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The OST to Skyfall composed by Thomas Newman will be released on Monday October 22nd (International) / Tuesday November 6th (USA) by Sony Classical. More info as soon as I get it. UPDATES: Amazon

Well I've listened to the entire OST CD. Here are my thoughts from ONE listen of it -Newman makes heavy use of the James Bond Theme, to the extent that its basically the main theme of the score. It

Very interesting "listening guide" of some of the key tracks, courtesy of Tom Newman himself: http://www.empireonline.com/interviews/interview.asp?IID=1578&fb_action_ids=10151255078652229&fb_a

You know, James Bond isn't a series I look to for avant-garde artistry any more than I look in a traditional Italian Pizzeria for molecular gastronomy.

It's a recipe for disappointment.

I think Arnold has done a fine job of transitioning the franchise's sound forward into the new century while retaining the warm and almost campy spirit of the franchise's legacy.

From the samples it sounds like Thomas Newman has successfully transitioned the franchise's sound towards Thomas Newman. He hasn't really even done anything new and interesting with the soundscape. Just Newmanized it. Yay?

So you're saying you want Bond to have a homogeneous sound in which composers' voices are left out of the recording studio? I love that Newman retained his style for this, I was worried that the producers would make him toss it out.

Serra's score also tossed out all preconceived notions of Bond and did his own thing. It's sounds 100% Serra and I love it for that.

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Bond is a very unique franchise in that it changes directors, actors, composers, writers, and pretty much everything else on a regular basis. Bond can be defined by certain plot elements and editing, production design and costumes. Those are the things I particularly look for in Bond, everything else goes out the window with each new installment.

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Bond can be defined by certain plot elements and editing, production design and costumes. Those are the things I particularly look for in Bond, everything else goes out the window with each new installment.

What James Bond movies have you been watching? Doesn't sound like the same ones I've been watching for the last four decades.

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I find that I enjoy Arnold's scores within the context of the movie more than I enjoy them on their own. But I like all of his scores for the movies at least a little bit, and I think overall he's done a capable job.

I'd still love to see Giacchino take a crack at one, or maybe Murray Gold.

Bond is a very unique franchise in that it changes directors, actors, composers, writers, and pretty much everything else on a regular basis.

Well, that's just flat-out incorrect.

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I would love to hear Giacchino do a Bond.

After Dan Wallin retires.

Seconded!

I love Arnold' s bond scores, my heart totally sunk like the titanic when I heard Newman was doing this one, not because I dislike Newman, but for the past few years I've really looked forward to the next Arnold Bond score.

The John Barry underscores are far from boring in my opinion, and as for Serra, i cant say i love that score but the Goldeneye Overture is one damn sexy track!!!

I will listen to the samples when I get back tonight, though after reading the last few pages, I can't say I'm very excited to hear them!

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Well, maybe the score ends up being good and maybe it doesn't, but one thing is for sure: I will own the CD. I've got the other 22, even GoldenEye and Licence to Kill (which is just as bad, and maybe even a little worse). The only one I don't own is Never Say Never Again, which is only on account of how it'd cost me $50 or more to obtain one.

Someday, though; someday...

i cant say i love that score but the Goldeneye Overture is one damn sexy track!!!

I'm glad -- legitimately -- that this score has its fans, but goodness me, I just don't hear whatever it is you guys are hearing. That track is, to my ears, utter dogshit. The frequent repetition of the three notes from Goldfinger sound like they're being played on a kazoo that was then sampled and is playing from some sort of a device inside a robot's asshole. And what's with the vocal elements? Are those Klingons? They sound like Klingons.

Now, to be fair (as possible), I'm certainly not immune to loving something that is shitty. For example, the movie Moonraker. Terrible movie, just a wretched piece of crap. But boy, do I love it; I forgive it all of its many, many sins the way a wife whose husband beats her will sometimes do, on account of how, for better or for worse, that's how love works.

