As stated above, if anyone wants to specifically discuss Craig's height, and yes I know I made a comment or two myself, they can open a different thread. And that's the long and the short of it... oh damn...
During the Submission Period, submissions may be featured on the Studios and Talenthouse, digital or social media channels in association with the promotion of No Time To Die, including but not limited to, the 007 hub. You may be credited where your work is shown.
The submission deadline is 16 January, so that would suggest that at any moment we could see some fan posters appearing on digital or social media channels, but for MGM, Universal and Talenthouse, so far, nothing.
And then the very next Guideline says:
Submissions will not be visible to the public until after the announcement of the Selected Creators. You are kindly asked to not share your work on your own digital or social media channels until after the Selected Creator Announcement.
Not visible to the public?!
When will the Selected Creators be announced? We know from the Guidelines' dates that the winner(s) will be selected on 11 March. But when will they be announced? And the rules also say:
If you are a 'Selected Creator', you may be asked to modify your work to fit production requirements. This may be up to 2 rounds of edits.
How long would that take? I guess you could announce a winner before you show the work, but what if the edits are unsatisfactory?
Anyway, I'd guess that we won't see anything until the end of March, to tie the fan competition into the overall main period of promotion for NTTD.
As stated above, if anyone wants to specifically discuss Craig's height, and yes I know I made a comment or two myself, they can open a different thread. And that's the long and the short of it... oh damn...
Thank you. Still no real news, just speculation and rumors regarding who will be doing the score for NTTD.
I'll throw something out here...I don't think it would be a bad thing for whoever ends up doing the score to use Nic Raine as the orchestrater/arranger. Raine worked with Barry and knows his way around a Bond score.
PPK 7.65mmSaratoga Springs NY USAPosts: 1,230MI6 Agent
@ Howard B, I agree I used to have a CD of music from the pre-Goldeneye movies which featured Nic Raine as the conductor. I was very impressed with how close his work sounded to John Barry's original scores.
Nic Raine worked as orchestrator with John Barry on JB's last two Bond scores (among other Barry works).
His work with Silva* Screen Records often included his recreating unreleased pieces of music from the Bond films whose printed sheet music had not survived
so Raine had to watch the film over and over, writing down the music for him to later conduct.
In addition, he conducted many pieces of Bond music which had survived by Barry and others for various albums.
All of which backs up what was said above. The man knows his way around Bond/Barry music and would be a sensible choice for at least arranging/conducting a Bond score.
* nothing to do with the villain of Skyfall, just a coincidence.
I still have one CD of Raine's Bond music on Silva Screen (I had more but they were in a car of mine that was stolen some years ago) and I really enjoyed them. I especially enjoyed how he melded music from OHMSS with AVTAK into one long suite. As I said previously, having Raine work with a decent composer like Balfe and tasking them with bolstering the score with a new arrangement of 007 (which I think may not have been used since TB?) has the potential to be quite good. Also, if there is actually a theme song artist on board with a completed theme song (all very hush, hush, and secret like so much else about NTTD) Raine could be very useful in arranging and orchestrated the song for use in the score. I would really like to see Craig go out with a Bond worthy score at least equal to the quality of Arnold's work in CR and QOS. IMO, a good, more truly "Bond" score as opposed to a generic "soundtrack" would really enhance the film.
Raine would be capable of taking anyone's music and orchestrating it like Barry's. But that's not an orchestrator's job. An orchestrator assists the composer with the composer's vision and is not there to give the music a different sound. This has to be up to the composer.
To be fair, Barry's sound is a very, very easy one to copy. I have only minimal training in orchestration, and I could easily give any piece of music a Barry-esque orchestration. Any composer and orchestrator working together can achieve this sound if it's what they desire.
This is Barry's music in a few words: His compositions have simple melodies made up of a lot of repetition to make them catchy and comforting. He uses simple chord progressions and frequently makes use of ostinatos. He uses major and minor chords with a few signature extensions that give them the Barry sound. They're orchestrated with a low fifth. He likes the Lydian mode. He uses a lot of syncopated rhythms, frequently in the most basic definition of syncopation. He liked to punctuate melodies with big orchestra hits (though not usually from the iconic synthesizer samples). He sometimes would use ethnic instruments to play his melodies, and these would not always come from the same part of the world as where the film he was scoring takes place. He used them so well that you'd never question that an Eastern European instrument was being used for a film that takes place in Asia (or something to that effect).
