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zac

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  1. Hi Neil, Now I understand a bit better what you were trying to achieve I agree with you and applaud your motives as well as your efforts. I may have come across as a bit defensive in my last message. Sorry for that. I was stung a little by what I thought was an unnecessarily negative and dismissive response on your part. What I did was inspired by what you did and you didn't seem to acknowledge that or have anything positive to say about my FYEO effort or my contribution to your LALD track-naming. I was coming at this as a bit of a newbie. I'm no expert on soundtrack music. I certainly don't have access to recording slates! The movies are all I have to go on as a guide to the way the music ought to be sequenced and I've only recently started to really listen to the Bond soundtracks in tandem with watching the movies again, so I was just contributing. But thank you for taking the time to explain what it is you are aiming for. I'm impressed by your dedication! Cheers zac
  2. I thought the point of re-sequencing was to create a soundtrack that reflected what is heard in the film. If I'm wrong, then what exactly IS the point? Neil, you've spent a lot of time and effort chopping, editing and fading pieces of music created by composers so you can make your own sequenced soundtracks that represent the cues as heard in the films. It seems contrary of you to suddenly get purist and criticise others for doing the same. If you want to hear what the composer intended, then surely listening to the soundtrack albums as they were released would suffice. I'm just doing it for the fun of it. If I want to listen to "Sinking the St Georges" it's still there on the CD. I haven't deleted it. I could even include it as a bonus track on my re-sequenced film-based edit. It's not a big deal. No need to get concerned.
  3. Hello again Neil, I accepted your challenge to come up with better track titles for your cue sequencing of Live and Let Die! The track you called "Harlem" I chose to call "Oh Cult Voodoo Shop" as this is the music playing inside said shop when Bond walks into it. The track you called "Something Happens" I chose to call "Harold Strutter, CIA" as this cue announces his arrival after Bond has concussed his would-be 'wasters' with the overhead fire escape ladder. I also made some different sequencing choices, as follows: In the pre-titles sequence, I recorded the funeral music ("Just a Closer Walk...") off the video and inserted it between the gunbarrel theme and "Snakebit" (or "Snakebite" as I've called it) with a bit of clever fading and editing. I split "Bond to New York" into two separate cues. The first part goes with the scene where Agent Caruso emerges from the cupboard after M and Moneypenny leave Bond's gaff. I called it "Closet Caruso". The second part accompanies Bond's flight into New York so I left that as "Bond to New York". I slotted "Fillet of Soul - Harlem" in between "The James Bond Theme" and "Bond Meets Solitaire". It's the last 1:03 of track 8 on the CD. It sounds just like the music playing in the bar. If it's not exactly the same, then it's close enough for me! I also slotted "Fillet of Soul - New Orleans / Live and Let Die" between "New Orleans" and "Solitaire Gets Her Cards". It's the first 2:13 of track 8 on the CD. Thanks for the inspiration! zac
  4. Hi Neil, I saw your sequencing guides originally on the John Barry website and really enjoyed following them whilst watching the films again, stopping to hear the cues on the CDs! I noticed that you hadn't included For Your Eyes Only, so, inspired by your work, I had a go myself, taking into account that my old Ryko CD might not be complete. I was looking for a way to send you my results and then I found the link to the John Williams site and saw that you HAD done For Your Eyes Only. I checked your effort against mine and noticed some discrepancies. Thought you might like to see what I did and see if you agree with any of it. I should clarify that I'd already had a go before seeing your guide, so it was purely an act of inspiration, not an attempt to catch you out! I've added notes in square brackets when comparing to your guide. -------------------------------- Zac's sequencing guide to the expanded For Your Eyes Only (inspired by Neil S. Bulk) Note - A great deal of fading and snappy editing is required throughout so I haven't made any special mention of this on specific tracks. My MD deck has a fader button and I can set the length of fade-ins and fade-outs. I think without this I would have given up early on! [Note 2 - some of my track times are different from Neil's, but I think that's mostly just because Neil took the whole CD track including the spaces, whereas I generally took my timings from where the music started and stopped.] 1. Gunbarrel / Flowers for Teresa 0:50 This is the first 0:50 of track 13 on the CD. It's basically just an extended gunbarrel theme that runs into the opening scene and fades shortly before the vicar turns up. 2. Remote Control Airways 1:08 This is the last 1:08 of track 4 on the CD ("Melina's Revenge"). [it corresponds to Neil's "Helicopter Ride".] On the CD, the music picks up after the extended gunbarrel theme, climaxing with a big drum fill and then the big brass theme. In the film, the music starts at the beginning of the brass theme, when Bond regains control of the helicopter. The music between the gunbarrel and the brass theme seems to be unused in the film. 3. For Your Eyes Only - title song 3:04 [At this point, Neil has included the "Sinking the St Georges" cue, but this is not used in the film, so I have omitted it.] There is a short cue here where the two men on the boat swap shifts guarding the ATAC, but I haven't found that on the CD. 4. Melina's Revenge 0:34 This is the first 0:34 of track 4 on the CD. [it corresponds to Neil's "The Havelocks"] The cue accompanies the scene where Melina realises her parents have been murdered. 