But that damned GoldenEye score is just crap; it's a dried-up turd that someone sprayed diarrhea on to make it seem fresher. Glad some of you love it, though, and apologies for yammering on about it.

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Well, we can thank the producers\director of GoldenEye that they forced Serra to use the Bond theme, which he didn't intend to, so that the score has at least those statements that function as sort of a saving grace.

I don't think it's a saving grace at all. I think it sounds like exactly what it is: somebody being forced to use a theme he didn't want to use. As such, it gets extremely perfunctory and uninteresting development -- and I use that word loosely -- in the course of the score.

I don't blame Serra, or the producers, for wanting to do something different, though. That's a good thing for a loooooong-running series like the Bond films to do every once in a while, even (maybe especially) when it doesn't exactly work.

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Bond can be defined by certain plot elements and editing, production design and costumes. Those are the things I particularly look for in Bond, everything else goes out the window with each new installment.

What James Bond movies have you been watching? Doesn't sound like the same ones I've been watching for the last four decades.

Bond is a very unique franchise in that it changes directors, actors, composers, writers, and pretty much everything else on a regular basis.

Well, that's just flat-out incorrect.

Really? Bond has its generations, which naturally occur around the actor changes. Die Another Day and Goldfinger share close similarities other than particular plot devices like I mentioned? They're radically different styles.

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I hate all Bond scores with equal fervor, no matter the composer. Awful kitcshy trash I tell you. You people are completely off your rockers to listen to such filth! :stick:

But OMG this Newman one will be so awesome!

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Yes I was joking. Actually I am rather indifferent about Bond scores on the whole. Most of them do nothing for me. If anything Barry's music sounds somehow spoofy in context in many scenes.

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I don't blame Serra, or the producers, for wanting to do something different, though. That's a good thing for a loooooong-running series like the Bond films to do every once in a while, even (maybe especially) when it doesn't exactly work.

And i think there lies the naked crux of the matter. While i give a shit for GOLDENEYE, i applaud that at least they tried to inject some new impulses into these movies. They have fucked up, so what? It's the nature of experimentation.

John Barry would agree with me (as he recommended Serra), most of the vocal fans don't and what a reactionary bunch they usually are. Arnold obliged to them, and the result sounds as exciting as Frank Sinatra doing raggamuffin hiphop numbers. When he is not laying on blaring GOLDENEYE trumpets with a trowel he sometimes even comes upo with a fresh idea of his own - and they are inevitably the saving grace of his scores.

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It sounds very workman-like.

And Arnold's doesn't?

Karol

Let's be completely honest, croccy boy.

Arnold's Bond doesn't sound workman like. It sounds very fanboy like.

And that's what makes it good!

OK then, so he's like John Ottman doing Superman Returns then. :P

Karol

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Really? Bond has its generations, which naturally occur around the actor changes. Die Another Day and Goldfinger share close similarities other than particular plot devices like I mentioned? They're radically different styles.

You implied that each movie is essentially a completely new crew. That's just not the case. The Bond series is notable for carrying key creators over from one film to the next. And up until the Brosnan years, that included directors; John Glen directed five in a row from 1981-1989, Lewis Gilbert two consecutive (1977 and 1979), and Guy Hamilton three (1971-1974). Even during the Brosnan years, screenwriters and production designers and so forth carried over from film to film more often than not.

I also wouldn't say that Goldfinger and Die Another Day are radically different styles. No more so than would be the case comparing virtually ANY movie from 1964 to one from 2002. If anything, there are probably more similarities than would typically be the case.

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So, the gunbarrel is at the end again. Idiots! I can't believe you would EVER tinker with the most iconic opening of any movie besides Star Wars.

It has apparently also been confirmed that they licensed "The Name Is Bond, James Bond" from Casino Royale, and it is used in the film. Also referred to as "tracking" I suppose.

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OK then, so he's like John Ottman doing Superman Returns then. :P

Karol

Ottman's score is one of the most enjoyable I have heard in a superhero genre in last 10 years or so and one of his best.

