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"Billie Eilish has been my number one choice to do this theme song since I came on board this project, 18 months later, I can hardly contain my excitement for this moment. She and Finneas have delivered a spectacular and haunting song that gives me chills every time I listen to it" - CJF on Insta. He's also been clapping back at some of the negative comments...
I don't think there's any design to it at all. Hire a performer that's renown for dreary sleep-inducing songs and this is what you get. I didn't expect anything less. And no, Billie didn't subvert my expectations. This is another reason why title music has been omitted from 99.9% of all modern movies: it slows down the front-end of the movie. And boy, oh boy, is this song going to do that.
"Passion has to disturb and push forward, otherwise it’s just slowly dying in nostalgia."
That's encouraged me more than just about anything else I've heard from this cast/crew.
It meanders to nowhere really and the vocals are weak and wispy for the most part.
It's a direct mashup of Spectre and The Writings On The Wall.
Maybe it'll work in the context of the film and over the credits . .
Just a normal day.
Let it be, let it be...
Speaking words of wisdom, let it be...
a) This may augur an opening like SF, in which the PTS action ends on a quiet note, with a lull in the action, a shock/tragedy of some sort, and then a quiet fade into this rather quiet song.
b) More than ever I'm thinking about the next phase. EON really can't go darker, harder, more tormented than Craig, and the theme songs can't get more quiet or melancholy. So perhaps the other thing this song augurs is an upcoming shift to something more colourful and dynamic.
He even replied to me. :D He agrees that this is the best song of the Craig era.
'You Know My Name' and 'Skyfall' are way better . .
And I was surprised that they need an optical metronome. Surely the musicians don't need that, they watch the conductor, so is it a guide for editing?
I also just come out of a relationship. So I have to admit this song hits me in the feels and I have no doubt the movie will resonate with me too. It's nice having a vulnerable Bond sometimes.
Dido is exactly that, but wait until you hear her live.
Prepare for the worst. ;)
I never used to like her style when she was around before. I stumbled across some of her songs last year, having not thought about her for years, and i'll admit that I like her style more now, than I did then.
The older, the wiser? ;)
I think the former is more likely the the latter. ;)
At the moment I’d probably go:
2. Spectre (Radiohead)
3. Another Way to Die
4. You Know My Name
5. No Time To Die
6. Writing's on the Wall
It is a decent enough song and everything, but it is like she's listened to Skyfall and Writings and decided That's How Bond Songs Are. And basically written the two of them joined together (which is a shame as Writings was a reaction to Skyfall anyway). So it's becoming a sort of anonymous Bond-song-lite-paste. I wish she'd listened to all of the old ones and realised you can actually do quite a lot that's different and it still be a Bond song: you don't need to use the same chords.
Are you trying to heat up an argument with such a comment, or are you trying to tell other people how to react to the song?
That seems slightly ironic, relative to this song. It's decent but certainly not 'pushing forward' from the previous two songs.
I'd also say that 'pushing forward' is a bit complicated with Bond. The series is fundamentally formulaic, and has been for several decades and 20-odd films. 'Progress' in Bond films is always proscribed, it's always within the constraints of the formula.
So even though I'm not a fan of NTTD. I'm at peace with that and I'm glad other members on here have such positive feelings when they hear it.
Since 1985 there are only three times when the bond series hasn't gone with flavour of the month artist (LTK, GE and CR) and the last four now have been among the hottest artists of the moment. I think this leads to wider public recognition but the actual songs are more hit and miss with only SF becoming iconic. And there seems to be less interest in actually writing a 'Bond' song for the ages.
Left field choice for me would be to give the assignment to a chameleonic artist, someone like Nick Cave - capable of writing something as beautiful as Ship Song or Into My Arms, as playful as Breathless, as vulgar as Stagger Lee and as dark as The Curse of Millhaven. But also he is experienced at writing multiple soundtracks, screenplays and novels.
That's kind of like using "triggered" or any other off-the-shelf response. Not very creative or informative. [-X
I expected more from you @MakeshiftPython.
I don't know about anyone else, but I'm definitely noticing subtle similarities in both Billie's song and Sam Smith's TWOTW—they're almost interchangeable. Do I smell a future law suit coming? Hans Zimmer does do a very credible job on the orchestral arrangement of this dreary song, giving it more texture and elevation than it would otherwise have, but it takes far too long to get going. I trust that this will be heavily edited down to fit the opening of the movie and this is the long version? In fact, the song could lose the whole first minute and nothing would be lost at all.