1894 replies to this topic

[x007AceOfSpades]

IMO, every one-time Bond composer delivered something very special and perfectly Bondian. Martin did a perfect job, mixing the Bond theme with an irresistable new melody. Hamlish composed a superlative main theme that still defines an important part of Bond for me. Conti also brought us a terrific main theme and a very listenable and exciting score. Kamen´s score did not have the advantage of a recognizable main theme and also had the disadvantage of the similarity of his LETHAL WEAPON scores but still turned out memorable . And Serra surprised with the electronic coldness that was perfectly suitable for GOLDENEYE.

And since Newman is an accomplished composer who can work in any style (see "THE GOOD GERMAN") I believe he will deliver something special as well. I just hope he will not revert to the tricks he often falls back on. I want a great melody, orchestrated lushly but intelligently.

I agree, but Licence To Kill's score is my favorite. Even if it resembles Kamen's work on Lethal Weapon and Die Hard..

I have a strong sense that Thomas Newman will do a great job on the score.

[byline]

Road to Chicago - "Road to Perdition" (2002)

These are my favorites from Newman. Hope you like them.

Just saw "Road to Perdition" over the weekend. Fantastic!

[Triton]

^{I hope that Thomas Newman will be able to work with the artist(s) who are peforming the title song so that there is continuity to the theme throughout the score of the film instead of some flavor of the month artist doing their own thing and having a title song that is just tacked onto the film.}

[DamnCoffee]

Would be amazing Skyfall ended on a high note with something like this.



1:05.

Please Newman, make it so!

[The Shark]

Yep, but hopefully sounding a bit better than a Sibelius transcription. ,)

[The Dove]

Wonder how Thomas Newman is getting on with the score? I would imagine that he's probably got a good chunk of it written by now..then of course he has to get it recorded and then Sam Mendes has to sit down and go through it with him, so it'll probably be a while before we get to hear any of it...would be nice though to have the next video blog on 007.com featuring Newman and his work on the score..

[DamnCoffee]

The soundtrack is one of the things of Skyfall I'm most excited about. I think we might very well get a video blog on the soundtrack though at some point. Since Newman is new blood, Mendes would probably want to show him off as much possible. I think the best bet though to hear some proper samples of his work will be when the Track Previews get put up, which will be a good few months away, sadly. I'm really looking forward to see what he does with the Bond theme though. His gunbarrel music should be fantasic, as well as his action cues. Very interested in the quiter music and love themes, too.

Edited by Mharkin, 12 April 2012 - 05:48 PM.

[MattofSteel]

The score is oftentimes one of the last things completed. If we get a 007.com videoblog, it will be one of the last ones. I, for one, would absolutely love for Newman to give a sitdown interview at this point to at least discuss his approach. Hugely interested in what he's going to come up with.

[The Dove]

Absolutely! The only movies I'm realy familiar with, in terms of Newman's work, are 1987's cult classic, The Lost Boys and 1994's The Shawshank Redemption..though his scores for those were brilliant so I'm also keen to see how he'll take on a Bond score. I also suspect he'll be involved with writing the Bond title theme song with whoever is the chosen artist...

[MattofSteel]

It all comes down to how much he's willing to embrace the John Barry sound. I don't, frankly, want something that's ridiculously progressive or different. I've every reason to believe, though, given the retro and nostalgic appearance of everything we've seen so far, that the score will parallel.

[Royal Dalton]

Skip the Shostakovich 'homage' at the start of this track, and go to about 1:10. The percussion use is quite similar to Barry's way of doing things.

[S K Y F A L L]

I hope the film returns to having its own ending credits song, instead of simply playing the Bond theme song. I love it but have heard it over and over again. I always like the ending credit songs in LTK and GE. I guess the last film to have an ending song of its own was TND. At least if they do use the Bond theme at the ending credits it will be from a new composer.

Edited by S K Y F A L L, 24 April 2012 - 10:32 AM.

[Royal Dalton]

If they get Adele, I expect it'll be a replay of the main song (or a variation of it, like the disco version of Moonraker).

[Pussfeller]

If they get Adele, I expect it'll be a replay of the main song (or a variation of it, like the disco version of Moonraker).

I look forward to the Skyfall club mix featuring Pitbull and Mohombi.

[SecretAgentFan]

Skip the Shostakovich 'homage' at the start of this track, and go to about 1:10. The percussion use is quite similar to Barry's way of doing things.

http://www.youtube.com/watch?v=t7cy2uceP5U

Indeed. I just hope that Newman will do that kind of "homage" - and not do his other trademark style.

[S K Y F A L L]

If they get Adele, I expect it'll be a replay of the main song (or a variation of it, like the disco version of Moonraker).

That would be great. Great if they got Adele and great if The James Bond theme doesn't play right at the ending credits, like the last few have been.

[Vauxhall]

Soundtrack experts: Can anyone recommend around five of Newman's most impressive tracks/cues from his previous scores?

