Just wondering if anyone else thought that the section from roughly 4:25 to 4:40 sounds oddly similar to "Brave New World" from Skyfall?
Brave New World + The Bloody Shot + She's Mine are all in this track. Basically he's just recycling from the last sound track. I am very disappointed. David Arnold was much better.
I only noticed the "the bloody shot" section, where is the "brave new world" and "shes mine" bits?
Because if there's one thing that's absolutely unacceptable in a Bond film, it's reusing music from previous films. )
Monty Norman's cues from Dr. No were pretty awful in FRWL. And I never liked how the original recording of the James Bond theme was thrown into most of the Bond films in the 60s. John Barry didn't like that either. When John Barry reused things like his "007", he always orchestrated it differently. Newman's cues sound exactly the same.
There may (or may not) be good reasons to briefly reprise a bit of a tune from a previous movie. It could show that the character is thinking about a specific person or event, for example. John Ford used the Ann Rutledge theme (written by Alfred Newman!) which was orginally used in "Young Mister Lincoln" in "The Man Who Shot Liberty Valance" to show that the character was thinking about a lost love. The two movies were made 23 years apart.
Until you see the scene that goes with the music, it's hard to judge.
Plus 98% of all people who watch Spectre aren't going to notice any similarties.
I certainly agree with that, and don't really understand the hostility toward Newman; I do prefer David Arnold...but like Connery, Barry is gone from the scene, and things are what they are. I thought SF's score was fine, if not remarkable, and it succeeded in being unobtrusive I'm not the least bit surprised that cues from SF are being brought into SP, given what's being said about the storyline in the recently-released production notes.
Check out my Amazon author page!Mark Loeffelholz
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
I have no problem with carrying over musical cues from one film to another....it is a series. As I recall, this was not unusual in the Barry scores. Newman is ok...I also would prefer David Arnold. The track "Donna Lucia" that is available online is actually outstanding IMO and evokes classic Barry, much like "Severine" in the Skyfall score. It's some of the action themes that Newman creates that fall short for me. That's where being more evocative of the classic Barry sound would help.
I have no problem with carrying over musical cues from one film to another....it is a series. As I recall, this was not unusual in the Barry scores.
Barry never duplicated his cues from one score to another. He used themes like the James Bond Theme and 007, but each score had a different take on them. Newman directly lifted passages from Skyfall to Spectre, and that's just lazy.
Asp9mmOver the Hills and Far Away.Posts: 7,485MI6 Agent
Not really as it fits the story. we've never had continuation films like these and the cues fit perfectly with the storyline as it weaves all of Craig's films esp SKYFALL to SPECTRE.
.................................
LoeffelholzThe United States, With LovePosts: 8,990Quartermasters
Well, the fellow's not going to do anything right for those who don't care for him. Clearly his career isn't a failure, or Mendes wouldn't have brought him on board.
Check out my Amazon author page!Mark Loeffelholz
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
Thunderbird 2East of Cardiff, Wales.Posts: 2,777MI6 Agent
As an example, David Arnold very subtly reused a few bars of his Vesper theme in QoS when Mathis and Bond talk about her. Subtle, emotive, clever. The Newman segment in the link feels like John Williams's Episode I music reused in Episode II's Tatooine scenes. Cut and Paste.
I suppose we will see or rather hear, the full scope in another week or two.
I will say this for Mr Newman, - his Finding Nemo score was quite nice!
This is Thunderbird 2, how can I be of assistance?
As an example, David Arnold very subtly reused a few bars of his Vesper theme in QoS when Mathis and Bond talk about her. Subtle, emotive, clever. The Newman segment in the link feels like John Williams's Episode I music reused in Episode II's Tatooine scenes. Cut and Paste.
I suppose we will see or rather hear, the full scope in another week or two.
I will say this for Mr Newman, - his Finding Nemo score was quite nice!
Actually John Williams threw a tantrum (with good reason) when he saw what George Lucas's plans were for Episode II. Apparently there is a complete, recorded 2-hour score full of original music that was never used due to the up-to-the-last-minute changes Lucas kept doing to the movie. Williams did not want to be involved in that "artistic betrayal".
