Hello and welcome to James Bond Radio, day 19 of the 30 Days of Spector.

Today, we are going to be talking about Thomas Newman's score for the film known as Spector,

which if you didn't know, is the 24th James Bond film that has just come out across most of the world, but not all of it yet.

My name's Tom Sears, and I'm joined by my good friend, Mr. Chris Frye. Say hello, Chris.

Hello, Chris.

How are you doing today, my pedigree, champ?

I am doing not bad, matey, not bad at all.

I loved your intro, how you talked like this.

Well, you know what?

That's a technique Tony Blair used to use when you haven't got a fucking thing to say.

You slow right down and then you think of something,

and then it comes out.

So there you go.

What if you don't think of something, and then you just pause for like ever?

Well, that's the game you have to play, man.

That's a risk.

Yeah, you go parachuting.

You know, you just hope the shoot's going to open at the end of the day.

So it's score time.

We've talked about the kind of the bulk of the film.

I suppose we should sort of talk, tell the listeners about what they can expect for the rest of the 30 days of Spector.

So obviously we're going to talk about, you know, the score today.

...