresay it's even more engaging than some John Barry Bond scores...

[TheHouseholdCat]

Yeah, I'm still listening to the score. And I continue to discover more great stuff.

A current favourite of mine is the "Skyfall" title track. So moody.

And Desplat is a maestro compared to Newman to be honest.

Couldn't disagree more -- I find Newman's use of modality, unusual tone colours, influence from jazz harmony, minimalist textures, streamlined approach and dramatic understatement, much more compelling than what Desplat's got to offer (often just a poor man's Philip Glass), and all of which has more in common with the late John Barry -- but I digress.

I never noticed Desplat and Newman were that different.

Yes, that order looks about right to me.

On first showing, my stand-out track is possibly "Tennyson". Works fantastically with the scenes in question.

Agreed. Tennyson sounds awesome. Along with Tennyson my favourites must be,

Komodo Dragon (Love the Skyfall cue)
Severine/Modigliani
Skyfall
Kill Them First
Mother
The Moors
Breadcrumbs
Shanghai Drive
Jellyfish
Deep Water

My least favourite is Silohette. It sounds so generic.

When the Aston Martin is revealed, breadcrumbs plays, you can hear the bongos.

One of my absolute favourite tracks is Old Dog New, Tricks. Ironically. But I also like Close Shave a lot.

I have to agree with most of your selections. Mother, for example, is a deeply moving piece of music.

I am beginning to like the darker tracks more...

Granborough Road, another favourite. Love the brass moments.

But even that’s over swiftly: one minute in and the electronic instruments arrive again, turning everything into a world of tuned percussion and guitars.

He is "the electronics guy".

Jellyfish and Silhouette almost border on Hans Zimmer with their furious low arpeggios, loud timpani, and trumpets jumping minor thirds. But just as things start to become bland, the score gives way to a pretty spell of piano – this is where Newman finally shines through.

But what sounds like Hans Zimmer is actually the stuff by Zimmer that I like.

Despite the score’s inconsistencies, there are parts where Newman nails the balance between his own voice and the franchise, delivering on the promise shown in WALL-E’s Rogue Robots or Lemony Snicket’s Hurricane Herman.

Yeah, I can hear some Hurricane Herman in some of the brass in "Skyfall".

Cool review.

[Satorious]

Newman talks over some of his track in Empire magazine. Interesting bit about Old dog, new tricks.

http://www.empireonl...ew.asp?IID=1578

[The Shark]

I never noticed Desplat and Newman were that different.

Desplat has a more European sensibility.

Yeah, I can hear some Hurricane Herman in some of the brass in "Skyfall".

Can hear some Bernard Herrmann too.

[Skull Kid]

Newman talks over some of his track in Empire magazine. Interesting bit about Old dog, new tricks.

http://www.empireonl...ew.asp?IID=1578

That is interesting about Old Dog, New tricks.... A real shame that Mendes was afraid to embrace a more lush and romantic sound though. Along with the Severine stuff it's the most Barry styled track.

It makes me wonder how much freedom Newman actually had overall, and whether in other areas more melodic and sweeping music was thrown out in favor of unobtrusive backing tracks. It's a shame also that with Severine's brief screen time Newman wasn't able to develop and use her theme more- you get the impression that he would have liked too.

[Odd Jobbies]

Superb score, apart from where it used the Bond theme - horribly vignetted to the point of parody and miss-cued, perhaps in the dub, coming in sometimes too early, other times too late, but always sounding like a 'Comic Relief' parody sketch.

Rest of the score was fantastic, with some nice soundscapes reminiscent of The Shining and Zimmer - particularly in the Highlands.

[The Shark]

Superb score, apart from where it used the Bond theme - horribly vignetted to the point of parody and miss-cued, perhaps in the dub, coming in sometimes too early, other times too late, but always sounding like a 'Comic Relief' parody sketch.

I love the pulpy, old fashioned, slightly corny touch Newman gives the Bond theme in this score, especially during moments like the bike chase. I remember having a huge grin on my face when watching that in the theatre. Brought out the little boy in me.

Newman's use of the Bond theme is the most inventive and compelling in years. Bond raising a toast to the bodyguards as it played was dynamite.

[JimmyBond]

My favorite use of the Bond theme is after Bond gets out of the casino pit and it comes in on guitar. Sounds exactly like the way Kamen played the them in Licence to Kill.

[MattofSteel]

Yeah, I thought Newman's use of the Bond theme was pretty spot on. I'd hoped for the twangy guitar in an action context, but...oh well.

[junkanoo]

So ... I saw Skyfall twice in IMAX glory. The speaker system was sublime. Giving credit where credit is due, I thought the mixing of the score with the audio tracks was spot on. Not too much, not too little ... but spot on in volume and presence. Nice.

[quantumofsolace]

http://www.metro.co....ks-bond-records

[The Shark]

Skyfall soundtrack breaks Bond records
The Skyfall album has become the most successful soundtrack in the James Bond franchise for 27 years.