And that's precisely what I was trying to refer to and that Tb2 so beautifully explained in his post. I'm not against reusing themes. Heck, as many of you are saying, it's a series. Themes are expected to be used and reused as needed, to punctuate points in the plot, in the action... that's not a problem, it's modern scoring. The problem arrives when instead of that you have two sections that are exact in tempo and instrumentation... ripped from the previous soundtrack and carelessly pasted into the new one.
I will agree, though, that Donna Lucia does sound great, and that Finding Nemo (and Road to Perdition! And WALL-E!) are great soundtracks. I just find him a bit too little bondesque, is all. We'll see (and hear!).
"Enjoy it while it lasts."
"The very words I live by."
I loved the choir bit in Backfire. It was new and different. -{
The skyfall stuff is a little bothersome but I won't judge it till I see the film, and the placement of the music with the scenes.
“The scent and smoke and sweat of a casino are nauseating at three in the morning. "
-Casino Royale, Ian Fleming
Ah, yes, disappointed that the composer is Thomas Newman, the guy with a dozen Oscar nominations, instead of David Arnold, the guy with precisely zero Oscar nominations.
AKA the guy who got an Oscar nomination for a bland, characterless, anonymous Bond score, instead of John Barry who didn't get a single Oscar nomination for any of his amazing, classic, masterpiece Bond scores.
but he could have produced something much better than the muddy tracks for NSNA, and the theme song alone should have been enough to keep him out of composing.
Ah, yes, disappointed that the composer is Thomas Newman, the guy with a dozen Oscar nominations, instead of David Arnold, the guy with precisely zero Oscar nominations.
AKA the guy who got an Oscar nomination for a bland, characterless, anonymous Bond score, instead of John Barry who didn't get a single Oscar nomination for any of his amazing, classic, masterpiece Bond scores.
You said it! {[] Barry was robbed!
Well, Barry did win four Oscars for best score, one for best song, and was nominated two other times, so he wasn't too hard-done by.
The problem was that up until recently the Bond films were never taken very seriously, so people didn't take Barry's Bond-related work very seriously.
This doesn't change the fact that Thomas Newman is a better composer than David Arnold.
but he could have produced something much better than the muddy tracks for NSNA, and the theme song alone should have been enough to keep him out of composing.
Awful all the way around! {[]
Ugh, it was, my friend. There are a few moments when it struggles to sound good and almost makes it, but the only other Bond film with as strangely inappropriate a soundtrack was Goldeneye.
Have you heard Newman's scoring in the first clip from the film that was released yesterday?
I did, and I thought it was out of place. Two good actors delivering a good performance in the scene didn't need the electronic noise over it. However, it might make sense during the full scene. Tuesday I shall know.
Have you heard Newman's scoring in the first clip from the film that was released yesterday?
I did, and I thought it was out of place. Two good actors delivering a good performance in the scene didn't need the electronic noise over it. However, it might make sense during the full scene. Tuesday I shall know.
That was my first reaction as well, but I won't be too critical until I can see it properly in context. That little clip didn't allow for that.
To be honest on first viewing, I never really notice the music. As I'm too
Excited watching the movie -{ Usually I start looking and hearing stuff
to take notice of, on the second or third visit.
"I've been informed that there ARE a couple of QAnon supporters who are fairly regular posters in AJB."
From what I'm hearing there's very little to say "you're listening to the score of a Bond film." Sadly it's very "generic action film" and reused from Skyfall. I miss the days where each filn would have its own sound. I miss watching a action scene in bond film with Bond theme blaring out the speakers. Who knows, I may be in for a surprise but from I've heard of the soundtrack I'm underwhelmed again with Thomas Newman.
Thanks for the link. I listened to all of it, and the only sample that sounds like Bond is "Westminster Bridge", which takes something from Thunderball. Otherwise, it's mostly very generic music. I still haven't hard most of the soundtrack, but no track is thoroughly Bondian.
Comments
There may (or may not) be good reasons to briefly reprise a bit of a tune from a previous movie. It could show that the character is thinking about a specific person or event, for example. John Ford used the Ann Rutledge theme (written by Alfred Newman!) which was orginally used in "Young Mister Lincoln" in "The Man Who Shot Liberty Valance" to show that the character was thinking about a lost love. The two movies were made 23 years apart.
Until you see the scene that goes with the music, it's hard to judge.
