I suppose George Martin, Marvin Hamlisch and Bill Conti all contributed scores which could conceivably "shake up the franchise". To me each one sounds perfectly Bondian in their own way without attempting to copy Barry. Perhaps Romer will give us something similar.
This is what I am also hoping for.
I'm listening to Maniac's soundtrack now, and I am very impressed. Beasts of No Nation, however, was very disappointing.
I'll have to give MANIAC a listen, then.
I should say that Maniac does not have a Bond sound, but I think it is good music.
Romer is an inspired choice. Though his music sounds a bit like Dany Elfman mixed Jerry Goldsmith's late in his career, he won't be the aural wallpaper that was Newman.
JG007Manchester , United KingdomPosts: 276MI6 Agent
I was HEAVY in the Arnold camp. Happy to go with something different and fresh. I’ll listen to the Maniac score and go from there. Of course the producers will have had a say and if they’re comfortable and happy to go with Cary’s choice then I’m willing to go with an open mind and something different. I’m just hoping we’ll get an Arnold return at some point as he’s a terrific Bond composer.
Hoping for a score that you can instantly recognise with this particular film though with some strong Bond theme presence as that will no doubt win fans over, new beginnings -{
Romer is an inspired choice. Though his music sounds a bit like Dany Elfman mixed Jerry Goldsmith's late in his career, he won't be the aural wallpaper that was Newman.
What music of Romer's reminds you of Goldsmith? I'm listening to The Innocent Man right now and I can hear a bit of Goldsmith. Goldsmith is one of my all-time favourites, and I think I may even prefer him over any Bond composer!
Barry was the Bond sound. It was equal parts jazz, Max Steiner, and pop. Those scores were an integral part of the films, at worst memorable and at their best, masterpieces that were criminally snubbed by the Academy Awards. IMO, a meh score for a Bond film is a big failing...and IMO, Arnold would have a much better chance of getting it right but I do see the possibility of something good coming from Romer if he has a real appreciation and understanding of what works best in a Bond film.
Romer is an inspired choice. Though his music sounds a bit like Dany Elfman mixed Jerry Goldsmith's late in his career, he won't be the aural wallpaper that was Newman.
What music of Romer's reminds you of Goldsmith? I'm listening to The Innocent Man right now and I can hear a bit of Goldsmith. Goldsmith is one of my all-time favourites, and I think I may even prefer him over any Bond composer!
Late in his career, Goldsmith gets lighter and more whimsical, taking cues from a lot of African and South American motifs. Romer's "Annie and Owen" theme and other incidental music from "Maniac," for instance, reminds me of bit from Goldsmith's "The Ghost and the Darkness" and "Congo" soundtracks. No, they're not identical in melody and so forth, but there's a similarity in expression and emotional tone, somewhat like Alfred Newman's "How the West was Won" theme reminds me of Aaron Copeland.
Romer is an inspired choice. Though his music sounds a bit like Dany Elfman mixed Jerry Goldsmith's late in his career, he won't be the aural wallpaper that was Newman.
What music of Romer's reminds you of Goldsmith? I'm listening to The Innocent Man right now and I can hear a bit of Goldsmith. Goldsmith is one of my all-time favourites, and I think I may even prefer him over any Bond composer!
Late in his career, Goldsmith gets lighter and more whimsical, taking cues from a lot of African and South American motifs. Romer's "Annie and Owen" theme and other incidental music from "Maniac," for instance, reminds me of bit from Goldsmith's "The Ghost and the Darkness" and "Congo" soundtracks. No, they're not identical in melody and so forth, but there's a similarity in expression and emotional tone, somewhat like Alfred Newman's "How the West was Won" theme reminds me of Aaron Copeland.
Thanks. I hear what you're saying. I think Goldsmith would have had another melodic layer on top of "Annie and Owen", but the feel is there. It sets a good foundation, though composers like Goldsmith usually used a melodic line throughout most of the music, while that is less fashionable today. Both Goldsmith and Newman took a lot from Copland. I think for the modern composers, Philip Glass is one of the biggest inspirations, though I never get the same feeling from the film composers.
JG007Manchester , United KingdomPosts: 276MI6 Agent
His track in Maniac titled “if someone tries to chop it down” is a good piece. Nice offbeats and tone to it, after listening to Maniac’s score I’m excited to see what he brings, it’ll be different and unique to B25 hopefully. I’m just hoping he utilises the Bond theme in the score a bit more than Newman did.
His track in Maniac titled “if someone tries to chop it down” is a good piece. Nice offbeats and tone to it, after listening to Maniac’s score I’m excited to see what he brings, it’ll be different and unique to B25 hopefully. I’m just hoping he utilises the Bond theme in the score a bit more than Newman did.
Should be a positive addition I think -{
I'm looking forward to how he puts his own spin on the theme much like Newman and the previous composers have done.
What music of Romer's reminds you of Goldsmith? I'm listening to The Innocent Man right now and I can hear a bit of Goldsmith. Goldsmith is one of my all-time favourites, and I think I may even prefer him over any Bond composer!
Late in his career, Goldsmith gets lighter and more whimsical, taking cues from a lot of African and South American motifs. Romer's "Annie and Owen" theme and other incidental music from "Maniac," for instance, reminds me of bit from Goldsmith's "The Ghost and the Darkness" and "Congo" soundtracks. No, they're not identical in melody and so forth, but there's a similarity in expression and emotional tone, somewhat like Alfred Newman's "How the West was Won" theme reminds me of Aaron Copeland.