Barry had brilliant ideas, but he was not a particularly advanced composer (something he has in common with Hans Zimmer and many of those who work with Zimmer), but his music was expressive and he knew how to use music in the most basic way to set a mood. His genius came from knowing how to make small changes in rhythm, tempo and orchestration to create a mood.
Most importantly, Barry had an original, signature sound. I could easily write new music in Barry's language. (And it's not because I've been examining his music for decades; any good composer could do it after watching one film he composed). You'd think it's a long-lost Barry score (or perhaps a rejected Barry score). Being able to write music in that style isn't special. What's special is that he invented his own style. Inventing something uniquely their own is why any artist is remembered. And it's why no proper artist wants to copy another, though we know in film music it's common these days for composers to be asked to copy others.
David Arnold respected the Barry Bond sound, copied the Barry Bond sound, but he did something of his own with it. I'm not a good enough composer to do enough of my own with Barry's style. We need someone else who can take Barry's style and do their own thing with it. That will make it sound like a Bond score, but not a pastiche of one.
John Barry was basically a jazz/pop musician and not from a classical background. His classic Bond scores reflected that but he also IMO was influenced by other film composers, in particular Max Steiner and Bernard Herrmann. Barry also wrote or had a hand in all the theme songs which were the melodic basis for much of the scores. Except for CR, where the theme song melody figured significantly in the score, that has not been the case in the Craig films and I get the feeling that it won't happen with NTTD either.
It was a very astute observation by Matt S (great post in general; very informative) that for any decent film composer/arranger, etc it would not be difficult to recreate the classic Barry/Bond style. My frustration with the Newman scores was that in the few cases where Newman melded that Barry style with his own sense of melody the results were very good but the rest of the score were very pedestrian/generic. IMO, if EON hires a composer with the understanding that they must be reflective of the "classic" Barry/Bond style, I would think that the NTTD score would be an improvement from the last two.
Yes, great comment there, Matt S, I enjoy learning from other people's expertise. The terminology lost me a bit but I get the overall argument. Nice. I'm hoping for a Barryesque Balfe (aided by Arnold) score.
Yes, great comment there, Matt S, I enjoy learning from other people's expertise. The terminology lost me a bit but I get the overall argument. Nice. I'm hoping for a Barryesque Balfe (aided by Arnold) score.
John Barry was basically a jazz/pop musician and not from a classical background. His classic Bond scores reflected that but he also IMO was influenced by other film composers, in particular Max Steiner and Bernard Herrmann. Barry also wrote or had a hand in all the theme songs which were the melodic basis for much of the scores. Except for CR, where the theme song melody figured significantly in the score, that has not been the case in the Craig films and I get the feeling that it won't happen with NTTD either.
It was a very astute observation by Matt S (great post in general; very informative) that for any decent film composer/arranger, etc it would not be difficult to recreate the classic Barry/Bond style. My frustration with the Newman scores was that in the few cases where Newman melded that Barry style with his own sense of melody the results were very good but the rest of the score were very pedestrian/generic. IMO, if EON hires a composer with the understanding that they must be reflective of the "classic" Barry/Bond style, I would think that the NTTD score would be an improvement from the last two.
Thank you! What you said about him being a jazz/pop musician is the key to Barry's compositional approach. Barry was a huge fan of classical music and incorporated elements of classical music, but he took a pop music approach to writing the music, even when he took direct inspiration from opera, because he was not a classical composer. His Moonraker score, for example, is a love letter to late Romantic-era music (circa 1900) in its sound, but it's written like pop music. Most of the Bond film composers have taken the same pop-compositional approach to writing Bond scores. But as for Newman, I don't really understand his approach to composition.
Yes, great comment there, Matt S, I enjoy learning from other people's expertise. The terminology lost me a bit
There's a post somewhere (I can't check the exact one right now) in the Music Forum where I explain terms such as ostinato for non-musos.
