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This was Barry's genius in my view. His compositions always matched what was happening on screen to absolute perfection. To this day, when I listen to a Barry soundtrack, I am immediately reminded of the associated scene. They go hand in hand. Moreover, Barry also was so good with raising and lowering the tempo many times within the same track, and quickly. There is a constant modulation in his music. A sort of staccato effect. I love that, and think it suits the spy genre perfectly. I'm almost reminded of classical music. With Pemberton, it's more of a modulated tone. More gradual & also more repetitive.
I think Newman's music, like Barry's, captures the scene very well and fits the film well too. It's just that his approach is far more subdued and low key, without the bombast of a Barry, Pemberton or even an Arnold. His style is completely the opposite.
So it's difficult for me to choose between them because they are so different. One has much better melodies, and the other is much better with mood music (which lets the visuals do the talking).
The score that matches Barry's genius most closely imho is Michael Giacchino's for The Incredibles.
I remember I think Barry himself stated that what's on screen comes first and that the score should always compliment support the visuals. Not a quote obviously but I believe he said something to that effect.
Well then you're wrong. Listen to it, it's amazing.
Desplat woud be definitely be another for consideration, see we can agree from time to time :)
I'm most excited to see what he delivers for Rogue One, not going to be one where you can rest on your laurels but he's followed Williams before and done a fine job of it so the prospects are good.
I can see what you are saying @bondjames about Desplat but he shows quite a bit of versatility, his The Grand Budapest Hotel score I think is exquisite.
Newman's music with rare exception is utterly forgettable and doesn't really get the blood racing at all. Arnold was getting their with CR and particularly QOS, my favourite Bond score since TLD.
Though giving someone new who isn't there just because him and the director are best buddies would definitely elicit more excitement especially if they've got a great sense of melody and are not afraid to crank up the JB theme when nescessary.
Zimmer in M:I-2 mode could be good for James Bond, but I don't see the style he tends to write in today gelling well with the series.
Which parts exactly? I've listened to that track thousands of times but I never noticed.
I second that!
@jake24 Thank you.
Good point. I think Surrender was a really good effort and always thought it should have been the title song.
I always forget about TWiNE, probably becuase I can't stand the song or the movie. Saw it once at the cinema and that was enough. Appalling on every level.
@Some_Kind_Of_Hero, that's perfectly fine.
That's an interesting view on the Rome scene. I find it amusing myself, but for rather dark reasons. I love the fear of the SPECTRE members and how off they all look and feel when Blofeld finally enters. I also enjoy how Blofeld makes his drone like agents do everything from him that he could easily do himself in seconds, like fixing his chair, or pulling his microphone close. That kind of approach to filming a scene felt very true to the Craig era as a whole to me. I laugh at a lot of what I view to be physical comedy in these films, or in instances where an actor is simply reacting to something happening on screen. I think Blofeld's actions in that scene, being a king ordering around peasants is amusing, just as I thought it was amusing to see Bond crack a sly slime as Carlos implodes off screen in CR or how his expression morphs into that of disgust in SF when he sees the bulldog survived the MI6 blast. I know these moments don't do anything for some, but I'm always giddy watching the Craig films, largely due to so much of the dry humor and physical instances of comedy between the actors that can even be largely unintended to elicit that effect. That's just me, though. I have the same feeling while viewing the Connery films and Roger's too, because they were both so great at using their eyes, mannerisms and bodies to signal their entertaining reactions as Bond to what was happening on screen around them.
As for the Hinx fight, I think the music finally enters at that point because that's the moment where Bond's endurance largely dies, and Hinx just begins beating him until he's near the door. The music placement there hasn't bothered me, but I see your perspective on it and it would be cool to see it kick in only once Hinx opens the carriage door to try and dispose of Bond. My view is just that the score kicks up to show a Bond out of it and nearly defeated, so beaten he's struggling to fight back through the fog of his exhaustion. I don't think it was needed, as we could see that through Dan's performance and how bad he was taking it all, but like I said, I've not got complaints. Love the scene like crazy.
What did you make of the film's themes, @Some_Kind_Of_Hero, if any became apparent to you? I'd be interested to hear if you think the film is ever trying to make connections between its characters or signify things about them or their world through the use of symbology and metaphor. Also, how do you now view the film with another watch of it in? Has your view on where you'd rank it changed, and if Dan returns, what would you like to see addressed in Bond 25?
To avoid off tracking this thread, we could discuss anything further in the SP Appreciation thread on the forum, where it would all be better suited:
http://www.mi6community.com/index.php?p=/discussion/13846/spectre-appreciation-topic-and-why-you-think-the-24th-bond-film-was-the-best-spy-film-of-2015#latest
"Mind If I Cut In?" though. :x
(I quite like most of the rest of it as well, actually, but I know what you mean...)
In QoS he's a smart arse and revels in blowing the lid off their party, while in SP he's very controlled and is focused on getting as much intelligence on what is going on there as he can. I think that says a lot about how far he's come as an agent as well.
Good point.
Very Bond-esque at 1 min. Very nice.
Fixed that for you, @ClarkDevlin. I'm a man of principles and don't mind sharing, but there comes a point when a man must take things for himself. This is one such instance.
And what an instance it is... :>
Did she get you the audition for that Bond role a few months earlier?