I actually don't want the OHMSS theme in Spectre. That was a theme for a certain film, and I don't think it belongs in any other film. Themes I would be okay with returning: 007, James Bond is Back (the first eight bars of the FRWL opening titles) and Mr. Kiss Kiss Bang Bang. These are themes tied to the James Bond character and not the movies, though Mr. Kiss Kiss Bang Bang was exclusive to TB.
I dream of one day getting a one-off Bond film set during the period of the novels - the 1950's - almost like a prequel to the Connery films. Then it would be great to have those themes worked in...
Nothing wrong with the idea of a period piece Bond film but IMO, Barry's Bond scores are classic and would stand up just as well today.
Actually there is a lot wrong with the idea of a Bond period piece. The recent period novels have been incredibly passé, so I don't even want to guess how it would come across on screen. Fleming wrote the character in the present and that's where he belongs. But I digress...
Way back when I thought that Connery could never be replaced as Bond.....which proved to not be true, it was just the emotions of a young fan who grew up with Connery as Bond. IMO, John Barry has never been adaquately replaced. David Arnold came close on CR. QOS was hindered by an awful title theme. Others have done decent jobs on the scores but nothing memorable. David Newman is certainly a talented film composer. His work on Skyfall was decent IMO. To me, it's not a Thomas Newman score, but a James Bond score. I think it's time to see what he could do as an arranger and adapter with some of Barry's classic themes.
There are composers and then, there are COMPOSERS. I can barely remember a single track from any of the films after Barry, but I can remember nearly every single track from his compositions. The same goes with the giants like Goldsmith, Herrmann, Williams, Horner, Morricone, etc. They're genius of creating iconic sounds and signature motifs that frame the films so well is almost impossible to match. I still can't believe we just lot Horner.
I totally disagree with you both...I have both CR and QoS soundtracks and listen to them often, I find QoS both dramatic and elegant, and I LOVE the theme track.
Craig's Bond is all about rebirth, and we've seen him stripped completely of the stereotypes that were passed from Connery onwards. We are slowly building him back to the Bond we became familiar with, but with a new twist...a new armour (to use the metaphor from CR). So for me, I want fresh music, a fresh sound. Yes, there is no denying Barry was a genius, but his time has passed and its all about moving forward, not looking back to the past.
She's worth whatever chaos she brings to the table and you know it. ~ Mark Anthony
I totally disagree with you both...I have both CR and QoS soundtracks and listen to them often, I find QoS both dramatic and elegant, and I LOVE the theme track.
Craig's Bond is all about rebirth, and we've seen him stripped completely of the stereotypes that were passed from Connery onwards. We are slowly building him back to the Bond we became familiar with, but with a new twist...a new armour (to use the metaphor from CR). So for me, I want fresh music, a fresh sound. Yes, there is no denying Barry was a genius, but his time has passed and its all about moving forward, not looking back to the past.
I actually like the CR and QOS scores very much. IMO they are the best post Barry scores. I slightly prefer the CR score mainly because Arnold was able to incorporate the title song into the overall score. The title song for QOS isn't very memorable IMO. However, what is it that most appeals to me about both these scores?.....they sound like Bond scores, which means they are more influenced by Barry's style. I think that David Arnold was able to find a good balance between the classic Bond sound and his own ideas. I think Arnold "got" Bond. Newman's work on Skyfall had some very good moments (the boat ride to Macao and "Severine") but again to my ears the most "Barry-like" but some of it was just ok.
I totally disagree with you both...I have both CR and QoS soundtracks and listen to them often, I find QoS both dramatic and elegant, and I LOVE the theme track.
Craig's Bond is all about rebirth, and we've seen him stripped completely of the stereotypes that were passed from Connery onwards. We are slowly building him back to the Bond we became familiar with, but with a new twist...a new armour (to use the metaphor from CR). So for me, I want fresh music, a fresh sound. Yes, there is no denying Barry was a genius, but his time has passed and its all about moving forward, not looking back to the past.
I actually like the CR and QOS scores very much. IMO they are the best post Barry scores. I slightly prefer the CR score mainly because Arnold was able to incorporate the title song into the overall score. The title song for QOS isn't very memorable IMO. However, what is it that most appeals to me about both these scores?.....they sound like Bond scores, which means they are more influenced by Barry's style. I think that David Arnold was able to find a good balance between the classic Bond sound and his own ideas. I think Arnold "got" Bond. Newman's work on Skyfall had some very good moments (the boat ride to Macao and "Severine") but again to my ears the most "Barry-like" but some of it was just ok.