"A low fifth" means that if the chord is in, say, C major then the bass part doesn't play the expected low C (which is called the root note) but a G. This as Matt S says is very characteristic of Barry. Paul McCartney often does the same thing.
The Golden Globes was great for Phoebe Waller-Bridge. "Fleabag" won for "Best TV-series, musical or comedy" and she won "Best actress in a musical or comedy". Congratulations!
The Golden Globes was great for Phoebe Waller-Bridge. "Fleabag" won for "Best TV-series, musical or comedy" and she won "Best actress in a musical or comedy". Congratulations!
Also interesting that when Rami Malek came out to present an award he was introduced as "the star of the twenty-fifth James Bond film, No Time to Die." Somehow I think Broccoli & Wilson had a hand in that intro.
The Golden Globes was great for Phoebe Waller-Bridge. "Fleabag" won for "Best TV-series, musical or comedy" and she won "Best actress in a musical or comedy". Congratulations!
Also interesting that when Rami Malek came out to present an award he was introduced as "the star of the twenty-fifth James Bond film, No Time to Die." Somehow I think Broccoli & Wilson had a hand in that intro.
Malek has been the lead in a very successful TV show and is an Oscar winner......having him as the villain in NTTD was a nice "get" for EON. Malek is one of those actors that does dangerously bent so well that being a Bond villain should fit him like a glove.
Also was nice to see Craig at the globes still looking Bond trim and fit in his black tux. Speaking of Mr. Craig, it looks like he has found a new series to move on to in his post Bond years. It appears that Knives Out is Craig's first real non-Bond box office success and Craig will be reprising the role of detective Benoit Blanc in the next installment of the adventures of Rian Johnson's southern fried detective.
I think Malek is still at the level of fame where many in the audience where most know the face, but not the name. Still a character actor.
As DB6 already said, when you've just won the Academy Award for Best Actor you're a big movie star. He's made it there. That audience should know who he is.
I agree it's a great catch by Eon to get him as I think he'll bring a lot to the part. I have to say I was quite underwhelmed by Christoph Waltz - may be I was expecting too much so I hope that doesn't happen this time round.
My name has changed! I’m no longer dufus......now I’m DB6
Sir MilesThe Wrong Side Of The WardrobePosts: 26,631Chief of Staff
I agree it's a great catch by Eon to get him as I think he'll bring a lot to the part. I have to say I was quite underwhelmed by Christoph Waltz - may be I was expecting too much so I hope that doesn't happen this time round.
I expected far more from Waltz - although I reckon it was down to his crappy dialogue
I agree it's a great catch by Eon to get him as I think he'll bring a lot to the part. I have to say I was quite underwhelmed by Christoph Waltz - may be I was expecting too much so I hope that doesn't happen this time round.
I expected far more from Waltz - although I reckon it was down to his crappy dialogue
After seeing Waltz in Inglorious Basterds, my expectations were very high for him in SPECTRE.....but then again Tarantino wrote Waltz dialogue in IB and well....we know the rest when it comes to SPECTRE.
They didn't give Waltz anything to do. After netting one of the few actors today that could possibly play Blofeld, they wrote the most banal lines and reduced his role to a minimalist presence, apparently part of the fear of being "over the top."
"Zimmer could not be reached for comment. Balfe, who is in London, and Wallfisch, still in the U.S., declined comment for this story."
Balfe is in London, what a surprise...
So, Zimmer's team is scoring The Rhythm Section, and NTTD. Interesting. #twofilms
I always had a strong Newman vibe from Romer's work and I could imagine that Michael and Barbara did not want that again and DC probably wanted something more like Casino Royale.
They didn't give Waltz anything to do. After netting one of the few actors today that could possibly play Blofeld, they wrote the most banal lines and reduced his role to a minimalist presence, apparently part of the fear of being "over the top."
Nicely summed up; such a wasted opportunity.
I’m so glad that they’ve brought in Phoebe Waller-Bridge to work on the script for NTTD. All bodes well!