It debuted at number 100 in the Billboard 200 chart, the highest position that a Bond soundtrack has reached since A View to a Kill was ranked 38 in the summer of 1985.

This is perhaps even more surprising given that Adele's single Skyfall, which one would expect to be featured on the album, is not included, even though it debuted at 8 in the charts when it was released last week.

Instead, Skyfall is comprised entirely of the score composed by Thomas Newman.

It is also the first Bond soundtrack to enter the charts during Daniel Craig's reign as 007, which began with Casino Royale in 2006.

Is that a message to EON or what?

So ... I saw Skyfall twice in IMAX glory. The speaker system was sublime. Giving credit where credit is due, I thought the mixing of the score with the audio tracks was spot on. Not too much, not too little ... but spot on in volume and presence. Nice.

Kudos to Tony Lewis.

[iexpectu2die]

FilmTracks is the only soundtrack review publication I bother to read, and their review was worth waiting for; it pretty much sums up exactly how I feel about this score. Serviceable, but with tragically little in the way of melody.

They hit the nail on the head with 'The Moors' - that dramatic silhouetted shot of Silva walking away from the burning Skyfall looked really effective in the trailer. The whole thing was killed by the overly-rhythmic drum driven music. I knew something was wrong in that scene. After the huge explosion, it because cat-and-mouse, intimate. It's supposed to be tense. There was none of that in the score as Bond and Silva race to the chapel. A real shame.

http://www.filmtrack...es/skyfall.html

Edited by iexpectu2die, 17 November 2012 - 10:43 PM.

[littlenellie]

"It debuted at number 100 in the Billboard 200 chart, the highest position that a Bond soundtrack has reached since A View to a Kill was ranked 38 in the summer of 1985.

This is perhaps even more surprising given that Adele's single Skyfall, which one would expect to be featured on the album, is not included, even though it debuted at 8 in the charts when it was released last week.

Instead, Skyfall is comprised entirely of the score composed by Thomas Newman.

It is also the first Bond soundtrack to enter the charts during Daniel Craig's reign as 007, which began with Casino Royale in 2006."

Sadly chart positions in relative terms are meaningless nowadays. Sales are down so much.... Skyfall sold 5000 to get to 100 in the billboard chart. It would be interesting to see how many actual CDs were sold of previous scores rather than what number they charted

[The Shark]

FilmTracks is the only soundtrack review publication I bother to read, and their review was worth waiting for; it pretty much sums up exactly how I feel about this score. Serviceable, but with tragically little in the way of melody.

http://www.filmtrack...es/skyfall.html

Perhaps no moment in Skyfall is as nonsensical as "Adrenaline," which immediately follows the Arnold arrangement of Norman's Bond theme in the end credits and serves absolutely no purpose. Its low-key exotic rhythms almost sound like something Mychael Danna would write for a lesser drama and have nothing to do with the rest of the score.

Erm, it's a reprise and development of Shanghai Drive. I thought that was obvious.

That just confirms what I already knew. Christian Clemmensen is an ill-informed, reactionary, middlebrow hack. A disgrace to the profession.

[THX-007]

I honestly don't get why people don't like Newman's score. It seems most of everyone's complaints on Amazon seem to be about Adele's theme song missing from the album. As is the album is an hour and 17 minutes long, there's no room for it to fit. As I wrote before this is the most refreshing Bond soundtrack in years. I don't know why people want David Arnold back. Apart from "African Run Down" and "The Name is Bond, James Bond" his score for Casino Royale was bland. Same goes for QOS. Arnold's Bond scores pre-CR were essentially Barry horns mixed with 90s techno. For Skyfall I actually remember the music that accompanied the scenes and it feels like a more mature score compared to its predecessors.

[gkgyver]

FilmTracks is the only soundtrack review publication I bother to read, and their review was worth waiting for; it pretty much sums up exactly how I feel about this score. Serviceable, but with tragically little in the way of melody.

http://www.filmtrack...es/skyfall.html

Perhaps no moment in Skyfall is as nonsensical as "Adrenaline," which immediately follows the Arnold arrangement of Norman's Bond theme in the end credits and serves absolutely no purpose. Its low-key exotic rhythms almost sound like something Mychael Danna would write for a lesser drama and have nothing to do with the rest of the score.

Erm, it's a reprise and development of Shanghai Drive. I thought that was obvious.

It is obvious, and it still serves no purpose.
The rendition of the Bond theme at the end is criminally short, and it sounds like "let's get this Norman stuff over with". The art of creating end credits music for a 007 film is another one (of quite a few) that Newman shows to not have.

For Skyfall I actually remember the music that accompanied the scenes and it feels like a more mature score compared to its predecessors.

lol

If by "mature" you mean "play it safe" then yes, sure. Like Bond music was ever oh so very mature.

[The Shark]

It is obvious, and it still serves no purpose.

The purpose is to create an end credits medley reflecting the score, hence the reprise of Komodo Dragon. In that it succeeds.