Never Say McClory Again
Napoleon Plural
LondonPosts: 10,484MI6 Agent
This is the pet project of Blofeld's Cat, not to be confused with ajb regular, The Cat.
He's taken Never Say Never Again and redubbed the soundtrack with traditional Bond tunes, mainly John Barry of course.
What do you think of it? Here's the link:
http://neversaymccloryagain.ohmss-007.com/
Personally I think it's very interesting, though slightly akin to polishing a turd, as NSNA is a pretty bad film by any reckoning. I'd rather see him take on FYEO, which has loud, brash music out of keeping a more mature Moore. Others would no doubt prefer him to tackle GE.
Which clips do you think work best?
He's taken Never Say Never Again and redubbed the soundtrack with traditional Bond tunes, mainly John Barry of course.
What do you think of it? Here's the link:
http://neversaymccloryagain.ohmss-007.com/
Personally I think it's very interesting, though slightly akin to polishing a turd, as NSNA is a pretty bad film by any reckoning. I'd rather see him take on FYEO, which has loud, brash music out of keeping a more mature Moore. Others would no doubt prefer him to tackle GE.
Which clips do you think work best?
"This is where we leave you Mr Bond."
Roger Moore 1927-2017
Roger Moore 1927-2017
Comments
Believe me, you should consider yourself lucky that you've never been subjected to Michel Legrand's musical (and I use that term loosely) score for NSNA. A 2 hour chorus of gregorian chants would make for a better score than that ear shattering cacophany.
Since it has the worst musical mix in a Bond movie ever, 60% of Legrand's compositions were rejected or used at completely random places, you can't blame the old man entirely. It took a whole team of trained monkeys to commit this musical massacre.
Being the completists that we are, my brother and I own the NSNA DVD (I think we got it for $9). It is fun to pop it in every now and then and marvel at just how bad this movie is. The screenplay was written by Lorenzo Semple, Jr. who wrote a lot of the episodes for the campy Batman TV series from the 1960's.
And yes, the soundtrack is that bad. It's all over the place; one minute your ears are assualted with blaring horns, then it's a goofy jazz piece complete with requisite walking bass solo during a car chase, then more brass, and then some sickly sweet French song as Domino looks away, mystified.
AHHHHH...:(|) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |) |)
They are taking over. That is why I don't watch thismovie. It doesn't have a Bond feel as well as the Bond theme or the gunbarrell.
There's an old saying; give an unlimited number of monkeys an unlimited number of time and eventually they'll duplicate the complete works of Shakespeare.
As for NSNA, I give it 5 monkeys and 15 minutes.
|) |) |) |) |)
Roger Moore 1927-2017
Apologies, you're absolutely right; I'm especially guilty of hijacking this thread.
I checked out the musical adaptations. While they were technically very well done, my problem with them was that the themes were very recognizable and as I heard them, I couldn't help but think of those other movies (specifically MR and TSWLM) as I watched the clips.
Musical cues are a tricky thing since they can easily trigger other memories (in this case, the original movies the music came from). I wonder if a better approach would have been to use music from Thunderball since NSNA is essentially a remake of that movie or more generic pieces like the classic James Bond theme from Dr. No.
But Blofeld's Cat's full version is incredibly well-done, there was only one instance - the horse chase - during which the movie was completely inappropriate.
The prelude to the shark chase and sequence where Bond is seen outside Jack's window were the ones where shivers ran down my spine- sometimes it just feel so right.
It's hard to see it as a complete movie, however, as all of the music is so disparate; but as a collection of Bond scenes it's fantastic.
And although its negatives are well documented, I think it's worth remembering that NSNA has some of the best dialogue from the Bond series, plus its plot actually makes more sense than Thunderball- for those reasons alone I'd save it from the furnace!
I go along with the idea of using non-Bond music more often than not, but doubtless Blofeld's Cat would have considered that a hard sell to fans, compared with Barry Bond music.
The loading of the missiles, with music from OHMSS, is the one that works best imo. I'd also use the main OHMSS theme for the bike chase. The cutting of Bond 77 works very well here, but it doesn't seem vengeful enough for the scene... Maybe the boat chase music from TWINE would be better here, it's basically the same scene anyhow, as Bond goes after an assassin.
Otherwise, too many scenes bring out the nitpicker in me!
The pts, for instance, I would fix so it seems set at nighttime! (By simply turning the light down perhaps? Is that possible?) And maybe build it up with scenes from other films - could that be done? A shot of a helicopter flying over ahead could be cut into it? It would be more atmospheric - and in any case, I would use the Goldfinger pts music, which matches what Connery is up to in that scene.
Again, instead of disappointing establishing shots of Nice, why not use establishing shots from other films, such as The Transporter... could that work?
As for the credits, I can see why they used Bassey's History Repeating, but over here it's mainly used as background music to a travel show, or Graham Norton... it doesn't seem dynamic enough for a main theme. I'd certainly put it in there, mind, but perhaps so we hear it as Bond heads to the Bahamas, or maybe when Fatima Blush pursues Jack in his car to bump him off... -{
For the main theme I'd use Sneaker Pimps 6 Underground, or even Propellerheads' OHMSS, with clips from past Connery movies put in there. The pts is quite slow, so perhaps could do with a fast theme really, to make up for that. Or maybe Duran Duran's Come Undone even. B-)
Overall I admire what Blofeld's Cat had done, perhaps not enough to make a donation as it stands.
I'd almost think of doing an OHMSS hack job on it, starting the film with the exciting bike chase in Nice, then have a Connery voiceover explaining how he got into that situation with a flashback! That could work... )
Roger Moore 1927-2017
Not only did I consider it a 'hard sell', my familiarity with similarly appropriate music is far too limited to entertain the idea in the first place.
