1894 replies to this topic

[The Shark]

Interview with Thomas Newman. Brief mention of SKYFALL, along with the fact that he's coming to London in June:

http://www.classicfm... (1)&CMP=EMC-SP

[SecretAgentFan]

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.

YES!!!!!

[Matt_13]

Seems like a reasonable fellow. He'll do great.

[PPK_19]

I loved Serra's score for Goldeneye. Really captured the whole 'it was the cold war but its not so much now' feeling. It was nothing like any other Bond theme we've heard.

That said, i can't wait to hear Newman's take. I'm sure it'll be good!

[Glockenspiel]

Did you hear the new Thomas Newman's score, "The best exotic marigold hotel" (with Judi DENCH...)?

[SecretAgentFan]

I did. My personal... I don´t want to say problem... well, difficulty with Newman´s scores is that he has perfected his signature sound consisting of piano sprinkling and (I don´t know how you correctly call it, therefore I have to describe it in an embarassing layman´s terms) this alternating use of short, sharp strings with mournful slow strings ("American Beauty").

I love his scores for "THE SHAWSHANK REDEMPTION" and "FRIED GREEN TOMATOES". I also love his more percussion-oriented "THE PLAYER". But most of the time I find his work extremely repetitive. Sometimes he appears to be more interested in experimenting with his signature sound patterns than creating a straight melody.

However, Newman is perfectly capable of writing amazing tunes. And, as he proved with "THE GOOD GERMAN", he can do perfect mimicry, doing a whole score as homage to previous eras of scoring.

I hope he will do a classic Barry score with "SKYFALL" without any electronic tricks.

Then again, I´ve said so many, many times and probably bore everyone with this.

[MattofSteel]

I'm hoping for that same outcome with the Skyfall score. That piano-sprinkling, as it shall henceforth be known, is exactly what I think of when I think Thomas Newman - and not in a necessarily good way, hence my initial trepidation when he was selected for Bond.

But, I've expanded my Newman library since and have found him perfectly capable of delivering full orchestral music that's melody-driven. Hopefully he comes through.

I just hope - really hope - this doesn't end up a case where they've hired someone soley for his notoriety and pedigree, and he ends up delivering a score that's just utterly wrong for the character, franchise, and film. But I doubt it will come to that. He's simply too good a composer.

[Leon]

I just hope - really hope - this doesn't end up a case where they've hired someone soley for his notoriety and pedigree, and he ends up delivering a score that's just utterly wrong for the character, franchise, and film. But I doubt it will come to that. He's simply too good a composer.

Indeed, I think that is very unlikely also.

I have appreciated some of Newman's work ever since American Beauty, and have naturally researched more about his work since being announced for Skyfall. He is undoubtedly a very experienced and excellent composer, but more than that, as you say, he has plenty of quality range. His softer, sparser, reverb piano sounds have been more upfront based on his mainstream Hollywood work, but that's just because they discovered it sells and also due to the nature of those films they were written for. You don't even have to know anything much about music to be fully aware that a Bond score requires some bombastic and strongly orchestrated umph. I have no doubts that he'll deliver on that, but moreso he'll give it some real beauty in the softer pieces too - as he always does. I suppose a third main point for me is that fact of his strong partnership with Mendes. We know Sam has a great love for Bond and that can only help to reenforce Newman's approach in making sure there is plenty of classic Bond flair. I do hope one thing - that they make sure to have the classic, dirty electric guitar for the Bond theme! I always found the versions replacing the guitar with strings to feel a bit wet and weak. Kinda suited Moore but wouldn't for Craig.

[MattofSteel]

Absolutely. And ironically enough, I find Newman's score for Wall-E positively "Barry-esque" at certain points, not unlike many saw Giacchino's score for The Incredibles (though admittedly, not to the same extent). Newman can handle action music and orchestra, he just rarely seems to take on those sorts of films.

Rather than being a risk or a disappointment, Skyfall might very well (ideally) be something of a mainstream breakout for Newman.