My name has changed! I’m no longer dufus......now I’m DB6
They didn't give Waltz anything to do. After netting one of the few actors today that could possibly play Blofeld, they wrote the most banal lines and reduced his role to a minimalist presence, apparently part of the fear of being "over the top."
Nicely summed up; such a wasted opportunity.
I’m so glad that they’ve brought in Phoebe Waller-Bridge to work on the script for NTTD. All bodes well!
{[] They brought in an actor who could get away with chewing up the scenery and just made him talk, the only variety being he was either seated or standing.
"Zimmer could not be reached for comment. Balfe, who is in London, and Wallfisch, still in the U.S., declined comment for this story."
Balfe is in London, what a surprise...
So, Zimmer's team is scoring The Rhythm Section, and NTTD. Interesting. #twofilms
While I’m pleased that Zimmer (or his team) will be scoring NTTD, I still think it’s a shame that David Arnold wasn’t contacted. His last score, QoS, was imo the best score since John Barry.
Comments
As stated above, if anyone wants to specifically discuss Craig's height, and yes I know I made a comment or two myself, they can open a different thread. And that's the long and the short of it... oh damn...
I looked at the Bond poster competition rules and its confusing as to whether we'll see anything before April.
https://007.talenthouse.com/i/design-artwork-inspired-by-daniel-craigs-bond-films
The Guidelines say:
The submission deadline is 16 January, so that would suggest that at any moment we could see some fan posters appearing on digital or social media channels, but for MGM, Universal and Talenthouse, so far, nothing.
And then the very next Guideline says: Not visible to the public?!
When will the Selected Creators be announced? We know from the Guidelines' dates that the winner(s) will be selected on 11 March. But when will they be announced? And the rules also say:
How long would that take? I guess you could announce a winner before you show the work, but what if the edits are unsatisfactory?
Anyway, I'd guess that we won't see anything until the end of March, to tie the fan competition into the overall main period of promotion for NTTD.
Thank you. Still no real news, just speculation and rumors regarding who will be doing the score for NTTD.
I'll throw something out here...I don't think it would be a bad thing for whoever ends up doing the score to use Nic Raine as the orchestrater/arranger. Raine worked with Barry and knows his way around a Bond score.
His work with Silva* Screen Records often included his recreating unreleased pieces of music from the Bond films whose printed sheet music had not survived
(Here's one of them- https://www.youtube.com/watch?v=Y5mJkw73bc8 )
so Raine had to watch the film over and over, writing down the music for him to later conduct.
In addition, he conducted many pieces of Bond music which had survived by Barry and others for various albums.
All of which backs up what was said above. The man knows his way around Bond/Barry music and would be a sensible choice for at least arranging/conducting a Bond score.
* nothing to do with the villain of Skyfall, just a coincidence.
To be fair, Barry's sound is a very, very easy one to copy. I have only minimal training in orchestration, and I could easily give any piece of music a Barry-esque orchestration. Any composer and orchestrator working together can achieve this sound if it's what they desire.
This is Barry's music in a few words: His compositions have simple melodies made up of a lot of repetition to make them catchy and comforting. He uses simple chord progressions and frequently makes use of ostinatos. He uses major and minor chords with a few signature extensions that give them the Barry sound. They're orchestrated with a low fifth. He likes the Lydian mode. He uses a lot of syncopated rhythms, frequently in the most basic definition of syncopation. He liked to punctuate melodies with big orchestra hits (though not usually from the iconic synthesizer samples). He sometimes would use ethnic instruments to play his melodies, and these would not always come from the same part of the world as where the film he was scoring takes place. He used them so well that you'd never question that an Eastern European instrument was being used for a film that takes place in Asia (or something to that effect).
Barry had brilliant ideas, but he was not a particularly advanced composer (something he has in common with Hans Zimmer and many of those who work with Zimmer), but his music was expressive and he knew how to use music in the most basic way to set a mood. His genius came from knowing how to make small changes in rhythm, tempo and orchestration to create a mood.
