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NO TIME TO DIE - post-release thread
(10-16-2021, 08:52 PM)mr. stockslivevan Wrote: Beyond that, I’d just like to see more composers have a crack at Bond. I don’t want another “regular” composer for Bond. John Barry earned that as he was to that series what John Williams is to Indiana Jones. But Barry’s been long gone, even before his passing. So might as well have a revolving door of talent. I’d love to hear Alberto Iglesias get a shot.

time to bring back ERIC SERRA!!!
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What I would give haha.

He’s actually a big reason I went to go see LUCY and ANNA in theaters. He has such a unique sound aesthetic that makes the films fun to watch.
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Serra come back to score another Bond film?
[Image: so-gross-ew.gif]

I would legitimately be interested if he did an Arnold-esque Bond conceptual album... but the movies?  Nah.
If we can dream it, then we can do it.
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Serra gets a bad rap for doing what he was told to do. EON brought him in after John Barry’s recommendation and basically told him that they wanted him to redefine the Bond music for the 90s. He proceeded to do that, but then more than midway EON was like “wait, no, we changed our minds”. It was an unusual situation for Serra because up to that point he exclusively worked with Luc Besson and was given a lot of freedom in his work. There was just a lot of bad communication between him and EON over what to do. Got to a point where music editors mixing in the score even demanded that they have their name taken off the film if they used his St Petersburg chase music, leading to the last minute re-score by Serra’s regular orchestrator John Altman (which made it their last collaboration).

Funnily, there’s a rumor that EON offered David Arnold to re-score GE for the Special Edition DVD in 1999 but he turned it down out of respect to Serra. Dunno if that’s true, but if so I give props to Arnold. IMO, Serra’s score is such an integral part of the film that gives it a unique atmosphere and enhances it in a way that is completely lacking in the latter Brosnan films.
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I like Serra's score-- I do think it's unique and inseparable from GE. But I also like the traditional Bond theme over the tank chase. And I like Arnold's work on the other movies. I'm just a big ol' softie that way.
Our sanitariums are full of men who think they're Napoleon... Or God.
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I like Serra's more dark and atmospheric stuff, like the pre-title sequence, quite a bit.

"Ladies First," though... yuck!
If we can dream it, then we can do it.
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“Ladies First” is a goofy track, but so is the scene that’s playing out. It totally reflects the tone of the car chase.
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It didn't have to sound like it was scored using a Sega Genesis, though.
If we can dream it, then we can do it.
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It didn’t.

But I’m glad it did.
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I like "Ladies First" once it gets going, but those opening notes still hit rough for myself each time.

Serra's Gun Barrel bit though? (chef's kiss)
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Count me in as a fan of the Serra score for Goldeneye as well. That kind of avant-garde electronica reminds me of early 90s Berlin, so it works really well for me given the themes of the film.

His soundtracks for Le Grand Bleu and The Fifth Element are stonkers too.
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One thing about NTTD. My daughter is just a little younger than Matilde. Every scene of her being in danger made me a little queasy, even though I knew that she at the very least was going to come through okay. The scene where she gets handed off to Safin and just quietly goes didn’t quite ring true though. If my kid doesn’t want to leave her mama, she will rain hellfire and brimstone before going to someone else.
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I long for the days when Bond's only interaction with a child was to push him off a boat into a dirty river.
If we can dream it, then we can do it.
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Oh, yeah. Matilde may just be the calmest, most collected kid in cinematic history.
"Nooj's true feelings on any given subject are unknown and unknowable. He is the butterfly flapping its wings in Peking. He is chaos and destruction and you shall never see his true form." - Merriweather

My Steam ID: yizashigreyspear
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(10-18-2021, 01:40 PM)Belloq87 Wrote: I long for the days when Bond's only interaction with a child was to push him off a boat into a dirty river.

I always knew you were prejudiced against asian boys!

I just knew it!
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(10-18-2021, 01:40 PM)MichaelM Wrote: Oh, yeah. Matilde may just be the calmest, most collected kid in cinematic history.

I wouldn’t expect less from the daughter of James Bond.
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(10-18-2021, 01:50 PM)Nooj Wrote: I always knew you were prejudiced against asian boys!

I just knew it!

I'm always in favor of throwing kids of any ethnic background into rivers!

Augustus Gloop falling into the chocolate river... delightful!
If we can dream it, then we can do it.
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(10-18-2021, 02:10 PM)Belloq87 Wrote:
(10-18-2021, 01:50 PM)Nooj Wrote: I always knew you were prejudiced against asian boys!

I just knew it!

I'm always in favor of throwing kids of any ethnic background into rivers!

Augustus Gloop falling into the chocolate river... delightful!


that's child's play!

THIS had me cracking up gleefully






[Image: tumblr_n4p0gvPqqv1skh0gdo1_r1_400.gifv]
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That kid should've grown up to be a Bond villain.

