It derives from the last chord of the original "James Bond Theme" as... arranged... by John Barry and played by Vic Flick. There, it's an E Minor Major 9. Variations of it appear frequently in the Bond scores.
It derives from the last chord of the original "James Bond Theme" as... arranged... by John Barry and played by Vic Flick. There, it's an E Minor Major 9. Variations of it appear frequently in the Bond scores.
If you look up the interview David did with me, it's the last chord I play on my guitar at about 21 minutes in.
I'm looking forward to it, too. This time I won't be doing my usual discussion of the musical cues, since there are a lot of them and they're mostly very similar.
I confess to having admitted, to my personal playlist of (104) selected Bond songs and cues, four cues of Newman's from SF (and a couple more of his from SP). From SF:
'Shanghai Drive' (because it's Newman's style at its best, linking well with SF's image of Shanghai as a neon-lit but impersonal cityscape)
'Komodo Dragon' (because it starts with Newman celebrating Epworth's and Adele's title track, in John Barry style)
'Breadcrumbs' (for the reveal of the DB5, evoking at its beginning the style of GF but via the David Arnold arrangement of the Bond theme for Craig in CR)
'Mother' (I don't really warm to this but it kind of works well as a signature for Judi Dench's M in SF)
Critics and material I don't need. I haven't changed my act in 53 years.
'Breadcrumbs' (for the reveal of the DB5, evoking at its beginning the style of GF but via the David Arnold arrangement of the Bond theme for Craig in CR)
Modern comms give M real-time supervision of the action. Bernard Lee was only ever able to sit in his office twiddling his thumbs and waiting for news.
Critics and material I don't need. I haven't changed my act in 53 years.
Was watching Taken 2 the other day and it also had a chase (foot) ontop of the Grand Bazaar—the exact same position as well. Came out within a couple months of Skyfall.
Rory Kinnear takes backstage with the superb effectiveness that only a very good actor can deliver in a supporting role. (Though Michael Kitchen's Tanner was more likeable imho)
Critics and material I don't need. I haven't changed my act in 53 years.
Comments
Dalton - the weak and weepy Bond!
If you look up the interview David did with me, it's the last chord I play on my guitar at about 21 minutes in.
Ugh.....
Dalton - the weak and weepy Bond!
I confess to having admitted, to my personal playlist of (104) selected Bond songs and cues, four cues of Newman's from SF (and a couple more of his from SP). From SF:
'Shanghai Drive' (because it's Newman's style at its best, linking well with SF's image of Shanghai as a neon-lit but impersonal cityscape)
'Komodo Dragon' (because it starts with Newman celebrating Epworth's and Adele's title track, in John Barry style)
'Breadcrumbs' (for the reveal of the DB5, evoking at its beginning the style of GF but via the David Arnold arrangement of the Bond theme for Craig in CR)
'Mother' (I don't really warm to this but it kind of works well as a signature for Judi Dench's M in SF)
19:10 GMT with the movie
Time reference
https://greenwichmeantime.com/
Dalton - the weak and weepy Bond!
There is an MGM lion and the Columbia Logo on my Blu Ray and then the movie starts.
We hit play precisely at 19:10 GMT
Dalton - the weak and weepy Bond!
That one I like, of course!
That's excellent!
Dalton - the weak and weepy Bond!
Dalton - the weak and weepy Bond!
Are those my countrymen? They look Norwegian ….
Dalton - the weak and weepy Bond!
Dalton - the weak and weepy Bond!
Dalton - the weak and weepy Bond!
Dalton - the weak and weepy Bond!