Thanks. I hear what you're saying. I think Goldsmith would have had another melodic layer on top of "Annie and Owen", but the feel is there. It sets a good foundation, though composers like Goldsmith usually used a melodic line throughout most of the music, while that is less fashionable today. Both Goldsmith and Newman took a lot from Copland. I think for the modern composers, Philip Glass is one of the biggest inspirations, though I never get the same feeling from the film composers.
if she was in the film, was she supposed to be Mayday?
Mayday's dead in a flooded mineshaft of course, but that's the Moore-verse, so maybe there was going to also be a Mayday in the Craig-verse, just like Craig has his own Blofeld?
she could have been an allnew character of course, like Maud Adams played two characters in two films, but she's a little more recognisable than Maud Adams ... I think she would have been percieved as Mayday whatever they named her character
Think so far the whole Grace Jones cameo is all just media speculation
Ive even read she was doing the Bond 25 theme song
I agree. I think that the whole story was made up. They made up a silly story about her being in Bond 25 and made up another silly story about why she's not going to be in the film.
Grace Jones as far I'm concerned is a completely inconsequential non-story. Even if it is true and she had a small cameo in Bond 25 and walked off the set , it was just another cheap pathetic attempt at self promotion on her part (Jones has always been a smart self promoter and she figured the Tabs would be all over it). Sure, it might have been a neat little gimmick to have the exotic and strangely quirky Jones, a native of Jamaica and Bond alumni do a cameo but beyond that, who cares?
if she was in the film, was she supposed to be Mayday?
Mayday's dead in a flooded mineshaft of course, but that's the Moore-verse, so maybe there was going to also be a Mayday in the Craig-verse, just like Craig has his own Blofeld?
she could have been an allnew character of course, like Maud Adams played two characters in two films, but she's a little more recognisable than Maud Adams ... I think she would have been percieved as Mayday whatever they named her character
I suppose it's possible. She actually made it out of the mineshaft before the "Thermos" detonator went off, and unless she disintegrated they never showed a body, so maybe she's just horribly burned.
"Friday 12 July press conference to present the organizational aspects for production"
It's not clear if this is simply local officials informing people of what is going to happen, what roads will be closed etc. or if anyone from EON or Universal Studios will be there.
"Friday 12 July press conference to present the organizational aspects for production"
It's not clear if this is simply local officials informing people of what is going to happen, what roads will be closed etc. or if anyone from EON or Universal Studios will be there.
I would say the 'organizational aspects for production' bit makes that fairly clear!
Comments
I should say that Maniac does not have a Bond sound, but I think it is good music.
Hoping for a score that you can instantly recognise with this particular film though with some strong Bond theme presence as that will no doubt win fans over, new beginnings -{
What music of Romer's reminds you of Goldsmith? I'm listening to The Innocent Man right now and I can hear a bit of Goldsmith. Goldsmith is one of my all-time favourites, and I think I may even prefer him over any Bond composer!
-Casino Royale, Ian Fleming
Thanks. I hear what you're saying. I think Goldsmith would have had another melodic layer on top of "Annie and Owen", but the feel is there. It sets a good foundation, though composers like Goldsmith usually used a melodic line throughout most of the music, while that is less fashionable today. Both Goldsmith and Newman took a lot from Copland. I think for the modern composers, Philip Glass is one of the biggest inspirations, though I never get the same feeling from the film composers.
Should be a positive addition I think -{
Beethoven’s biggest ‘hit’ ..the 5th symphony, picture the opening two notes (or chords)
Dat dat dat.. ..daaaaaaaahh
Ok? Now picture it as two long notes ..Daaaaaaaaaaaaaaa.. daaaaaaaaaaaaaaahh
Familiar?
. Risico.
Gun In My Hand
Never Dream of Dying
IG: @thebondarchives
Check it out, you won’t be disappointed
Apparently Gravina in Puglia is now a confirmed location
https://www.tgtourism.tv/2019/07/james-bond-a-gravina-in-puglia-81348/
https://twitter.com/LashanaLynch/status/1147163382174367744
https://www.instagram.com/p/Bzii4WGgmNt/
Mayday's dead in a flooded mineshaft of course, but that's the Moore-verse, so maybe there was going to also be a Mayday in the Craig-verse, just like Craig has his own Blofeld?
she could have been an allnew character of course, like Maud Adams played two characters in two films, but she's a little more recognisable than Maud Adams ... I think she would have been percieved as Mayday whatever they named her character
Ive even read she was doing the Bond 25 theme song
I agree. I think that the whole story was made up. They made up a silly story about her being in Bond 25 and made up another silly story about why she's not going to be in the film.
I don't see how she could've come up with it.
I suppose it's possible. She actually made it out of the mineshaft before the "Thermos" detonator went off, and unless she disintegrated they never showed a body, so maybe she's just horribly burned.
-Casino Royale, Ian Fleming
What I really want to know now is the composer, title song artist and of course the title.
https://www.materalife.it/notizie/james-bond-ciak-a-matera-anche-la-prima-scena-del-nuovo-film/
"Friday 12 July press conference to present the organizational aspects for production"
It's not clear if this is simply local officials informing people of what is going to happen, what roads will be closed etc. or if anyone from EON or Universal Studios will be there.
I would say the 'organizational aspects for production' bit makes that fairly clear!