I've been thinking about producing a purely John Barry music track as an extra audio option on the DVD but one of the stumbling blocks was the motorcycle chase scene. I have yet to find a cue that works as well as Bond 77. I will give the OHMSS main theme a shot and see if it works. Always open to suggestions.
You make some interesting observations. Never occurred to me to change the time of day. I think I've got a 'day for night' filter but not sure the result will work due to so many shots featuring sky (when shooting day-for-night, the golden rule is not to include sky in the shot).
You're suggestion for using "Bond Back In Action" from 'Goldfinger' is a great idea. I'm going to have a crack at that later today. I feel yet another recut of the pts coming on. Can't understand why I never thought of such an obvious choice.
All together now, "Oh no it wouldn't".
Can't entirely disagree about the Arnold comment. The pre-title was the very first scene I recut way back in the days when there was no plans to expand the project beyond the one webclip.
Now that I've spent some time away from the project, I am slowly coming 'round to the idea of re-visiting it with a view to using John Barry music exlusively.
Napoleon Plural has suggested a replacement cue which I am going to try.
I guess there's no way that my alternative soundtrack could be anything but a collection of clips. But I'm glad that you and others have appreciated that it works most of the time.
The scene where Bond spies on Fatima and Jack at Shrublands incorporates music from three different films so it's amazing that the scene works as well as it does.
cheers.
Not as jarring as you might initially think. But it's a big ask expecting listeners to put out of their minds all previous connotations. However, if the music fits, it doesn't take long to accept the new environment.
That's exactly how I perceive it! NSMcA was never intended to supplant or replace the original. My version is firmly set in the realm of 'what if'.
cheers.
Because I'd been working on the project for a couple of years, I think that I'd had a gutful of it by the time it came to do the horse chase scene (the last scene to be rescored) and the end result suffered as a result.
I'm open to suggestions for alternative music.
cheers.
The Nigel Small-Fawcett scene is generally regarded as silly - even without the addition of my music selections.
I strongly urge you to familiarise yourself with the original version before watching any more clips of NSMcA.
cheers.
Nice of you to pop up and comment. Glad you like some of my suggestions... would it also be possible to use some of The Incredibles soundtrack? That has very Bondian sounding music (it's a pastiche, as you probably know) including one cue that sounds very Goldfinger-like (from GF's pts that is), yet would have the advantage of not putting you in mind of another Bond film but just create the atmosphere.
Also, would it in theory be possible to insert establishing shots from totally different films? That can build the film up in an interesting way.
There are other thing's I'd change to smooth things over, but of course NSNA is a problematic film, overall. For instance, I cringe when Fatima Blush talks about 'candy for baby' at Shrublands - but I'd guess this might be a turn-on for others... Myself I'd take the sound off and put, erm, I think it's a band that sampled Portishead, a recent girl band called 911 or something, over the soundtrack. Then speed it up at times, like in the C4 sitcom Green Wing (you won't have seen that) so it seems all creepy and mysterious, which goes along with Bond watching but not being able to hear it. It makes it a kind of Blue Velvet moment... [Edit: someone else has praised your version of this scene, but I haven't seen that clip, so maybe it's okay anyway ;% )
Maybe the Proprellerhead's OHMSS for the titles, the opening cuts in well with Bond getting shockingly knifed! Then how about using most of the OHMSS credits instead of TB? After all, it's got clips from all those Connery films... which never quite fitted in with Lazenby. Maybe you could chuck in a few clips from DAF in there, and one or two Bond-looking shots from Outland or A Bridge Too Far or something. The spinning clock would fit in well with the ageing theme of the first half of NSNA.
Would the 007 theme (used for the gypsy camp in FRWL and other scenes) work better on the horseback scene that others have commented on?
Another thing I'd do is get hold of Bond cover themes, there's a CD I bought years ago which had a remix of the space theme from DAF - the cover of the CD had Connery in his jetpack from TB (Beats by Dope Demand I think it was), it was very distinctive... That could fit in well with some missile heist where they go underwater etc... Again, it gives you more options for cues.
I'd also have that snakey Portishead theme going on when Bond goes through an airport or something and generate suspense...
I could go on and on!
Anyway, cheers for getting back to us Blofeld's Cat, and I realise it's always easier to come in with suggestions after someone else has done the main work!
Roger Moore 1927-2017
Heh- that reminds me of a great moment in NSMA- it's hard not to watch and play the game of trackspotting; seeing which piece came from which other Bond film. But there one one cue that threw me- when Bond and Domino are shown their new 'home' by Largo at the end of the film. I was desperately trying to figure out which it was from, but overlooked the obvious- it's from Never Say Never Again; the original score working quite well! Clever old Drummond!
I realised from the start that my choices of music, my decisions concerning recutting certain scenes et al could not possibly appeal to everyone.
But isn't that true of every one of us when it comes to the Eon films themselves? I guess the major difference 'twixt my effort and the other Bond's is that there is a pre-existing version with which to compare, whereas the other Bond's are presented fresh.
Had I known, when creating the first clip, that I would later change my mind and redo the entire film instead of just a single clip, I may well have done a few things differently.
But I'm nonetheless happy that for the majority of fans, my little novelty works about 90% of the time.
cheers.
http://www.discogs.com/release/22650
for details. The track is Timber, the one before it, Grantby, samples The Ipcress File to good effect.
The Portishead sampled track is by The 411 on their single Teardrops.
Roger Moore 1927-2017
Then you could go straight into something like 6 Underground as the main theme...
Roger Moore 1927-2017