No Time to Die Theme

Song's on track to debut at #1 on the British charts this week.

She'll be doing it at the Brit awards with full orchestra.

The song has been growing on me, enough to say I have it very comfortably at #2 behind "Skyfall".

1. Skyfall
2. No Time to Die
3. You Know My Name
4. Writing's On the Wall
*getting testicular cancer*
5. Another Way to Die

Now the real test will be how it plays on the actual film with Daniel Kleinman's titles.

bitchcraft wrote:

Song's on track to debut at #1 on the British charts this week.

She'll be doing it at the Brit awards with full orchestra.

Very good. Nice to have some positive Bond 25 news.

MP wrote:

Now the real test will be how it plays on the actual film with Daniel Kleinman's titles.

Having only heard the opening notes when they teased the release of the full song, I'm very excited about what Kleinman might come up with.

Someone on youtube has looped the song to play for 10 hours....that's about 150 consecutive plays

It's far from the worst Craig-era song and may even be the best but I keep waiting for it to build into something lush, some sweeping orchestral or something but it doesn't get there. It's edging, something else I've never really seen the point of.

Brit Awards 2020



The song on youtube has been viewed over 26 million times in some 3-4 days

I do wonder how many people say 'I'm going to go watch the new Bond film to listen to the title song' though... It's certainly a marketing tactic and gets people (minimum 26 million just from the Brit Awards!) talking about the new movie, but with music so accessible today, is it really all that effective in getting bums on seats?

I wouldn't be surprised if a generous amount of Billie fans who have a casual interest in Bond find themselves in a cinema to see it.

Early tracking already has it opening between 75m-100m in the States and marketing hasn't kicked into full gear yet. But the 'woke' element isn't there anymore. None of the trailers or promos have Bond as a secondary character and I think many are relieved about that.

Should also cross 30m views on youtube tomorrow (Thursday)

Good point, the latest have been more focused on Bond. Who'd have thought that would be an issue!

I'll wait from reviews from you lot before determining whether NTtD is "woke" or not. I hardly trust any of Babs' marketing to steer me straight.

Perilagu Khan wrote:

I'll wait from reviews from you lot before determining whether NTtD is "woke" or not. I hardly trust any of Babs' marketing to steer me straight.

Babs says "take this"...it's the IMAX poster and not a 'woke' in sight

Nice to see a bit more colour in these posters but the dirtiness doesn't exactly scream James Bond to me. Matera is stunning, however.

With Bond actor #7 and Bond 26, we need to move away from single images/simple photos.

As predicted, the song has entered the British charts at #1 with the most sales and streamed plays ever for a Bond single in the UK (beating both of the last 2 themes).

It's better than I thought it would be but not memorable at all.
It's sad that the prestige of the title is gone and even more so that the composer if there was one has no say or input in weaving it into the film score.

It's indeed a sad thought to think we won't have that again. The success of TND and TWINE's score for me falls on Arnold interweaving Surrender and The World Is Not Enough/Only Myself To Blame into their respective scores. It's no wonder why Craig era music feels so generic and clinical (the best moments of CR's score features YKMN but it's all too fleeting. And QOS has No Good About Goodbye and other motifs interwoven which does almost put it on par with the Brosnan era scores).

If I'm being perfectly honest I'd go further and argue that the last 100% good and fully successful traditional score we had was LTK. There are some Kamen flourishes of Die Hard, Lethal Weapon and even some of Road House in there but they don't overwhelm the Bondisms and lovely usage of Spanish guitar elements. His big uses of the Bond theme are the showstoppers and the last time anyone dared to go that big sonically.

And don't get me wrong I love individual cues and specific moments from TND/TWINE/DAD but they don't work as well on album listening or as a whole outside of the film. I can never quite get myself to being fully 100% onboard with them as complete works. They seem to always suffer from the battle between Arnold's whiz bangs and techno flourishes AND his desire to reproduce Barry-isms at all costs. I will say that they are mixed well and I wish the others had isolated score 5.1 mixes as the music seems to work much better in surround than stereo.
I love Serra's GE work and think it holds up remarkably well even if the film edits of most cues tone them down somewhat.
I still think Arnold could do a really good score that was even better than his previous ones if he just followed his own muse this time round. Of course it might help to have full creative control and time because he did apparently have to score TND completely piecemeal and I'm sure similar things happened later.

hegottheboot wrote:

It's better than I thought it would be but not memorable at all.
It's sad that the prestige of the title is gone and even more so that the composer if there was one has no say or input in weaving it into the film score.

Zimmer himself actually confirmed that he did the orchestration for the title song, so I think we should expect the song to be weaved into the score.

Well that is a positive at least.

Cut to the Zimmer-ized version of the melody at some helicopter shot.

This cover blew my panties off