So long as Mendes isn't huddled with him in an editing room in August, saying "Bond is sad, here. His eyes are sad. But his heart is sadder. So I want an E-minor piano flutter over one long, low cello note. And then when the chase starts, silence."

[S K Y F A L L]

I don't think we have to worry about anything to electronic or disco. I think they'll be going for something timeless.

[Leon]

I don't think we have to worry about anything to electronic or disco. I think they'll be going for something timeless.

Definitely, I mean they've all clearly been putting alot of care and attention into the slick, retro 60's feel with the rest of the film. I don't know if it's been pointed out anywhere, but I even noticed, with the specially cut suits, Craig is wearing the exact same style of shoes that Connery wore. I bet we get something quite special in the score also - it certainly will be classy.

[SecretAgentFan]

That would be so wonderful.

[Pussfeller]

And what could be more retro than the 007 Theme?

[SecretAgentFan]

The other 007 theme.

[Pussfeller]

I was under the impression that there was only one "007 Theme". You know, the big adventure theme, the one that hasn't been heard since the boat chase in Moonraker. I don't really expect it to be revived, even if they're consciously trying to create a retro score. But it would be very cool.

[MajorB]

Absolutely. And ironically enough, I find Newman's score for Wall-E positively "Barry-esque" at certain points, not unlike many saw Giacchino's score for The Incredibles (though admittedly, not to the same extent). Newman can handle action music and orchestra, he just rarely seems to take on those sorts of films.

Rather than being a risk or a disappointment, Skyfall might very well (ideally) be something of a mainstream breakout for Newman.

So long as Mendes isn't huddled with him in an editing room in August, saying "Bond is sad, here. His eyes are sad. But his heart is sadder. So I want an E-minor piano flutter over one long, low cello note. And then when the chase starts, silence."

I thought Giacchino's score for The Incredibles was consciously Barry-esque. In fact, there's a sequence or two in that score for which I'd be willing to bet that the Goldfinger soundtrack was used as a temp track because the structure of the music was virtually identical.

The big difference between Newman and Barry, IMO, is that Barry was all about melody, while Newman is less so. Newman's music sometimes sounds like background music over which a melody could still be laid. I don't say that as a criticism--I like Newman's style a lot. But Barry's Bond music was strong and "on top," while Newman's tends to be subtler and "underneath," if that makes any sense. So I don't expect a Barry-esque score. But I'm really looking forward to what he comes up with.

[MattofSteel]

Makes perfect sense, and I feel the same exact way. That was my main Newman trepidation upon announcement, as I've said. He writes phenomenal atmospheric music - but the best Bond music is not particularly "atmospheric." It's a distinct thing in and of itself. I've never found myself listening to a Thomas Newman score while driving or running, for example.

Whatever the outcome, it will certainly be interesting.

[DR76]

I didn't think Marc Forster was in any way an appropriate choice to direct a Bond film in 2007, either.

Marc Forster did just fine, as far as I'm concerned. My only problem with him was that his pacing in the first half of QoS was a bit too fast.

The big difference between Newman and Barry, IMO, is that Barry was all about melody, while Newman is less so. Newman's music sometimes sounds like background music over which a melody could still be laid. I don't say that as a criticism--I like Newman's style a lot. But Barry's Bond music was strong and "on top," while Newman's tends to be subtler and "underneath," if that makes any sense. So I don't expect a Barry-esque score. But I'm really looking forward to what he comes up with.

Why not just complain about Newman's score after the movie's release. Why bother second guessing on how it's going to be?

[Matt_13]

I was under the impression that there was only one "007 Theme". You know, the big adventure theme, the one that hasn't been heard since the boat chase in Moonraker. I don't really expect it to be revived, even if they're consciously trying to create a retro score. But it would be very cool.

That's what I'm hoping for the most. Especially if he saves it for the action finale.

[MajorB]

I didn't think Marc Forster was in any way an appropriate choice to direct a Bond film in 2007, either.

