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So I AGREE
How right they were but for all the wrong reasons.
Jinx's entrance music was a bit unnecessary and overblown, but then again, the whole scene was unnecessary. The Solange scene though, in my opinion, was beautifully scored.
John Williams cornered that piece of the market.
O:-)
I'm going to agree with thesis, I can't quite remember the score involved, but it should of been 'no score at all', just nothing, visuals only, or a really loud Led Zeppelin soundtrack that pierced the eardrums so it would take away events on screen :-<
For the Halle moment, it should have been Baby Got Back (Sir Mixalot)
For the Daniel moment, it should have been the chorus of Eye Of The Tiger (Survivor)
B-)
or, 'Dumbo, the flying elephant' for the Craig entrance
Truly, they are repulsive acknowledgements, and once again, such a shame Andress was not left alone as what is truly an inconic scene of the James Bond franchise, and they go and spoil it all with what they did
<font color=blue size=7><b>Bond 77 is the only rendition of the Bond Theme that is very era specific instead of timeless.</b></font>
Disagree. I think Bill Conti's versions of the Bond theme for his FYEO score are very disco-era specific as well.
Disagree with thesis. PKK is in my opinion correct in saying FYEO is also disco based. It was dying out by then as a craze and fad. I hated disco and their scene, I'm a metal head \m/
Well that said some of the themes are more mood themes than disco, and they are part of the musical identity of the movie. And I know that not any of the recent movies had such a thing, you know musical identity.
As a metal head you must enjoy xXx since their ost was largly metalyesque. :D
Those were my first thoughts too. So disagree as well.
Anyway....
I disagree with this thesis, too, as Conti was also the first person who came to mind. I've also never really cared much for Bond 77 either....
@SJK91 that was genius.
I read this thesis wrong so changed to disagree.
I have some thoughts about the Spy and FYEO soundtracks. Past the homage to disco, not sure exactly where these 2 movies have an identity, nothing much I can see. Hamlisch goes from disco to classical to biblical and it's not that Bondian sounding to me in many areas. To me, Spy's music is more a cash in on current trends like quite a few parts of that film are. I suppose that if "disco cash-in" was an identity then it has one, but mostly I found the soundtrack had a lack of continuity and I think the award nominations were more in recognition of Hamlisch, his and the movie's popularity, and the title song than the rest of the soundtrack. It's average at best. Conti's "disco meets Rocky" had more of a strong identity as far as knowing what it wanted to be, but to me it's probably the most un-Bondian soundtrack after GE. One of the few downers in my favorite Moore film. It just didn't work.
Since you brought up Arnold more or less, I disagree a bit. You could call TND a "homage to Barry" and that is an identity for me. QOS aside from the horrid title song I felt captured the surroundings and scenes very nicely and made me feel as if I were there, so I'd say it had an identity that related to the South American locales similarly to Kamen's TLK.
I like XXX as a movie, and the Rammstein song fits so well with the energy it brings to the scene. The title song is even a little bit "secret agentish" in parts. But the bands in general of the rock side of that soundtrack aren't what I'd call metal. Bands like Godsmack, Disturbed, and especially Alter Bridge do better in capturing the style. For the true classic metal head, the 2000 "Rock Star" soundtrack is truly awesome, especially the original compositions. The parking lot scene in the beginning was so well done, it took everyone who I knew from those days right back and brought out a lot of wonderful memories.
My weekend high school job when I didn't have an actual gig (I started playing in 21 and over clubs at 17, free beer, overage women, a teenager's dream!) was waiting tables at a local restaurant which had a disco bar. The clientele was well to do, money was really good (the constant "you need a haircut" jokes weren't), but let's say my Walkman got used every chance I got. So many polyester wearing phonies and coke whores. People would sit there all night and snort coke from their spoons when they weren't dancing and getting tanked, I was offered it many times while on the job to illustrate what kind of moral compass those people had. I was especially pissed off with the craze when KISS tried to cash in after Gene and Paul started dating the Sarkisian sisters.
Dimi, sorry for going off the track.
Isn't that like saying Sharon Stone >>>> Vivian Leigh? ;-) I think both are testaments to different cultural eras.
=D> :D See, there are times we do greatly agree!
<font color=blue size=7><b>The theory that James Bond is not a man but a code destroys our adoration for Fleming's spy.</b></font>
Absolutely, I hate that theory. You read Fleming's books and it's a single man; with flaws and interests. You care about him, you grow attached to him. Then to suggest that it's not the same man, just to fit the different interpretations of different actors? I hate it. Bond is Bond. Not a code name. But a man. That's how Fleming wrote it, that's how I like it.
Trying to say Bond is a code name because there are different actors in the films is like getting caught up worrying about the timeline of the film series. Just pointless.