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The only way is if Mendes and Newman collaborate and Mendes asks for it to be integrated. I feel a collaboration was how Arnold was able to get a good score out of QoS because it is certainly different to his other work
It's not an ideal situation any more because the collaboration is not something that is guaranteed. However I think Sam Smith is enough of a Bond fan (and not so much of a diva) that his team would have worked with Newman on incorporation. I'm quite certain of it, since this song has been around since January in some form or another.
Given that EON and Mendes are trying to make a 'classic' Bond film (imho for Craig's sendoff), I'm sure they have ensured that the 'sound' matches the visuals in a classic sense.
The same can be said of a great painter - being technically perfect with a brush does not mean you can produce a Van Gogh. A more ethereal, un-quantifiable creativity is needed.
A great James Bond composer is similar - he must posses a flair for the fanciful, aside from just the ability to produce music of high quality.
I've always thought Jerry Goldsmith was another genius. I can always tell when I watch a film with one of his scores, and they are all classics too.
Let's hope so. It's one of the few missing pieces missing from the current era (GB at the beginning is the other big one). Skyfall had a certain attention to detail to it, many scenes remind me of the classic Bonds, but the product as a whole didn't gel well together for me.
From the trailers at least it looks like Spectre will have a good mix of both drama and action.
Arnold did exactly what the audience then craved after Serra (Bond - just bigger, brassier - everything including the kitchen sink). Sadly this lack of restraint and aural variety meant he had nowhere left to go - so his scores are all have a "samey" and "noisy" quality about them.
Newman on the otherhand does show some restraint, but perhaps a bit too much. He never seems comfortable incorporating themes which were not his own (eg. Adele's Skyfall and the Bond theme). The music fits in the film but doesn't stand as well on it's own. I'll give him a free pass for Spectre, but I think there are better potential Bond composers out there. I'm particularly liking the idea of Daniel Pemberton - I hear his score for the new Steve Jobs movie is extremely good.
Funny that you mentioned Daniel Pemberton: I was watching BBC's The Game today and thought that the score was pretty good and would be cool to hear something like that in a Bond movie.
Laibach have a long record of cover versions of pop and rock hit songs, among others they made a whole album with eight or so different cover versions of The Stones´ Sympathy for the Devil, which is quite a treat in fact, as is their cover version of The Beatles´ Let it be album.
Rammstein owe their success very much to Laibach. The whole way of using a Teutonian-sounding bass voice comes from Laibach. The method of provocation was a bit altered though by Rammstein, going in a less political and more sociological direction.
Serra´s score was heavily influenced by his very successful score for Leon - The Professional. You could almost think that some tracks on GE were outtakes from Serra´s Leon sessions. So perhaps Eon considered both the success of Leon and the money to be saved by going all synth.
However, I don´t see how a bigger orchestra is supposed to give Newman a break. Bigger orchestras tend to be used too much, resulting in an over-stuffed soundtrack. In fact, smaller orchestra sections sound rougher and edgier, and provide for a much more breathing sound. Of course, the same can be achieved with a bigger orchestra, but unfortunately the results mostly betray the potential, unless the composer or arranger knows some old secrets from the 50s or 60s. SF´s musical highlights were mostly smaller arrangements.
You got me wrong, neither do I have a Nazi attitude (I actually hate those nazi scumbags), nor do I like or listen Laibach. Maybe close reading might help next time. It was just, that I found John Oliver's take on them amusing. And he certainly does not like them. That's all.
Great find indeed! Maybe somebody can actually put this on here, as many eople like myself can't listen to ClassicFM...
I can see the whole thing being spread across about 5 or 6 different threads otherwise.
Now that's what I've been waiting for! I liked it. It's a lot like Severine's theme but a little grander and more lush. I can't wait to hear this in the film. :-bd
It's typical Newman, the theme is almost a Barry-esque waltz, but it is hidden behind variations in a minor key. No celebratory major keys, more a tragic love theme.
Shouldn't this be spoiler-tagged? It gives away plot details.