Quoting words:
I've never understood why some people dislike this theme so much. For me it is definately in the top 10, possibly top 5.
I don't dislike the song but I do dislike the opening credit sequence for TND which spoils the song for me - the credit sequence is a bit all over the place - especially when compared with the beautiful simplicity of TWINE (the coloured oil) and the magic of GE (Soviet imagery). And of course the DAD sequence is the ultimate.
I think they could have done a much better job with the TND credit sequence after the kind of CGI came in that we see in the X-Men credit sequences. Imagine beautiful girls dancing inside the mazes of microchips and the camera zooming along inside electrical cables - all playing on the TND theme area, the mass media. I can't wait to see the credit sequence for the next Bond film.
I'm with you, Delicious. I always envisaged that the ideal title sequence for Tomorrow Never Dies would consist of "rain" made up of letters and flat sheets of newsprint slowing morphing into the female form.
I agree with some folks, the theme song from T.N.D is definately in the top five, and Sheryl Crow did a fantastic job, i don't care for her music but she did good on the T.N.D theme, and though i hate the movie D.A.D and can't stand Madonna the theme song is not bad.
I didn't mind the Crow song that much but the KD Lang Song used for the end credits was MUCH better and KD is a MUCH better singer than Crow. Again, although I didn't mind Crow, KD hit one out of the park with her at bat. Surrender really evoked 1960's Bond title music.
I also agree with 037 in that I don't really care for Madonna but I thought she did a good job on DAD. I thought the song worked well with that pre-title sequence and how they continued it into the opening credits.
I think we can all agree that Surrender is the better song of the two, but while some dislike Crow's Tomorrow Never Dies, I absolutely love it. Sultry and very Bondian.
Film: Tomorrow Never Dies | Girl: Teresa di Vicenzo | Villain: Max Zorin | Car: Aston Martin Volante | Novel: You Only Live Twice | Bond: Sir Sean Connery
I've always resisted the song but thanks to this forum (and myself!) I've given the track a few more listens. The version I own is the 4.51 one which is nearly 2 minutes longer than the one included in the film. IMO it allows Crow's voice (which isn't perfect in the chorus) to blend better with what happens to be musically a very good song. In particular the slower, orchestral elements at 3 minutes.
So I've changed my mind. It's not horrible, it's actually pretty good. But I do think the shortened version of the song, and the Spice Girls-esque titles from Kleinman don't help the song in the context of the film.
Comments
K. D. Lang said she had Tom Jones and Thunderball in mind when she performed it.
Also, David McAlmont (who sang Arnold's version of 'Diamonds Are Forever' on Shaken and Stirred) got a credit for composing 'Surrender', too.
I don't dislike the song but I do dislike the opening credit sequence for TND which spoils the song for me - the credit sequence is a bit all over the place - especially when compared with the beautiful simplicity of TWINE (the coloured oil) and the magic of GE (Soviet imagery). And of course the DAD sequence is the ultimate.
I think they could have done a much better job with the TND credit sequence after the kind of CGI came in that we see in the X-Men credit sequences. Imagine beautiful girls dancing inside the mazes of microchips and the camera zooming along inside electrical cables - all playing on the TND theme area, the mass media. I can't wait to see the credit sequence for the next Bond film.
I also agree with 037 in that I don't really care for Madonna but I thought she did a good job on DAD. I thought the song worked well with that pre-title sequence and how they continued it into the opening credits.
To be honest I dont like here other songs. TND was here best song IMO
"Better make that two."
So I've changed my mind. It's not horrible, it's actually pretty good. But I do think the shortened version of the song, and the Spice Girls-esque titles from Kleinman don't help the song in the context of the film.
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"Better make that two."