Most importantly, Barry had an original, signature sound. I could easily write new music in Barry's language. (And it's not because I've been examining his music for decades; any good composer could do it after watching one film he composed). You'd think it's a long-lost Barry score (or perhaps a rejected Barry score). Being able to write music in that style isn't special. What's special is that he invented his own style. Inventing something uniquely their own is why any artist is remembered. And it's why no proper artist wants to copy another, though we know in film music it's common these days for composers to be asked to copy others.
David Arnold respected the Barry Bond sound, copied the Barry Bond sound, but he did something of his own with it. I'm not a good enough composer to do enough of my own with Barry's style. We need someone else who can take Barry's style and do their own thing with it. That will make it sound like a Bond score, but not a pastiche of one.
Howard B, "007" has been used x3 since TB. It's in YOLT, DAF and MR.
It was a very astute observation by Matt S (great post in general; very informative) that for any decent film composer/arranger, etc it would not be difficult to recreate the classic Barry/Bond style. My frustration with the Newman scores was that in the few cases where Newman melded that Barry style with his own sense of melody the results were very good but the rest of the score were very pedestrian/generic. IMO, if EON hires a composer with the understanding that they must be reflective of the "classic" Barry/Bond style, I would think that the NTTD score would be an improvement from the last two.
That would be nice
Thank you! What you said about him being a jazz/pop musician is the key to Barry's compositional approach. Barry was a huge fan of classical music and incorporated elements of classical music, but he took a pop music approach to writing the music, even when he took direct inspiration from opera, because he was not a classical composer. His Moonraker score, for example, is a love letter to late Romantic-era music (circa 1900) in its sound, but it's written like pop music. Most of the Bond film composers have taken the same pop-compositional approach to writing Bond scores. But as for Newman, I don't really understand his approach to composition.
There's a post somewhere (I can't check the exact one right now) in the Music Forum where I explain terms such as ostinato for non-musos.
"A low fifth" means that if the chord is in, say, C major then the bass part doesn't play the expected low C (which is called the root note) but a G. This as Matt S says is very characteristic of Barry. Paul McCartney often does the same thing.
Also interesting that when Rami Malek came out to present an award he was introduced as "the star of the twenty-fifth James Bond film, No Time to Die." Somehow I think Broccoli & Wilson had a hand in that intro.
Malek has been the lead in a very successful TV show and is an Oscar winner......having him as the villain in NTTD was a nice "get" for EON. Malek is one of those actors that does dangerously bent so well that being a Bond villain should fit him like a glove.
Also was nice to see Craig at the globes still looking Bond trim and fit in his black tux. Speaking of Mr. Craig, it looks like he has found a new series to move on to in his post Bond years. It appears that Knives Out is Craig's first real non-Bond box office success and Craig will be reprising the role of detective Benoit Blanc in the next installment of the adventures of Rian Johnson's southern fried detective.
As DB6 already said, when you've just won the Academy Award for Best Actor you're a big movie star. He's made it there. That audience should know who he is.
I expected far more from Waltz - although I reckon it was down to his crappy dialogue
After seeing Waltz in Inglorious Basterds, my expectations were very high for him in SPECTRE.....but then again Tarantino wrote Waltz dialogue in IB and well....we know the rest when it comes to SPECTRE.
https://www.google.com/amp/s/variety.com/2020/film/news/hans-zimmer-james-bond-composer-no-time-to-die-1203458908/amp/
https://variety.com/2020/film/news/hans-zimmer-james-bond-composer-no-time-to-die-1203458908/
"Zimmer could not be reached for comment. Balfe, who is in London, and Wallfisch, still in the U.S., declined comment for this story."
Balfe is in London, what a surprise...
So, Zimmer's team is scoring The Rhythm Section, and NTTD. Interesting. #twofilms
I always had a strong Newman vibe from Romer's work and I could imagine that Michael and Barbara did not want that again and DC probably wanted something more like Casino Royale.
Nicely summed up; such a wasted opportunity.
I’m so glad that they’ve brought in Phoebe Waller-Bridge to work on the script for NTTD. All bodes well!
While I’m pleased that Zimmer (or his team) will be scoring NTTD, I still think it’s a shame that David Arnold wasn’t contacted. His last score, QoS, was imo the best score since John Barry.