MI6 Bond site has information about the Bond 25 title:
'A Reason To Die' was attached to Bond 25 right up until the night of April 24th. Whether or not the production will come up with a new replacement title that is preferred by everyone remains to be seen.
Interesting. I don't mind the title however if they've dropped it I'd prefer something like:
MI6 Bond site has information about the Bond 25 title:
'A Reason To Die' was attached to Bond 25 right up until the night of April 24th. Whether or not the production will come up with a new replacement title that is preferred by everyone remains to be seen.
Interesting. I don't mind the title however if they've dropped it I'd prefer something like:
FOR LOVE, HATE AND REASON
it fits my prediction that the only reason they've held off revealing it is because they aren't confident with it, not because its some crazy title that will blow everyone's mind. Everyone on this site has already come up with better renditions of it. they probably have a handful of titles they are competing with which goes to show how generic they are if they can be swapped interchangeably without tampering with the plot.
it fits my prediction that the only reason they've held off revealing it is because they aren't confident with it, not because its some crazy title that will blow everyone's mind. Everyone on this site has already come up with better renditions of it. they probably have a handful of titles they are competing with which goes to show how generic they are if they can be swapped interchangeably without tampering with the plot.
Well you really have no idea if that's true until production release the actual title. It could blow all our renditions out of the water.
I only count three Bond titles as bad: Tomorrow Never Dies, Die Another Day and Spectre. I think we have four decent titles that weren't Fleming's story titles, but some were Fleming ideas. Takeaway: look to Fleming for a title idea and don't use the word "Die".
I only count three Bond titles as bad: Tomorrow Never Dies, Die Another Day and Spectre. I think we have four decent titles that weren't Fleming's story titles, but some were Fleming ideas. Takeaway: look to Fleming for a title idea and don't use the word "Die".
think there’s still some mileage with ‘die’ in the title, had this image in my head of a baddie saying..
I only count three Bond titles as bad: Tomorrow Never Dies, Die Another Day and Spectre. I think we have four decent titles that weren't Fleming's story titles, but some were Fleming ideas. Takeaway: look to Fleming for a title idea and don't use the word "Die".
Those are all better than Reason to Die. At least they make sense.
it fits my prediction that the only reason they've held off revealing it is because they aren't confident with it, not because its some crazy title that will blow everyone's mind. Everyone on this site has already come up with better renditions of it. they probably have a handful of titles they are competing with which goes to show how generic they are if they can be swapped interchangeably without tampering with the plot.
Well you really have no idea if that's true until production release the actual title. It could blow all our renditions out of the water.
The renditions of Reason to Die are better than Reason to Die.
No matter if Bond 25 turns out to be an absolute classic or worse than parts of Die Another Die , you gotta admit some of these Bond 25 press stories are hilarious. Someone recording (or I think the correct term is 'perving') in Pinewood toilets 8-), the director playing too much on his PS4 and Grace Jones coming back to the franchise (which is weird enough in itself!) and quitting because of lack of lines! It's not as if she had many lines when she played May Day! Not to mention Daniel Craig falling over a few days into filming, the abandoned title... an exciting shot of some Jamaican ramshackle house, and the wrong type of tyres on the Aston Martin so it couldn't drive on the road!
No matter if Bond 25 turns out to be an absolute classic or worse than parts of Die Another Die , you gotta admit some of these Bond 25 press stories are hilarious. Someone recording (or I think the correct term is 'perving' in Pinewood toilets, the director playing too much on his PS4 and Grace Jones coming back to the franchise (which is weird enough in itself!) and quitting because of lack of lines! It's not as if she had many lines when she played May Day! Not to mention Daniel Craig falling over a few days into filming, the abandoned title... an exciting shot of some Jamaican ramshackle house, and the wrong type of tyres on the Aston Martin so it couldn't drive on the road!
I would also like Arnold back. While I don't like what Newman did for Bond, there are many composers out there who could do worse, such as Hans Zimmer and most of his disciples. Newman is better, but for some reason he took the Zimmer approach with Bond rather than the approach of any Bond composer that came before him. Scoring action really isn't his thing.
I didn’t have a problem with Newman’s work in Skyfall, but Spectre’s score was like a watered down rehash of Skyfall’s (come to think of it, that’s a running theme in Spectre). Bring back Arnold or give us something new. But no more Newman, please.
The main theme has to run through the soundtrack. It's not rocket science! It improves the whole feel of the film. Newman ignored this rule pretty much.
A composer that doesn’t incorporate the Bond theme even once into the film shouldn‘t do it.
There's loads of Bond theme in them..? Watch Spectre more closely: every time Bond appears in the first half pretty much you get a statement of the Bond theme. It actually begins to slightly wear out!
Casino Royale of course didn't have a single statement of the Bond theme during the movie. So that's Arnold out of contention!
I didn’t have a problem with Newman’s work in Skyfall, but Spectre’s score was like a watered down rehash of Skyfall’s (come to think of it, that’s a running theme in Spectre). Bring back Arnold or give us something new. But no more Newman, please.
The thing is, all of Arnold's scores are like watered down versions of the one he did before. They're fine, they're okay; but I'd rather have something with real mood to it like the Newman scores. They felt like they were from Bond's world: rich and complex and expensive. Arnold's have some nice tunes but they feel brasher and cheaper to my ears.
A composer that doesn’t incorporate the Bond theme even once into the film shouldn‘t do it.
There's loads of Bond theme in them..? Watch Spectre more closely: every time Bond appears in the first half pretty much you get a statement of the Bond theme. It actually begins to slightly wear out!
Casino Royale of course didn't have a single statement of the Bond theme during the movie. So that's Arnold out of contention!