"You don't remember me, do you, Mr. Bond."

"Can't say that I do."

"I'm the child you pushed into a river."

"I've pushed hundreds of children into rivers."

"But only I can offer you this elephant for TWENTY BUCKS!!"
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In all seriousness, what I’m really saying is that I don’t like Bond interacting with children in any capacity.
If we can dream it, then we can do it.
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Normally, I HATE when they do that but I thought NTTD handled it very well.
"Nooj's true feelings on any given subject are unknown and unknowable. He is the butterfly flapping its wings in Peking. He is chaos and destruction and you shall never see his true form." - Merriweather

My Steam ID: yizashigreyspear
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I think NTTD makes a fine exception.

Besides, the best child interaction was with Tiffany Case telling a snot nosed four eyed dork to “blow up your pants”



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Jill St. John blows up my pants.
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(10-18-2021, 02:50 PM)MichaelM Wrote: Normally, I HATE when they do that but I thought NTTD handled it very well.

Pushed way too far into sappy territory for me at the end.
If we can dream it, then we can do it.
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Wasn't it ...really really odd where Matilde bites Safin and he's like 'You don't want to stay with me?' And she's like 'nah', so he puts her down and she wanders off. I mean, his whole plan seemed to consist of a) steal Matilde, and b) harvest death virus, and he just lets his plan A toddle off.
There are weapons in my hands, my hands are weapons.
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I dunno. Kids are annoying and whine all the time. Safin was like, "Eh, do I want to raise this...? Probably not."
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(10-18-2021, 04:27 PM)Jones Wrote: Wasn't it ...really really odd where Matilde bites Safin and he's like 'You don't want to stay with me?' And she's like 'nah', so he puts her down and she wanders off. I mean, his whole plan seemed to consist of a) steal Matilde, and b) harvest death virus, and he just lets his plan A toddle off.

I found it quite contrived. You can feel the script bending to get Madeleine and Mathilde back in the same place again.
If we can dream it, then we can do it.
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Along the same lines, I didn't get Safin's deal at the start of the movie either. Swan's dad poisons his family so he wanders through the snow to her house, murders the mother and, after getting shot off a balcony that had no effect at all, chases the girl onto the lake. When he shoots through the ice I was sure he was directly aiming at her, but no instead he rescues her? It just made no sense. Nothing made any sense.
There are weapons in my hands, my hands are weapons.
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He was smitten!

... by a child.
If we can dream it, then we can do it.
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(10-18-2021, 04:41 PM)Belloq87 Wrote:
(10-18-2021, 04:27 PM)Jones Wrote: Wasn't it ...really really odd where Matilde bites Safin and he's like 'You don't want to stay with me?' And she's like 'nah', so he puts her down and she wanders off.  I mean, his whole plan seemed to consist of a) steal Matilde, and b) harvest death virus, and he just lets his plan A toddle off.

I found it quite contrived.  You can feel the script bending to get Madeleine and Mathilde back in the same place again.

I don't find it contrived because Safin's final ironic stab at Bond's happiness basically requires neither mother nor daughter to be in danger anymore

It's not much of a bend either.  He basically just lets her go because he doesn't need her as shield against Bond at that point.
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I thought it was a fun character beat.

“UGH fiiinnneee you can go…”

Carrying the vials that he’ll use on Bond when he gets the chance
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(10-18-2021, 07:41 PM)Nooj Wrote: He basically just lets her go because he doesn't need her as shield against Bond at that point.

Was that his only motivation for keeping her hostage? That's pretty boring!

It seemed to me the movie was suggesting something much more perverse and troubling in terms of his personal designs (when you factor in that he let Madeleine survive at the beginning, and later professed to be "in love" with her), which made it quite baffling to me that he just let her go without any fanfare.

Whatever the case, I think it's an aspect of his character that is undercooked, which is a problem because there's not much else there to begin with.
If we can dream it, then we can do it.
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(10-18-2021, 07:55 PM)Belloq87 Wrote:
(10-18-2021, 07:41 PM)Nooj Wrote: He basically just lets her go because he doesn't need her as shield against Bond at that point.

Was that his only motivation for keeping her hostage?  That's pretty boring!

it allows him to monologue at Bond without Bond immediately going for the attack!

"we are not so different, you and I!"

and with someone like Craig, you need something to hold him off while you speechify like that!
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(10-18-2021, 02:22 PM)bradito Wrote: That kid should've grown up to be a Bond villain.

"You don't remember me, do you, Mr. Bond."

"Can't say that I do."

"I'm the child you pushed into a river."

"I've pushed hundreds of children into rivers."

"But only I can offer you this elephant for TWENTY BUCKS!!"

Baht, man. Not bucks. 

Another goddamn JW in here.
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No, the scene I wrote is set in the United States, so my dialogue still works.
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