[MattofSteel]

Part of the reason I was so initially adverse to his selection was that when I think of Thomas Newman, I don't think of memorable tracks - memorable scores, sure - but individual tracks, not so much.

That being said, I've since heard a few from The Adjustment Bureau and - strangely enough, Wall-E - that are kind of catchy.

[Leon]

Part of the reason I was so initially adverse to his selection was that when I think of Thomas Newman, I don't think of memorable tracks - memorable scores, sure - but individual tracks, not so much.

That being said, I've since heard a few from The Adjustment Bureau and - strangely enough, Wall-E - that are kind of catchy.

Indeed, that's the exciting thing for me, Newman is clearly a very talented composer for film, he can create rich atmosphere without using too much, he can work alot with the footage to help draw out and re-enforce emotional content and impact. The films he's mainly scored are very soft paced or inwardly focused storys, suited to softer scores, but considering his skill and experience I am very confident that he can also pull of a grander, punchier score for Bond, blended with his softer and more thoughtful/emotional style. Mendes wouldn't have suggested him otherwise.

I think he'll pull off a really interesting, cool score that's both modern and classy, and probably with elements of the classic Connery film styles. Just a guess, but they seem to be going for those elements all over. Some of Barry's moody woodwind parts in the Thunderball score, for example, would be a gorgeous style to incorporate. I'd also like to hear just a few touches more of the classic James Bond theme in appropriate parts of the film. Not too much, just more than only on the end credits or something. It absolutely needs the old school guitar tone for the gunbarrel and maybe for a big action piece at the finale!

[MattofSteel]

That's the one thing about Newman's approach that has me legitimately excited. My thoughts on his "atmospheric" approach aside, he certainly has the capability to be very retro and classical by times. If the Skyfall score is a classic Barry pastiche, I wouldn't complain one iota.

[The Shark]

I wouldn't mind Newman tipping the cap to the classic Barry scores (i.e. the eerie 4 alto flutes, vibes, harps, English horn, muted strings sound from the Connery era), but it should have a personality out of its own, as well. The problem with something like Arnold's CASINO ROYALE is that it's fairly listenable when it's just Barry pastiches (City of Lovers, Vesper, African Rundown, Aston Montenegro etc.), but is utterly lost when trying to do its own thing. License 2 Kills and Stairwell Fight could have come out of any 00s Hollywood action score.

SKYFALL needs to stand out out from the crowd.

[Leon]

Orchestral class with a touch of dirty electric guitar - that's what it needs

[glidrose]

Skip the Shostakovich 'homage' at the start of this track, and go to about 1:10. The percussion use is quite similar to Barry's way of doing things.

http://www.youtube.com/watch?v=t7cy2uceP5U

I love the Mahler homage from :52 to 1:10 - which sounds like the beginnings of a fantastic song - and from 2:05 to 2:11

The section you cite sounds more Bernard Herrman than John Barry to my ears.

[The Shark]

The section you cite sounds more Bernard Herrman than John Barry to my ears.

The two aren't mutually exclusive. John Barry was arguably influenced by Bernard Herrmann more than any other film composer.

[level007]

I have a feeling we are going to get a Goldeneye situation where EON will get cold at the last minute because how un-Bond the score will be.
Leading to one or two "bond moment" being score by someone else to include classic Bond theme and all... (Arnold maybe ?)

i'll say there is 10% chances right now.

[JimmyBond]

I have a feeling we are going to get a Goldeneye situation where EON will get cold at the last minute because how un-Bond the score will be.
Leading to one or two "bond moment" being score by someone else to include classic Bond theme and all... (Arnold maybe ?)

i'll say there is 10% chances right now.

Goldeneye was a completely different situation. Bond had been absent from the public eye for six years, a new actor was taking over. At the time people were even wondering if Bond was still viable. Therefore the notion that the score had to sound more "Bondian" made sense back then.

Nothing like that is happening now, Craig is returning for his third film, Bond is still very much a viable commodity. And besides, it's not like CR or QOS really contained the Bond theme all that much anyways. This situation is completely different.

[Pussfeller]

I have a feeling we are going to get a Goldeneye situation where EON will get cold at the last minute because how un-Bond the score will be.
Leading to one or two "bond moment" being score by someone else to include classic Bond theme and all... (Arnold maybe ?)

i'll say there is 10% chances right now.

And you're basing this feeling on...?

[MattofSteel]

Or Thomas Newman. They're both quite the creative coup.

[DominicGreene]

Intro - "Less than Zero" (1987)
http://www.youtube.com/watch?v=3q1zTneO46Y

I'd actually like to see Newman do a score like this for Skyfall, instead of a classical orchestra. It seems like it would suit the mood.

[Harmsway]

While I don't mind a "different" sounding Bond score, or even a more muted Bond score with a heavy dose of gloom--I do like Serra's GOLDENEYE score very much--part of me wants to see SKYFALL get a big, exuberant, anthemic Bond score. Thus far, Arnold has shied away from giving Craig's Bond that.