Plus 98% of all people who watch Spectre aren't going to notice any similarties.
"The experience of a film is immersive and music is supposed to underline and help that experience," he told BBC Radio 3's In Tune.
"If you notice it, maybe its working too hard, or maybe it's too loud. It's all very delicate in the end."
http://www.bbc.com/news/entertainment-arts-34570361
I certainly agree with that, and don't really understand the hostility toward Newman; I do prefer David Arnold...but like Connery, Barry is gone from the scene, and things are what they are. I thought SF's score was fine, if not remarkable, and it succeeded in being unobtrusive
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
Barry never duplicated his cues from one score to another. He used themes like the James Bond Theme and 007, but each score had a different take on them. Newman directly lifted passages from Skyfall to Spectre, and that's just lazy.
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
I suppose we will see or rather hear, the full scope in another week or two.
I will say this for Mr Newman, - his Finding Nemo score was quite nice!
Actually John Williams threw a tantrum (with good reason) when he saw what George Lucas's plans were for Episode II. Apparently there is a complete, recorded 2-hour score full of original music that was never used due to the up-to-the-last-minute changes Lucas kept doing to the movie. Williams did not want to be involved in that "artistic betrayal".
And that's precisely what I was trying to refer to and that Tb2 so beautifully explained in his post. I'm not against reusing themes. Heck, as many of you are saying, it's a series. Themes are expected to be used and reused as needed, to punctuate points in the plot, in the action... that's not a problem, it's modern scoring. The problem arrives when instead of that you have two sections that are exact in tempo and instrumentation... ripped from the previous soundtrack and carelessly pasted into the new one.
I will agree, though, that Donna Lucia does sound great, and that Finding Nemo (and Road to Perdition! And WALL-E!) are great soundtracks. I just find him a bit too little bondesque, is all. We'll see (and hear!).
"The very words I live by."
The skyfall stuff is a little bothersome but I won't judge it till I see the film, and the placement of the music with the scenes.
-Casino Royale, Ian Fleming
You said it! {[] Barry was robbed!
Awful all the way around! {[]
Well, Barry did win four Oscars for best score, one for best song, and was nominated two other times, so he wasn't too hard-done by.
The problem was that up until recently the Bond films were never taken very seriously, so people didn't take Barry's Bond-related work very seriously.
This doesn't change the fact that Thomas Newman is a better composer than David Arnold.
It sounds like cheesy 90s TV music, and I kind of like it for that.
I did, and I thought it was out of place. Two good actors delivering a good performance in the scene didn't need the electronic noise over it. However, it might make sense during the full scene. Tuesday I shall know.
As for reusing music - John Williams using Short Round's theme from Temple of Doom as Anakin's Theme in Phantom Menace. Oh dear.
That was my first reaction as well, but I won't be too critical until I can see it properly in context. That little clip didn't allow for that.
Yeah, not strictly Anakins Theme but I'm sure the tune is reused when they are at Tattooine. And Anakin's in shot.
Anyway, back to Bond...
I would like to know where this is. This track has some similarities to Short Round's Theme/Parade of the Slave Children: https://www.youtube.com/watch?v=HHqD_2YG47g&list=PLg1hvssN_l38N0eYKv_P6WH5l2AhQydTc&index=19
But it's not the same theme, it just has a similar sound. Anakin's theme is completely different from Short Round's Theme.
Just forget I mentioned it.
Back to Bond now please...
Excited watching the movie -{ Usually I start looking and hearing stuff
to take notice of, on the second or third visit.
Spectre (Original Motion Picture Soundtrack)
http://hd-music.info/album.cgi/7517
From what I'm hearing there's very little to say "you're listening to the score of a Bond film." Sadly it's very "generic action film" and reused from Skyfall. I miss the days where each filn would have its own sound. I miss watching a action scene in bond film with Bond theme blaring out the speakers. Who knows, I may be in for a surprise but from I've heard of the soundtrack I'm underwhelmed again with Thomas Newman.
Thanks for the link. I listened to all of it, and the only sample that sounds like Bond is "Westminster Bridge", which takes something from Thunderball. Otherwise, it's mostly very generic music. I still haven't hard most of the soundtrack, but no track is thoroughly Bondian.