Music in SPECTRE

1394041424345»

Comments

  • MurdockMurdock Mr. 2000
    Posts: 16,058
    HASEROT wrote: »
    Murdock wrote: »
    HASEROT wrote: »
    well... in fairness - quieter moments don't need blaring music - the score in a scene is often a reflection of the mood that is going on - or, in some cases (to be ironic) it will be a stark contrast to what is going on.... so a sensual moment between Bond and Lucia should be accompanied by just as equally sensual music - not blaring brass trumpets as if the cavalry were about to storm through the room.

    Well that's not what I'm getting at. It doesn't need to be brassy or bombastic in every instance. I thought Donna Lucia was done perfectly. I think some moments weren't well defined. Like, Lucia, had a theme, Madeline had a theme but Blofeld or Spectre didn't really have any defining musical themes to get attached too. Perhaps some things were too underscored? I'm not saying ambiance is bad either. Barry and Arnold did ambience pretty well but with Newman some moments are too quiet and not really defined good enough.

    oh not disagreeing with you... my response there was more to what @w2bond had said
    Oops my bad. :P
  • w2bondw2bond is indeed a very rare breed
    Posts: 2,215
    HASEROT wrote: »
    well... in fairness - quieter moments don't need blaring music - the score in a scene is often a reflection of the mood that is going on - or, in some cases (to be ironic) it will be a stark contrast to what is going on.... so a sensual moment between Bond and Lucia should be accompanied by just as equally sensual music - not blaring brass trumpets as if the cavalry were about to storm through the room.

    It doesn't have to be 'blaring' all the time, but at least some recognisable melody.
  • TheWizardOfIceTheWizardOfIce 'One of the Internet's more toxic individuals'
    Posts: 9,117
    w2bond wrote: »
    HASEROT wrote: »
    well... in fairness - quieter moments don't need blaring music - the score in a scene is often a reflection of the mood that is going on - or, in some cases (to be ironic) it will be a stark contrast to what is going on.... so a sensual moment between Bond and Lucia should be accompanied by just as equally sensual music - not blaring brass trumpets as if the cavalry were about to storm through the room.

    It doesn't have to be 'blaring' all the time, but at least some recognisable melody.

    The scene where Bond drives the boat out of the collapsing building at the end would have been raised up several notches by a blaring rendition of the Bond theme at this point.

    I don't know how true this is but I read somewhere else that composers are reluctant to use the Bond theme so frequently any more because the royalties go to Monty. Not sure how true this is. You would think the composer would negotiate a fixed amount for writing the score and then after discussions with EON and the director they would tell him 'we really must have the Bond theme in this scene.'

    Does anyone know how Monty's payments world work? Does he get a flat fee for every film that features the Bond film or does he get more if it is used more often? Therefore it could be penny pinching by EON to give him the bare minimum by not using it much?

    This could incidentally explain why Newman copies and pastes so much from SF - repeat royalties.

    Anyone out there an expert on film music remuneration who can shed light on all this?



  • HASEROTHASEROT has returned like the tedious inevitability of an unloved season---
    edited February 2016 Posts: 4,399
    w2bond wrote: »
    HASEROT wrote: »
    well... in fairness - quieter moments don't need blaring music - the score in a scene is often a reflection of the mood that is going on - or, in some cases (to be ironic) it will be a stark contrast to what is going on.... so a sensual moment between Bond and Lucia should be accompanied by just as equally sensual music - not blaring brass trumpets as if the cavalry were about to storm through the room.

    It doesn't have to be 'blaring' all the time, but at least some recognisable melody.

    The scene where Bond drives the boat out of the collapsing building at the end would have been raised up several notches by a blaring rendition of the Bond theme at this point.

    I don't know how true this is but I read somewhere else that composers are reluctant to use the Bond theme so frequently any more because the royalties go to Monty. Not sure how true this is. You would think the composer would negotiate a fixed amount for writing the score and then after discussions with EON and the director they would tell him 'we really must have the Bond theme in this scene.'

    Does anyone know how Monty's payments world work? Does he get a flat fee for every film that features the Bond film or does he get more if it is used more often? Therefore it could be penny pinching by EON to give him the bare minimum by not using it much?

    This could incidentally explain why Newman copies and pastes so much from SF - repeat royalties.

    Anyone out there an expert on film music remuneration who can shed light on all this?



    i am no expert...

    but in terms of royalties - typically - to use a song, it's one flat fee.... i am not sure how it's worked out between EON and Monty, but i have to assume he gets some $$ when they use the Bond theme... but i highly doubt the lack of it being used is due to penny pinching on EON's part..... i mean, according to the wikipedia article, between 1976-1999 he only made £485,000 off of royalties..... i feel like it's more a creative decision between the composer and director..

    if Newman copy and pasted so much from SF, i doubt it's because of royalties - because he would share in (or own) the intellectual property of the music, since he created the score - (just what he created, ie: not the Bond theme used during "breadcrumbs" for instance).
  • I've been listening to this ST over the weekend. Love the first cut, and then the Rome chase stuff, which is cut number 6, I believe.
  • edited March 2016 Posts: 6,432
    Went mountain biking at weekend and found myself humming Backfire whilst engaging in action packed maneuvers, I do like that theme. B-)
  • BondJasonBond006BondJasonBond006 on fb and ajb
    Posts: 9,021
    Having finally seen Spectre at home with my powerful soundbar I must alter my opinion on Newman's score.

    It works astonishingly good in most sequences.
    Especially the PTS is an audio-visual masterpiece.

    I actually now see similarities in SP and GE's score. The biggest difference is that GE's score is unique, while SP's score of course is a re-work from SF's score.

    In Skyfall, the score is boring as hell, but then so is the movie in various places.
    With SP this kind of music works much better, or maybe Newman got a better feel of SP than of SF.

    But even if I have learned to appreciate Newman's score for SP, I hope Bond 25 will see someone new like Alexandre Desplat.
    Someone who likes melodic scores that don't feel metallic and cold.
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    I agree on Alexandre Desplat. he would ace it imho.

    I also agree on the SP score - it's really not bad and suits the tone of the film quite well. It's not a very exuberant film in my view - more low key in relation to SF, which was more charismatic, colour wise and performance wise (with OTT Bardem chewing scenery). I found Newman went even more 'mellow' with SP than he did SF (if that's possible) and somehow, for me at least, it works.
  • MurdockMurdock Mr. 2000
    Posts: 16,058
    I really want Joe Kraemer to helm the composer's chair. After listening to his work on MI: Rogue Nation I think he can deliver something spectacular.
  • w2bondw2bond is indeed a very rare breed
    Posts: 2,215
    HASEROT wrote: »
    between 1976-1999 he only made £485,000 off of royalties

    21,000 pounds a year for "doing nothing"? Yes please
  • Posts: 4,325
    Murdock wrote: »
    I really want Joe Kraemer to helm the composer's chair. After listening to his work on MI: Rogue Nation I think he can deliver something spectacular.

    I agree with this, I think he did a fantastic job on M:I. And he proved he's adept at weaving in well known theme music - I thought the M:I Theme and Schifrin's 'The Plot' were well used - so I think he would interpolate the JB theme better than Newman.
Sign In or Register to comment.