Sophisticated? Newman's music is quite simplistic and isn't developed. It's very thin. Arnold can at least express an entire musical idea and do something with it.
Newman gave us plenty of hints of the Bond theme in Spectre, but it always sounded like he was afraid to use it. It was frustrating that he never went full on with it.
Sophisticated? Newman's music is quite simplistic and isn't developed. It's very thin.
It's not thin, no: you're just taking a word I used there The orchestration is very rich and well-developed and each piece builds rather nicely. They're very lush scores, just in a different way to how Barry did 'lush'.
Arnold can at least express an entire musical idea and do something with it.
One of these men has 14 Oscar nominations...
Hey, I'm not knocking Arnold: he's fun at what he does and I like the tunes too. But they're often a bit simple and straightforward. He wouldn't have done that lovely haunting tonal stuff for the arrival at Skyfall, for example: one of my favourite musical moments from the whole series. It really feels like something special and new.
I always have to remind myself that lots of Bond fans seem to think Lady Gaga is a superb, credible artist to do the song
Sophisticated? Newman's music is quite simplistic and isn't developed. It's very thin.
It's not thin, no: you're just taking a word I used there The orchestration is very rich and well-developed and each piece builds rather nicely. They're very lush scores, just in a different way to how Barry did 'lush'.
Arnold can at least express an entire musical idea and do something with it.
One of these men has 14 Oscar nominations...
Hey, I'm not knocking Arnold: he's fun at what he does and I like the tunes too. But they're often a bit simple and straightforward. He wouldn't have done that lovely haunting tonal stuff for the arrival at Skyfall, for example: one of my favourite musical moments from the whole series.
I always have to remind myself that lots of Bond fans seem to think Lady Gaga is a superb, credible artist to do the song
A lush orchestration of a simplistic piece of music doesn't make the music more developed. Perhaps if you could share a YouTube link to a well-developed piece of Newman's Bond music that I may have overlooked I'll reconsider.
Don't worry, I don't want Lady Gaga to do a Bond song either, though I wouldn't mind if she sang a Bond theme. I just want a Bond theme written by a good composer and a good lyricist, not written by a pop star like Sam Smith.
Comments
Interesting. I don't mind the title however if they've dropped it I'd prefer something like:
FOR LOVE, HATE AND REASON
it fits my prediction that the only reason they've held off revealing it is because they aren't confident with it, not because its some crazy title that will blow everyone's mind. Everyone on this site has already come up with better renditions of it. they probably have a handful of titles they are competing with which goes to show how generic they are if they can be swapped interchangeably without tampering with the plot.
Well you really have no idea if that's true until production release the actual title. It could blow all our renditions out of the water.
think there’s still some mileage with ‘die’ in the title, had this image in my head of a baddie saying..
“anyone can die Mr Bond”
Which led to this.. ‘Anyone can die’ https://youtu.be/UqJrg8F4Jv4
. Risico.
Gun In My Hand
Never Dream of Dying
Those are all better than Reason to Die. At least they make sense.
The renditions of Reason to Die are better than Reason to Die.
But does anyone think a reason to live is a decent title? Or much better than the trwist?
1. Who the Composer is for B25?
2. If Craig will be wearing a tuxedo in this movie?
Cheers,
JS
-Casino Royale, Ian Fleming
I've been pestering the official twitter account asking about David Arnold, but so far no response.
No idea as to the tuxedo, but it would be an educated guess (Craig having worn one in every one of his films).
"The very words I live by."
No matter if Bond 25 turns out to be an absolute classic or worse than parts of Die Another Die
(okay, I made up that last one)
Oh no... not Thomas Newman again!
Like TP said, SP was basically SF re-used.
It‘s gotta be David Arnold, hands down.
IG: @thebondarchives
Check it out, you won’t be disappointed
David Arnold or Justin Hurwitz (who composed la la land and first man)
-Casino Royale, Ian Fleming
It was a great one though!
Very classy, sophisticated scores those ones. Much better than Arnold's slightly thin efforts for my money.
There's loads of Bond theme in them..? Watch Spectre more closely: every time Bond appears in the first half pretty much you get a statement of the Bond theme. It actually begins to slightly wear out!
Casino Royale of course didn't have a single statement of the Bond theme during the movie. So that's Arnold out of contention!
The thing is, all of Arnold's scores are like watered down versions of the one he did before. They're fine, they're okay; but I'd rather have something with real mood to it like the Newman scores. They felt like they were from Bond's world: rich and complex and expensive. Arnold's have some nice tunes but they feel brasher and cheaper to my ears.
Sophisticated? Newman's music is quite simplistic and isn't developed. It's very thin. Arnold can at least express an entire musical idea and do something with it.
Newman gave us plenty of hints of the Bond theme in Spectre, but it always sounded like he was afraid to use it. It was frustrating that he never went full on with it.
You’d need a shovel and a necromancer....still, it could work.
It's not thin, no: you're just taking a word I used there
One of these men has 14 Oscar nominations...
Hey, I'm not knocking Arnold: he's fun at what he does and I like the tunes too. But they're often a bit simple and straightforward. He wouldn't have done that lovely haunting tonal stuff for the arrival at Skyfall, for example: one of my favourite musical moments from the whole series. It really feels like something special and new.
I always have to remind myself that lots of Bond fans seem to think Lady Gaga is a superb, credible artist to do the song
A lush orchestration of a simplistic piece of music doesn't make the music more developed. Perhaps if you could share a YouTube link to a well-developed piece of Newman's Bond music that I may have overlooked I'll reconsider.
Don't worry, I don't want Lady Gaga to do a Bond song either, though I wouldn't mind if she sang a Bond theme. I just want a Bond theme written by a good composer and a good lyricist, not written by a pop star like Sam Smith.