Seriously, though, I'm not terribly impressed with what I'm hearing so far. It's not that it wasn't to be expected, but I kind of wished someone would push Thomas Newman into doing something purely (or mostly acoustic), which he can obviously do very well. I wasn't so much excitited for him doing Arnold, Bond or Barry, but rather him going all orchestral. Which, as far as I can tell, didn't happen. It might be well executed and all, but not what I was hoping for it seems).

About Arnold: I like the guy and his music in general, but I can't see why you guys are so infatuated with him.

Karol

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So, the gunbarrel is at the end again. Idiots! I can't believe you would EVER tinker with the most iconic opening of any movie besides Star Wars.

It has apparently also been confirmed that they licensed "The Name Is Bond, James Bond" from Casino Royale, and it is used in the film. Also referred to as "tracking" I suppose.

Unless there is some sort of explanation as to why, the gunbarrel at the end is becoming a joke. I've never understood what the gunbarrel actually means (if anything) but it's a cool way to open a movie - not open the end credits. In Casino Royale, having it later made sense. Even Quantum Of Solace sort of did still being a "prequel" movie, but not this.

I wonder why Newman didn't do his own version of the Bond theme. The general public won't notice tracked music, but it always comes across a cheap in my opinion.

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I'd rather have a 70+ minute album from which I can select my own highlights, than a 40 minute album that only has the composer's selections.

+1,000

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It doesn't sound bad.

If it did, at least we had a proper culprit.

It sounds average and adequate. It's a solid, straight down the middle, 3 star score by your average, solid, straight down the middle film composer.

Which is worse because even though it's pretty evident the score should have been much more, it's inevitable now that some people will say it works in the film, and that is all that it's supposed to do, and we don't have the right to complain.

Average score by average composer I say.

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So, you are saying that, even though we have heard 20 minutes of score, we can't get a picture of this thing? Of course we can.

Don't try to sell me that before or after these 30 second clips, there will be awesome, completely different music that will have our heads spinning. It's not going to happen.

Not to mention that quite a few of those tracks are short, so we can judge them with 30 second samples.

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Not to mention that quite a few of those tracks are short, so we can judge them with 30 second samples.

You can judge the samples, yes. Not the full score. Because one is a full score and one isn't, and you're judging the one that isn't.

Common sense, really. I'm unimpressed by these samples, too, but I'll reserve full judgment until I've heard what they're being sampled from.

Yes, it's bullshit.

Do they want to build some adrenaline for the end credits?

I dunno. I thought it was cool in Quantum of Solace, because it seemed to have some sort of meaning. And to be fair, maybe that'll be the case here, too, but it sounds like they're just trying to shake up the formula. Nobody wants this particular part to be shaken up, so I don't know why they're bothering.

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Not to mention that quite a few of those tracks are short, so we can judge them with 30 second samples.

You can judge the samples, yes. Not the full score. Because one is a full score and one isn't, and you're judging the one that isn't.

Common sense, really. I'm unimpressed by these samples, too, but I'll reserve full judgment until I've heard what they're being sampled from.

Common sense should also say that the rest of it won't be radically different.

We heard three full tracks and additional clips for every track. It's enough to estimate where it's going.

But I guess I'll speak with you in two weeks again.

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The UK iTunes store lists an extra track "Old Dog, New Tricks". I wonder what this is and why it isn't on the other track lists. This does match the rumoured ending to the film, but I'm not going to say anything else.

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Seriously, though, I'm not terribly impressed with what I'm hearing so far. It's not that it wasn't to be expected, but I kind of wished someone would push Thomas Newman into doing something purely (or mostly acoustic), which he can obviously do very well. I wasn't so much excitited for him doing Arnold, Bond or Barry, but rather him going all orchestral. Which, as far as I can tell, didn't happen. It might be well executed and all, but not what I was hoping for it seems).

Yeah, an orchestral score would have been really cool.

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