Thomas Newman's Skyfall Score.

More's the pity the Olympics are once every four years.

Give him Eurovision. That's more his scene.

Largo's Shark wrote:

Give him Eurovision. That's more his scene.

"...on whose side!!!

Listening to Arnold's end credits track for CR and then Newman's for SF, I'm beginning to think that Newman didn't re-record the version of "The Name's Bond... James Bond" that was featured in gunbarrel/credits music. Sounds like Newman's original work is used in M's office and cuts to Arnold's track when they cut to the gunbarrel sequence.

Might be why Arnold was credited specifically in the end credits, because they used his actual track from CR, rather than re-recording it.

Interesting.

No, even the end credits bit is subtly different.

Interesting. I wish they'd just release the fucking extra tracks already. Especially this one:

Recently I listened to the score for the first time - it was a real chore. Not much different from Arnold. 10 € wasted.

Manhunter disliked another element of SKYFALL. No.... really?

Largo's Shark wrote:

Manhunter disliked another element of SKYFALL. No.... really?

He's all in.

An (almost) complete FYC 2 disc set is on eBay. 34 tracks in total.

http://www.ebay.com/itm/SKYFALL-FYC-Best-Original-Score-by-Thomas-Newman-2-Disc-Set-/400390419213?pt=Music_CDs&hash=item5d3920f30d









Currently bidding at $300.

Hopefully some Good Samaritan will make it ... er, "obtainable" soon.

It's now up to $355, and apparently it's just two guys trying to out bid each other.

johnmullin wrote:

Another thing... A friend of mine works with a member of the music branch and actually has this set. She tells me that indeed there are unreleased bits and extended cues, BUT the FYC discs also attempted to edit out all references to the original James Bond theme and that the head of the casino cue was trimmed to omit the quote of the Adele song! Sounds frustrating.

http://www.filmscoremonthly.com/board/posts.cfm?forumID=1&pageID=82&threadID=91969&archive=0

Lor' 355 dollars for that. Suspect I'm in the wrong line of work.

Quote :

Why Skyfall Deserves the Oscar for Best Score
By J. Bryan Lowder
Posted Tuesday, Jan. 15, 2013, at 9:03 AM ET


Daniel Craig stars as James Bond in Metro-Goldwyn-Mayer Pictures/Columbia Pictures/EON Productions’ action adventure SKYFALL.

Last autumn’s Skyfall, the 23rd of the 007 movies, brought a welcome change of mood to the decades-old spy franchise: It feels darker, more melancholy. Ben Whishaw’s new Q also struck a new note for the series—as did Javier Bardem, who, as the deliciously effete villain, managed to deliver more sex appeal than the latest Bond Girl. Less obvious, but no less important, was the introduction of a new composer to the series, which for the last 15 years has been single-handedly scored by David Arnold.

While moviegoers have mostly fixated on Adele’s delightfully bombastic theme song, it’s Thomas Newman’s fresh, inventive work on the rest of the film’s musical landscape that really gives a new sonic sheen to our beloved secret agent. Happily, the Academy acknowledged that work last week with an Oscar nomination. In a year rich with great scores from genres more often recognized for their music—e.g. fantasy and period pieces—Newman’s nod felt like a long-shot. But he deserves to win.

In fact, the only entry among the four other nominations that even approaches Newman’s is Mychael Danna’s gentle, shimmering score for Life of Pi. Danna’s sincere music floats and swirls around the fantastic story, providing flecks of vaguely Orientalist percussion, plucked strings, and vocal work; it’s great stuff and was rightly rewarded on Sunday night with the Golden Globe. (Skyfall was replaced on that otherwise identical docket by the lovely score for Cloud Atlas, which we explored here last year.)

Alexandre Desplat’s workmanlike Argo is catchy and appropriately suspenseful in its way, but feels half-hearted; Dario Marianelli’s charming, winking renovation of Russian Romantic music for Anna Karenina is lilting and lush, but not much more than a well-crafted exercise. Finally, there is, of course, the always expert John Williams, nominated this time for Lincoln. Williams brought a lighter touch than usual with this score—its syrupy brass, bird-like winds, and big, rolling, church-choir chords have a fresh-dew-on-the-morning-of-our-freedom quality. Shaker hymns, Negro spirituals, and Appalachian jigs show up in snatches. Having seen Lincoln twice, though, I don’t think the music features prominently enough to warrant the big prize.