Marc Forster did just fine, as far as I'm concerned. My only problem with him was that his pacing in the first half of QoS was a bit too fast.

The big difference between Newman and Barry, IMO, is that Barry was all about melody, while Newman is less so. Newman's music sometimes sounds like background music over which a melody could still be laid. I don't say that as a criticism--I like Newman's style a lot. But Barry's Bond music was strong and "on top," while Newman's tends to be subtler and "underneath," if that makes any sense. So I don't expect a Barry-esque score. But I'm really looking forward to what he comes up with.

Why not just complain about Newman's score after the movie's release. Why bother second guessing on how it's going to be?

Wasn't complaining at all, if you'll notice. And I think of it as speculating, not second-guessing. It's what we do. We're Bond fans. Many in number, many in opinion.

[00Twelve]

I know I listen to Wall-E while driving sometimes. The "Define Dancing" is sublime to me. Atmospheric, you bet. But it does have several hummable melodic phrases, be it the ostinato or the long strings over the harp.

[The Shark]

I was under the impression that there was only one "007 Theme". You know, the big adventure theme, the one that hasn't been heard since the boat chase in Moonraker. I don't really expect it to be revived, even if they're consciously trying to create a retro score. But it would be very cool.

That's what I'm hoping for the most. Especially if he saves it for the action finale.

The best place for it would be the PTS, since it would be in the spirit of "Bond is back!" in a retro, angst-free action setpiece. It wouldn't be appropriate for the finale with you-know-what taking place.

[JCRendle]

As this is the non-spoiler section, you may want to edit that last part.

[MattofSteel]

No .

[SecretAgentFan]

Listening to the 007 theme right now... it would really be fantastic to have that at the beginning of the new film.

Bond, gung ho, overstepping lots of boundaries, having fun... and then...

[Leon]

This is a good point. It is discussed every time there's a new film, but for the 50th, and considering the clear desire to give it the classic feel, what exactly would the big deal be about paying for the rights? I think that's what's always been said about it, that someone else owns the copyright to that piece?

Even if that's so, the Bond production aren't exactly skint. They also, surely, must know about fans long desire to hear it again, revamped. It's a great piece too and would still sound amazing. Saved for the climactic action piece, maybe.

[JCRendle]

Wasn't the 007 theme written by John Barry for the Bond films too? Who else would own the rights? If not Eon, then it would likely be his wife Laurie. I don't see a problem with the rights?

[Leon]

I think Thomas Newman would be best having a little study of the scores from From Russia With Love, Thunderball and On Her Majesty's Secret Service.

Probably the best all-round and classic Barry scores. They have elements which would particularly suit Newman's take also. It would certainly be a bit of a shame really, after all this effort at classic styling, to just make a relatively randomly styled score. I'm sure it'll be good, but James Bond is so centered around the style of the piece more than any other films. I also have got a little tired of the 'modern' BS, electro elements and fads like that. Every film has those and it only makes Craig's Bond lean more and more towards Bourne et al.

[d21089]

hmm idn about the 007 theme to be honest - I honestly cant picture any recent Bond scenes that would work with it as it was... Much as I love it as a piece of music and in the films it was in, it would have to be reworked to work in a modern film- That being said the melody is there, its just a matter of the wrapping paper for the present if you know what i mean

[Pussfeller]

The 007 Theme works wherever there's an upbeat, sweeping scene in which Bond achieves a major coup, and in which there is very little dialogue. It could work in various places: the skiing chase in FYEO, the attack on Kamal's palace in OP, the fire engine chase in AVTAK, the Russian-Afghan battle at the end of TLD, the scene in LTK where Bond hitches a ride on the seaplane, the tank chase in GE, the paraglider attack in TWINE, etc. I admit that it would be hard to sneak it into CR and QOS, since there are no big triumphant action scenes.

As for Skyfall, I could imagine it being used during the bazaar brouhaha.