Thomas Newman's SPECTRE Soundtrack

Makeshift Python wrote:

I was worried what it meant having cues reused, but Newman actually reprises them in the most appropriate moments that are connected to characters. The flute for Q's scene before it transitions to a new location similar to the transition in SKYFALL. The flirtatious music for Moneypenny. M's "Mother" theme reprising with her video recording. The music that played during the journey to Skyfall is now more subtle with Blofeld, which both represent something from Bond's past..

At certain points it was almost distracting. For the average or casual fan, it probably wouldn't have been a problem.

I did enjoy how he reused the action music from SKYFALL's "The Moors".

Our man Thomas Newman doesn't get nominated for SPECTRE, instead he did get nominated for BRIDGE OF SPIES. He'll likely lose to Ennio Morricone, but anyone would be honored to lose to a legend like that.

Finally got the score this week and gradually piecing together a proper listen over time. At the moment the re-use of pieces from Skyfall is a bit jarring, such as with Backfire -going all right then parts of "The Bloody Shot" (I believe) taking up the latter half. Or Eternal City with "Skyfall" creeping in. I'll get used to it I'm sure, just remembered it differently from the viewing which admittedly was when the film came out.

Like the Bond theme creeping in amongst "Los Muertos Vivos Estan".

I still fear the likely return of Arnold for the next Bond. "We'll go back to what we know best" kind of thing.

You fear Arnold after Newman's lazy, bland attempt? Didn't realise the hate ran that deep….

FieldsMan wrote:

You fear Arnold after Newman's lazy, bland attempt? Didn't realise the hate ran that deep….

I certainly feel its time to find a new sound for Bond...Bond needs to be memorable in its scoring but surely that doesn't require a constant (and increasingly less satisfying) attempt to emulate Barry, I don't dislike Newman's score tbh but I do feel it lacks identity (though I could say the same of the Craig Bonds as a whole so maybe its about how the film inspires (or doesn't) that is the real issue).

While I admire quite a few tracks that Newman produced, you're certainly right in saying his scores lack identity, especially after reusing certain motifs in SP. I guess I like Arnold's score because at least they have character and sound like Bond music, especially TND, TWINE and QOS (though CR is definitely one of the weakest scores of the entire series).

I'd be up for Alexandre Desplat or Dario Marionelli offering an interpretation of the Bond sound if Arnold isn't asked back.

David Arnold remains my top choice, but I'd love to hear a Bond score by Alexandre Desplat.

Christopher Lennertz's score for the QoS videogame was pretty good; I'd be interested to hear what he'd do.

I remain a bit ambivolent toward Desplat likewise feeling his sound is a bit anonymous, Marionelli would certainly be interesting as would Tom Twyker - atm I am hooked on the Mad Max Fury Road sound....its very different to Bond but makes me think Tom Holkenborg might also be worthy of consideration.

I do enjoy Arnold's work on TND and QOS, less so the ones in between (and CR was dreadful) but his approach to certain cues lacks variety imo while his orchestration, at times, seems simply determined to bury any decent work beneath a wash of white noise.

Giving Spectre a second thorough re-listen (owing to time constraints after work I've tended to get as far as Madeline) and each time, as now, struck by a very small part of "Snow Plane" that sounds like something out of Thunderball (the gassing of the Vulcan's aircrew/"Chateau Flight") that kind of wailing...anyway, see if I can link it here.



3.56-4.00 -sort of cuts out before (if in TB) it'd climb down

(once again, writing about musical terms escapes me. Apologies)

The Bond theme as played at the beginning of Westminster Bridge sounds a lot like the Bond theme as heard at the end of Chateu Flight.

Good pick up Hilly!

Thanks FM. I'll re-listen to Westminster Bridge for the TB use there Walecs.

Think Arnold went further in TND with a bit from Goldfinger (as Bond drives back to the hotel after Carver's phone call). Brown linked it a while back. Newman's sampling in Snow Plane isn't complete, but it's enough.

FieldsMan wrote:

Good pick up Hilly!

Indeed. There are lots of nods to John Barry in this score.

I really enjoyed Newman's contribution far more than I enjoyed the actual film. Madeline's theme was gorgeous.

Yes, it does seem to be one of the cases of a soundtrack outweighing the film it covers. I can think of a few non-Bond examples.

lachesis wrote:

Marionelli would certainly be interesting as would Tom Twyker -

Tom Twyker would be great, but would he compose for a film if he didn't direct it?

Well, to be honest I didn't like the extensive reuse of the Skyfall motifs... my favourite 5 tracks are: Los Muertos Vivos Están, Vaxhaull Bridge, Donna Lucia, Backfire and Silver Wraith. I wish there were more cues like Los Vivos Muertos Están, it was really great to listen to it the very first time, I didn't expect to have such an interesting local ethnic rendition of The James Bond Theme... and as for composers I'd like to take the scoring duties for Bond 25 I'd pick Alexandre Desplat and Harry Gregson-Williams!

We have similar tastes Great Kenji! I'll have to revisit Silver Wrath but I agree with your other top tracks! They're the ones I listen to most.

And I too wouldn't mind an Alexandre Desplat score too! But I'd prefer Arnold back. Good to see you posting here again.

Thanks fella ;)

Except for some of the frantic tracks during action scenes, I love this score.. There is a certain 60s/70s feel to it.