5. Journey to Gonzales' Villa 0:56 This is the first 0:56 of track 5 on the CD ("Gonzales Takes a Dive"). [it corresponds to Neil's "San Martin" but I noticed that the final few seconds of the cue are chopped in the film.] 6. Make it Last All Night 3:29 This is the whole of track 7 on the CD. Special mention must go to the hairy men in unpleasantly tight shorts mincing around by the pool. Funny yet scary. 7. Gonzales Takes a Dive 2:11 This is the last 2:11 of track 5 on the CD. It starts just after Gonzales orders his men to take Bond away, shortly before he dives in the pool, and ends when Bond sees Melina's car. 8. A Drive in the Country 2:22 This is the whole of track 2 on the CD. 9. Unfinished Business 0:48 This is the first 0:48 of track 14 on the CD. It accompanies the scene where Melina tells Bond of her intention to kill the person who paid Gonzales to kill her parents. 10. Cortina 1:42 This is the whole of track 11 on the CD. It accompanies Bond's arrival in Cortina, settling into the hotel. 11. Bond Meets Kristatos 1:05 This is the last 1:05 of track 14 on the CD. It's the music playing at the ice rink where Bibi is rehearsing and where Luigi Ferrara introduces Bond to Kristatos. 12. Spiker Bikers 1:10 This is the first 1:10 of track 15 on the CD ("Ski...Shoot...Jump..."). It accompanies the scene where Melina is almost mowed down by the spike-wheeled motorcyclists. At this point in the film there is a piano instrumental version of For Your Eyes Only which accompanies Bond and Melina's journey on the horse-drawn sled, but this is not included on the CD. 13. Ski...Shoot...Jump... 4:05 This is the last 4:05 of track 15 on the CD. In the film there is a short break in this cue where Bond gets away from Kriegler, reaches the bottom of the slope and mingles with the crowd. However, the cue is cross-faded on the CD making my humble editing efforts rather crude, so I opted to leave the cue whole. [Neil chose to leave track 15 whole which is reasonable as there is no other music on the CD to separate it. I chose to split it because they go with different scenes and there is a cue (mentioned above) that separates them in the film.] 14. Runaway 3:51 This is the whole of track 8 on the CD. It accompanies Bond's escape from Kriegler's men after the ski jump. At this point in the film there is a bunch of cues which I haven't found on the CD. These are: - The scene where Bond finds Ferrara dead in the car with the Dove badge. - The scene where Bond meets Melina getting off the boat. - A couple of 'local flavour' pieces which accompany Bond and Melina's shopping spree. - Another instrumental version of For Your Eyes Only where Bond and Melina are talking on the balcony. - The music in the casino where Bond beats Bunky. - The music in the restaurant where Kristatos points out Columbo to Bond. 15. Take Me Home 2:32 This is the whole of track 3 on the CD. It plays while Bond and Lisl are 'relaxing' at her beach house. 16. Goodbye Countess 0:51 This is the first 0:51 of track 16 on the CD. It accompanies the scene where Lisl is knocked down by Kriegler in the jeep, and Bond's subsequent capture by Columbo's men. 17. Approaching the Warehouse 0:23 This is the first 0:23 of track 18 on the CD ("Sub vs Sub"). It accompanies Bond and Columbo et al sailing towards the warehouse in Albania. The cue in the film begins with this but seems to switch into a different piece of music for the fight scene which I haven't found on the album. It definitely starts with this, though, and the later Sub scene cue starts after this 0:23 bit. 18. No Head for Heights 0:25 This follows immediately after "Goodbye Countess" in track 16 of the CD. It goes with the scene where Bond kicks Kriegler and his car off the cliff and quips to Columbo that Kriegler had no head for heights. [i'd probably have left it on the end of the "Goodbye Countess" cue too, if it wasn't for that pesky "Warehouse" cue!] 19. For Your Eyes Only 1:32 This is the whole of track 10 on the CD, the flugelhorn instrumental. 20. Submarine 2:36 This is the whole of track 9 on the CD. It accompanies Bond and Melina's journey in the Neptune to the sunken St Georges. 21. Dining Alone 1:57 This is the last 1:57 of track 16 on the CD. It accompanies the scene where Bond and Melina are disturbed by a shark and Bond comments that he hopes the shark is dining alone. 22. Recovering the ATAC 2:29 This is the whole of track 17 on the CD. It accompanies Bond and Melina's attempt to recover the ATAC and includes the scene where they are hindered by one of Kristatos' men in a big scary diving suit thing. 23. Sub vs Sub 2:52 This is the last 2:52 of track 18 on the CD, after the pesky warehouse bit. It accompanies the scene where the Neptune comes under attack by one of Kristatos' men in another sub. 24. Run Them Down 1:48 This is the first 1:48 of track 19 on the CD. This is the scene where Kristatos orders his men to run Bond and Melina down with the boat after he has keel-hauled them over the coral and the sharks have chosen not to eat them. There is some more 'local flavour' music at this point in the film, as Bond makes his way through a festival of some kind on his way to connect with Q in the confessional box. 25. St Cyril's Monastery 4:36 This is the whole of track 6 on the CD. It accompanies Bond, Melina, Columbo et al on their way to Kristatos' hideaway. [Neil is probably right to split this cue either side of "The Climb" - I just didn't notice it, then found myself missing a cue later!] 26. The Climb 1:10 This is the last 1:10 of track 19 on the CD. It follows Bond's ascent of the rockface to the monastery. There is some more music following "The Climb", similar to that and the previous cue, but I haven't found it on the CD. [i now know that it is probably the bit of "St Cyril's Monastery" suggested by Neil.] 27. The PM Gets the Bird / For Your Eyes Only - end titles 5:06 This is the whole of track 12 on the CD. -------------------------------- Any comments? zac
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