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.
Actually, there is an entire track on the album (granted it's less than two minutes long) that is John Barry.
Listen to Track 12 - "Good to Have You Back". It's the theme from OHMSS but at a much slower tempo. Fantastic track IMO.
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.
Actually, there is an entire track on the album (granted it's less than two minutes long) that is John Barry.
Listen to Track 12 - "Good to Have You Back". It's the theme from OHMSS but at a much slower tempo. Fantastic track IMO.
Yep, I was referring to the WHATTITW theme, but I enjoyed that cue too, it's the longest thematic statement of any kind in the entire film.
Early on in the thread someone suggested Gary Chang and Tangerine Dream to score this film. Tangerine Dream???!!! I sincerely believe that these are the only composers who could have done an even worse job on a Bond movie than Eric Serra on GOLDENEYE.
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.
Actually, there is an entire track on the album (granted it's less than two minutes long) that is John Barry.
Listen to Track 12 - "Good to Have You Back". It's the theme from OHMSS but at a much slower tempo. Fantastic track IMO.
Yep, I was referring to the WHATTITW theme, but I enjoyed that cue too, it's the longest thematic statement of any kind in the entire film.
Ah, gotcha. Makes sense. I tend to think of that as the Armstrong theme, so it went right over my head.
Listen to Track 12 - "Good to Have You Back". It's the theme from OHMSS but at a much slower tempo. Fantastic track IMO.
Yes, very similar to the cue, 'Over and Out' from OHMSS. Used over the scene when Bond meets M beside the Thames with Hammersmith Bridge and the Rutland Arms pub close by.
I think your score for "The Saint" is magnificent. I like how you incorporated the original Saint theme into your fantastic new themes. It is really sad it did become a series of movies and you couldn't continue to score more Saint movies. Tell us a little bit about this project. How did you come into this project? Do you like the spy genre? Have you ever approached by the James Bond producers to compose a 007 music? Do you think you could helm a 007 project as good as you did in the case of "The Saint"?
Graeme Revell:
- Thank you! I like this one too. Philip Noyce asked me to work with him again and I was very happy to say yes. I think the spy genre is OK. My favorite TV spy show was "The Avengers" because it was funny, but that movie is one of the all-time worst. Nothing makes any sense!
After Martin Campbell hired Eric Serra to score "Golden Eye" he called me to say he wished he'd hired me. But that is as close as I got to 007 because after that the producers were so unhappy they decided to play it safe by getting David Arnold to rearrange the classic John Barry themes for all the sequels. That's a little sad I think, but I do feel this would be one of the most difficult jobs in all of film scoring. Those Barry themes are brilliant!
Jesus Christ on a bicycle, if people are still going on about this average score to an average movie, imagine if FSM had been around when Goldfinger came out - the internet would have broken.
Jesus Christ on a bicycle, if people are still going on about this average score to an average movie, imagine if FSM had been around when Goldfinger came out - the internet would have broken.
Ugh, it's so frustrating when people have opinions that are different, right??
Jesus Christ on a bicycle, if people are still going on about this average score to an average movie, imagine if FSM had been around when Goldfinger came out - the internet would have broken.
Ugh, it's so frustrating when people have opinions that are different, right??
Not at all, I’m just astonished how much interest this score has. I can’t imagine there are too many people who genuinely think it is one of the greatest scores of all time, or even the greatest Bond score of all time. My point was how huge the debate would have been if discussion boards were around when truly ground-breaking scores had been released. Imagine the reaction the first time people heard something like O.H.M.S.S.
