Yikes! Those are some of the least special "special features" ever.
The Bond films used to get commentaries, like a dozen lengthy featurettes, music videos, trailers, tv spots, still galleries, artwork galleries, etc, etc
Now we're stuck with just three 10-minute EPK pieces, on 5-minute EPK piece, and a previously released doc that's not specifically about the film, and is exclusive to the UHD.
Such a shame, I guess the market for special features really has dried up.
Such a shame, I guess the market for special features really has dried up.
It's the streaming era. There is no more market for special features. Physical sales are quite low these days.
True, but digital versions of films can contain the same special features, it just seems like special features in general, whether on disc or as digital extras, aren't the selling point they were a decade ago, sadly. The 2000-2010 golden era of even the worst movies getting 3-disc special editions is sadly just a memory.
I've heard the budget for DVD special features for a big film in that era would often be over $1 million, it's just not worth it anymore.
Even Ridley Scott's most recent films, The Last Duel and All the Money in the World, had basically nothing, and he used to be the king of special features, with making-of docs (like the one on Exodus: Gods and Kings) that were even longer than the films themselves.
Please, someone - stop Adam! I understand, why he bumped it before release and week or two after. But why now? Let's this movie & score discussion die already. And also - how information about Blu-ray release connects with MUSICAL part of this forum?! Just post it in Non-Film Score Discussion!
Such a shame, I guess the market for special features really has dried up.
It's the streaming era. There is no more market for special features. Physical sales are quite low these days.
Sadly this seems to be the case. I mean, I appreciate streaming as much as the average viewer. I have family plan subscriptions to all the major ones.
But streaming doesn't hold a candle to physical discs (at least in regards to 4K UHD) in terms of picture quality. Unfortunately, like others have said, physical media is being treated like an afterthought more often than not, and that's led to very anemic releases. While they may have their fair share of QC issues, Arrow Video is one of the few companies out there who are still committed to quality special features. Just look at the features for releases like RoboCop, Tremors, Donnie Darko, Dune, The Last Starfighter, etc. etc.
Be that as it may, I'm just glad that No Time to Die is getting a timely physical release. I had the 4K Steelbook pre-ordered as soon as I got home from the theater
Please, someone - stop Adam! I understand, why he bumped it before release and week or two after. But why now? Let's this movie & score discussion die already. And also - how information about Blu-ray release connects with MUSICAL part of this forum?! Just post it in Non-Film Score Discussion!
When I saw the movie in the theater, the music was in it...so it will probably, and I am just guessing here...PROBABLY be in the film on the Blu-ray as well.
Since when has it been a crime to bump a thread. The score and the film it's a part of are still highly relevant
Nobody has to read any thread. Just ignore and move on.
No, but it's annoying when it's gone back to the top of the thread list just because it's been bumped when no-one else has responded in the last eleven hours.
As for the score, it was fine. I listened to chunks of it again on YT the other day and I'll probably pick up the CD at some point. (The song remains an absolute disaster.) Though thinking on it, I like the quotes from OHMSS less, in the same way I like the Bernsteinisms in Ghostbusters Afterlife less the more I think about them. In neither case does that music really belong.
The Hollywood Reporter Awards Chatter Podcast (70 minutes) - Billie Eilish & Finneas about NTTD :
"The Grammy-winning siblings speak with The Hollywood Reporter about their relationship, their differing approaches to songwriting and why a Bond song was always on their bucket list: "It was almost the most we've ever wanted to do anything," says Eilish."
As for the score, it was fine. I listened to chunks of it again on YT the other day and I'll probably pick up the CD at some point. (The song remains an absolute disaster.)
To me, the song is the only memorable musical thing in the movie. I don't think there's anything terribly wrong with Zimmer's score, but there's not a lot right with it, either. It does its job in the most rote way.
I really like the song, but what I like most is the melody, and how Zimmer, Mazarro, et al. weave it throughout the score as the love theme for Bond and Madeleine.
My favorite part of the melody is the first portion, which actually ends up becoming the dominant motif for the lovers within the score, as heard here from 2:04-2:21:
And here, stunningly, from 2:42-3:10:
It's a VERY Bondian/Barryesque melody and the orchestration reinforces that
It certainly works well as a love theme but there have been several good love themes, for instance Vesper by David Arnold and Newman's Severine and Madeleine.
I really like the song, but what I like most is the melody, and how Zimmer, Mazarro, et al. weave it throughout the score as the love theme for Bond and Madeleine.
My favorite part of the melody is the first portion, which actually ends up becoming the dominant motif for the lovers within the score, as heard here from 2:04-2:21:
And here, stunningly, from 2:42-3:10:
It's a VERY Bondian/Barryesque melody and the orchestration reinforces that
I like it (but still prefer the Bond-Vesper theme). I just wish that Zimmer had focused on using this theme for Bond-Madeleine in this film and not also the "We Have All The Time in The World" melody in the score, what was a bit distracting.
I like it (but still prefer the Bond-Vesper theme). I just wish that Zimmer had focused on using this theme for Bond-Madeleine in this film and not also the "We Have All The Time in The World" melody in the score, what was a bit distracting.
I suspect 99% of the audience didn't know that music at all, and for those Bond nuts like us, half may have been bothered by the Barry theme, but then half may have loved its use, as I did.
And I think the Barry theme was only used two or three times - first as they drive into Matera, then at the very end, leading into the song, and maybe one other time.
That's the bigger issue, the woeful lack of thematic scoring in all films today. Honestly, if not for the two Barry OHMSS melodies and the Eilish melody in the score (which is only fully stated two or three times as well) there would be no proper melodies at all in the score, sadly.
John Barry, for example, wouldn't have stated the love melody just once in the Home cue or the I'll Be Right Back cue, he'd have stated it and restated it, and played with it for the duration of each cue, not to mention the fact that he'd have used the melody in ten other cues. Sigh.