So what makes Newman’s approach in Skyfall more worthy? Newman’s a long-time collaborator with director Sam Mendes, but pairing his musical voice with this particular film wasn’t an obvious choice. He’s known for iconic work on films like American Beauty, Wall-E, and, a personal favorite, Lemony Snicket’s A Series of Unfortunate Events, where his dark, quirky sensibility and uncommonly expansive musical vocabulary (especially with respect to instrumentation) brought those unique worlds to life. In pleasing opposition to his skill with playful recitative, Newman also has a penchant for tender arias—just listen to his heartbreaking theme from Meet Joe Black, for example.

These are all wonderful qualities in a composer, but not obviously the ones best-suited to a driving, muscular action movie. Yet somehow, in Skyfall, it works. Newman is clearly an aesthetic stranger to Bond-land, but this unfamiliarity allows him to hear it fresh and pull out new ideas. For example, his feline approach to action sequences—sleeker, more poised and restrained than the bravado that previous scores trafficked in—better suits a Bond hemmed in by bureaucracies and reliant on technology that has little to do with brute force. Newman applies a surgical touch to the classic Bond theme, extracting the uncertainty and even sadness of those tangy chords while leaving behind all the brash posturing. We know we are in a new era when the iconic two-chord punch violently drops into a much more tentative, roiling texture in Newman’s opening cue.

But what recommends Newman’s Skyfall score most is the emotional affinity between the composer and the new Bond Mendes has given us: Both are fundamentally creatures of melancholy. Newman’s music shines most when it examines the peculiar beauty that can be found in the shadier, wandering moments of life. Adrift in a baffling world that deems him no longer necessary, Bond now travels in on similar roads. The two are a match made in purgatory.

Newman also deserves the award this year because he’s been wandering those roads for a very long time. He is currently the most nominated living composer to have never won an Oscar, with 11 nominations. When Adele takes home the Oscar for best song in February, let’s hope Skyfall’s other musical genius finally gets recognized as well.

http://www.slate.com/blogs/browbeat/2013/01/15/skyfall_soundtrack_why_the_oscar_for_best_score_should_go_to_thomas_newman.html

Lowder obviously knows his music far better than his film because that opening paragraph is club-footed nonsense.

Mmmm - 'darker and more melancholy' to him, the 'lightest' of Craig's 3 Bonds so far to the rest of us :suspect: .

Blunt Instrument wrote:

Mmmm - 'darker and more melancholy' to him, the 'lightest' of Craig's 3 Bonds so far to the rest of us :suspect: .

Yep. And Bardem delivering more sex appeal than Marlohe?

:roll: :roll:

If that's the way he swings, good luck to him .

Thanks to a DVD rip of the film, I picked up another short but very effective unreleased cue. I'll call it "Ballistics Report." It starts on Mallory's "Good luck 007. Don't cock it up," and ends on the establishing shot of Bond in Trafalgar Square on his way to meet Q. It's in C minor (C-D-Eb-F-G-Ab-Bb), (with hints of G Harmonic Major (G-A-B-C-D-Eb-F#-G) first part is a low C drone with an eerie high synth oscillating between F# (C-F# being the tritone - the devil's interval) and G, plus an electric guitar repeating a C-G pattern, The harp plucks C-F-G (Csus4) and then string and muted horns form C-G-D (Csus2 voiced as as open fifths) with a bass drum thump - resembling the open chord of Adele's title song. When the three users of the depleted uranium bullets are shown on Tanner's laptop, there's a sinister triplet turn played by the muted horns (C-D-Eb D), later moving up to Eb and F#. When Bond touches the screen to point at Patrice, there's a nice Barry-esque bit of Mickey Mousing (reminds of the shot of the South African miner showing the diamonds in his teeth to the dentist, with the accompanying stinger) a Cmadd9 or Cmadd2 in second inversion (G-C-D-Eb) - played by vibraphone with motor on (giving it a whirring, tremolo sound - like a Leslie Speaker) and some other bell like instrument or synth. Throughout this there's a cymbal tapping out steady 8th notes.

What follows is the signature chord progression as in the first half of "Day Wasted" - Cm to D with a low pedal C in the bass, which appears throughout the film in different keys. What follows is a variation on the Bond theme at end of "Day Wasted", without the bongos Ending in a cadence, bearing a resemblance to both the title song and end of "Tennyson" - Cm, Bb, Gaug7, G - and when M tells Tanner Bond didn't pass the tests - an Csus2 on strings and an electric guitar with tremolo. Cut to National Portrait Gallery...

...

Blunt Instrument wrote:

If that's the way he swings, good luck to him .

God bless 'em.

So you have the promo score?

Is that the only reason why you registered?

Even if there are 30 secs. of unreleased stuff I want to get it! The "Elevator Cat and Mouse" track at least! BTW, so there is no JBT? So that means no "Silva Capture" there :(