I love the incorporation of Vespers theme through CR and QoS...it's very cleverly done...but my point is, although Barry was a genius, I'm happy for a new style.
It's all about moving forward...and introducing fresh ideas. Barry had his tenure, let's move on with something new -{
She's worth whatever chaos she brings to the table and you know it. ~ Mark Anthony
I totally disagree with you both...I have both CR and QoS soundtracks and listen to them often, I find QoS both dramatic and elegant, and I LOVE the theme track.
Craig's Bond is all about rebirth, and we've seen him stripped completely of the stereotypes that were passed from Connery onwards. We are slowly building him back to the Bond we became familiar with, but with a new twist...a new armour (to use the metaphor from CR). So for me, I want fresh music, a fresh sound. Yes, there is no denying Barry was a genius, but his time has passed and its all about moving forward, not looking back to the past.
I actually like the CR and QOS scores very much. IMO they are the best post Barry scores. I slightly prefer the CR score mainly because Arnold was able to incorporate the title song into the overall score. The title song for QOS isn't very memorable IMO. However, what is it that most appeals to me about both these scores?.....they sound like Bond scores, which means they are more influenced by Barry's style. I think that David Arnold was able to find a good balance between the classic Bond sound and his own ideas. I think Arnold "got" Bond. Newman's work on Skyfall had some very good moments (the boat ride to Macao and "Severine") but again to my ears the most "Barry-like" but some of it was just ok.
I love the incorporation of Vespers theme through CR and QoS...it's very cleverly done...but my point is, although Barry was a genius, I'm happy for a new style.
It's all about moving forward...and introducing fresh ideas. Barry had his tenure, let's move on with something new -{
But the CR and QoS soundtracks are not completely moving forward. There is a lot of Barry in Arnold's music. They still sound like Bond music because they have something of Barry's sound in them. Arnold is certainly looking to the past. If you like Arnold's scores you have to accept that there is much worthwhile in the Bond music of the past.
I totally disagree with you both...I have both CR and QoS soundtracks and listen to them often, I find QoS both dramatic and elegant, and I LOVE the theme track.
I've told you before that he's not doing you any good, Lexi
President of the 'Misty Eyes Club'.
Dalton - the weak and weepy Bond!
There are composers and then, there are COMPOSERS. I can barely remember a single track from any of the films after Barry, but I can remember nearly every single track from his compositions. The same goes with the giants like Goldsmith, Herrmann, Williams, Horner, Morricone, etc. They're genius of creating iconic sounds and signature motifs that frame the films so well is almost impossible to match. I still can't believe we just lot Horner.
Barbel will undoubtedly have a more expert opinion, but to me, Barry wrote pieces which were brilliant but not designed to fit the action (with the possible exception of 'this never happened to the other fella'). Sometime in the late eighties that changed and soundtracks seemed to have been written around what was going on in the picture, which makes them seem almost disjointed and less memorable.
The exception to this is DavidArnold's awesome "Time to get out" on QOS which is the only one which sounds as though it was written as a standalone and IMO, is the best post-Barry piece. -{
I can't find the link but recently Ennio Morricone had a go at directors
Who don't use a full orchestra for their film scores. Something which
I don't think David Arnold or T Newman would be guilty of.
"I've been informed that there ARE a couple of QAnon supporters who are fairly regular posters in AJB."
As far as Barry having his tenure and it being time to bring in a different type of sound - I respect that POV but I disagree and here's why.
Barry nailed the atmosphere of the films so well with his signature style that whenever it's heard it is immediately identified with Bond, just as Mancini's work was on the Pink Panther series, Herrmann's work with Hitchcock and Williams work with Spielberg. It's why when I see any of Hitchcocks films that Herrmann did not score they seem to be lacking in a large way - and I cannot possibly imagine a Pink Panther film without hearing Mancini's music or a Speilberg film without Williams (The Color Purple is a good example). In fact, I always maintained the only new sound outside of Barry's that would have worked ideally with the Bond series could have been made by someone like Mancini. One only has to listen to the tracks from films like Charade or Arabesque.
Yes, the other composers of the films have contributed well to the series and have certainly come up with distinguishing tracks that suit the series (I also like Arnold's work on Royale, but it is because it reminded me of Barry's work) but for me, Barry's iconic sound identifies the cinematic Bond even more than any of the actors performances of the character. In fact, the non Barry films that were the furthest from his sound - TSWLM, LALD, GE, in particular) are the films that could have been strengthened by his work
As far as Barry having his tenure and it being time to bring in a different type of sound - I respect that POV but I disagree and here's why.
Barry nailed the atmosphere of the films so well with his signature style that whenever it's heard it is immediately identified with Bond, just as Mancini's work was on the Pink Panther series, Herrmann's work with Hitchcock and Williams work with Spielberg. It's why when I see any of Hitchcocks films that Herrmann did not score they seem to be lacking in a large way - and I cannot possibly imagine a Pink Panther film without hearing Mancini's music or a Speilberg film without Williams (The Color Purple is a good example). In fact, I always maintained the only new sound outside of Barry's that would have worked ideally with the Bond series could have been made by someone like Mancini. One only has to listen to the tracks from films like Charade or Arabesque.
Yes, the other composers of the films have contributed well to the series and have certainly come up with distinguishing tracks that suit the series (I also like Arnold's work on Royale, but it is because it reminded me of Barry's work) but for me, Barry's iconic sound identifies the cinematic Bond even more than any of the actors performances of the character. In fact, the non Barry films that were the furthest from his sound - TSWLM, LALD, GE, in particular) are the films that could have been strengthened by his work
Well said. My opinion also, but you do a much better job of articulating it than I.
We have gone off on quite a tangent. I guess the use of music from OHMSS in the latest trailer brought this all on. I'm definately one of the guilty parties. Interesting discussion none the less. -{
Very well done stuff! -{ (Even Roger Moore himself tweeted about this! :P )
Yeh, I saw this... and as much as I love Moore (he was my first Bond, with TSWLM) this trailer just shows how far the franchise has gone. Moore, really was all about the one liners... and that began to really let the films down.
She's worth whatever chaos she brings to the table and you know it. ~ Mark Anthony
Very well done stuff! -{ (Even Roger Moore himself tweeted about this! :P )
Yeh, I saw this... and as much as I love Moore (he was my first Bond, with TSWLM) this trailer just shows how far the franchise has gone. Moore, really was all about the one liners... and that began to really let the films down.
Brosnan' Bond was also very much about the one-liners, but the Brosnan trailer picked great clips that actually fit with the tone of the SPECTRE trailer.
Hey, first post here - I'm sorta a recent regular over at MI6 and CBN...
Firstly, you guys may have seen this posted by me on those places - here's a little tidbit from the editor of the trailer (who's done all the Skyfall trailers and I believe the QoS theatrical too) on the OHMSS theme inclusion when I asked him whether it was his idea:
It was an early remark from Barbara which I stored, then implemented, pushed for and got!
He also praised Jeff Pfeifer (who composed the music for all the Craig-era trailers), and talked about how he'd hum bits that he'd want for particular parts of the trailer down the phone to Pfeifer, who'd then turn them info full orchestral pieces. A much more symbiotic process in terms of scoring/editing compared to most other film trailers.
He also posted a couple photos of the recording sessions for the trailer in LA:
Also speaking of fan trailers: I threw together an extended TV spot inspired by the QoS trailer music...even Skyfall had an official spot using that track!
FINAL TRAILER CONFIRMED - the editing team is putting finishing touches today. Expect classification on BBFC later this week/early next week, release closer to end of the month (with Sony's The Walk?)
FINAL TRAILER CONFIRMED - the editing team is putting finishing touches today. Expect classification on BBFC later this week/early next week, release closer to end of the month (with Sony's The Walk?)
Yep, Chinagraph were certainly behind the previous trailer so this is 100% genuine.
And the teaser as well. And the Skyfall trailers too (but only under Picture Production Company - Chinagraph is sorta a spinoff it seems with the same editors)
Comments
I dream of one day getting a one-off Bond film set during the period of the novels - the 1950's - almost like a prequel to the Connery films. Then it would be great to have those themes worked in...
Very true, and I would welcome it. After all, the Bond theme is in and of itself a period piece :007)
Actually there is a lot wrong with the idea of a Bond period piece. The recent period novels have been incredibly passé, so I don't even want to guess how it would come across on screen. Fleming wrote the character in the present and that's where he belongs. But I digress...
I totally disagree with you both...I have both CR and QoS soundtracks and listen to them often, I find QoS both dramatic and elegant, and I LOVE the theme track.
Craig's Bond is all about rebirth, and we've seen him stripped completely of the stereotypes that were passed from Connery onwards. We are slowly building him back to the Bond we became familiar with, but with a new twist...a new armour (to use the metaphor from CR). So for me, I want fresh music, a fresh sound. Yes, there is no denying Barry was a genius, but his time has passed and its all about moving forward, not looking back to the past.
I actually like the CR and QOS scores very much. IMO they are the best post Barry scores. I slightly prefer the CR score mainly because Arnold was able to incorporate the title song into the overall score. The title song for QOS isn't very memorable IMO. However, what is it that most appeals to me about both these scores?.....they sound like Bond scores, which means they are more influenced by Barry's style. I think that David Arnold was able to find a good balance between the classic Bond sound and his own ideas. I think Arnold "got" Bond. Newman's work on Skyfall had some very good moments (the boat ride to Macao and "Severine") but again to my ears the most "Barry-like" but some of it was just ok.
I love the incorporation of Vespers theme through CR and QoS...it's very cleverly done...but my point is, although Barry was a genius, I'm happy for a new style.
It's all about moving forward...and introducing fresh ideas. Barry had his tenure, let's move on with something new -{
But the CR and QoS soundtracks are not completely moving forward. There is a lot of Barry in Arnold's music. They still sound like Bond music because they have something of Barry's sound in them. Arnold is certainly looking to the past. If you like Arnold's scores you have to accept that there is much worthwhile in the Bond music of the past.
I've told you before that he's not doing you any good, Lexi
Dalton - the weak and weepy Bond!
Barbel will undoubtedly have a more expert opinion, but to me, Barry wrote pieces which were brilliant but not designed to fit the action (with the possible exception of 'this never happened to the other fella'). Sometime in the late eighties that changed and soundtracks seemed to have been written around what was going on in the picture, which makes them seem almost disjointed and less memorable.
The exception to this is DavidArnold's awesome "Time to get out" on QOS which is the only one which sounds as though it was written as a standalone and IMO, is the best post-Barry piece. -{
Who don't use a full orchestra for their film scores. Something which
I don't think David Arnold or T Newman would be guilty of.
Barry nailed the atmosphere of the films so well with his signature style that whenever it's heard it is immediately identified with Bond, just as Mancini's work was on the Pink Panther series, Herrmann's work with Hitchcock and Williams work with Spielberg. It's why when I see any of Hitchcocks films that Herrmann did not score they seem to be lacking in a large way - and I cannot possibly imagine a Pink Panther film without hearing Mancini's music or a Speilberg film without Williams (The Color Purple is a good example). In fact, I always maintained the only new sound outside of Barry's that would have worked ideally with the Bond series could have been made by someone like Mancini. One only has to listen to the tracks from films like Charade or Arabesque.
Yes, the other composers of the films have contributed well to the series and have certainly come up with distinguishing tracks that suit the series (I also like Arnold's work on Royale, but it is because it reminded me of Barry's work) but for me, Barry's iconic sound identifies the cinematic Bond even more than any of the actors performances of the character. In fact, the non Barry films that were the furthest from his sound - TSWLM, LALD, GE, in particular) are the films that could have been strengthened by his work
Well said. My opinion also, but you do a much better job of articulating it than I.
We have gone off on quite a tangent. I guess the use of music from OHMSS in the latest trailer brought this all on. I'm definately one of the guilty parties. Interesting discussion none the less. -{
https://www.youtube.com/watch?v=eJpHIolXg7Q
Very well done stuff! -{ (Even Roger Moore himself tweeted about this! :P )
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Yeh, I saw this... and as much as I love Moore (he was my first Bond, with TSWLM) this trailer just shows how far the franchise has gone. Moore, really was all about the one liners... and that began to really let the films down.
Brosnan' Bond was also very much about the one-liners, but the Brosnan trailer picked great clips that actually fit with the tone of the SPECTRE trailer.
Firstly, you guys may have seen this posted by me on those places - here's a little tidbit from the editor of the trailer (who's done all the Skyfall trailers and I believe the QoS theatrical too) on the OHMSS theme inclusion when I asked him whether it was his idea:
https://twitter.com/fit_to_fill/status/631108677462835200
He also praised Jeff Pfeifer (who composed the music for all the Craig-era trailers), and talked about how he'd hum bits that he'd want for particular parts of the trailer down the phone to Pfeifer, who'd then turn them info full orchestral pieces. A much more symbiotic process in terms of scoring/editing compared to most other film trailers.
He also posted a couple photos of the recording sessions for the trailer in LA:
Also speaking of fan trailers: I threw together an extended TV spot inspired by the QoS trailer music...even Skyfall had an official spot using that track!
https://www.youtube.com/watch?v=aYxTaU-5CP0
I have a couple more SPECTRE things on my YouTube channel, if you guys are interested
Very interesting first Post -{
https://twitter.com/Chinagraph_L/status/641586414988214272
What I want to know is if we will ever have a full audio version of the OHMSS remake (from the last trailer)
Would love it to appear in the film but guess unlikely