Episode 20: James Bond - Part 3

Art of the Score

Nicholas Buc

Education, Tv & Film, Music

5 • 624 Ratings

🗓️ 28 August 2018

⏱️ 114 minutes

🔗️ Recording | iTunes | RSS

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Summary

In Episode 20 we conclude our three-part retrospective of the music of Bond, James Bond. Having already covered the pioneering Bond sound of John Barry and the funk of the Moore era, in our final episode we make it through the emergence of David Arnold as the Bond musical heir apparent, and Thomas Newman’s recent work. Join us as we finally answer the question to end all questions: which is the greatest Bond score of all time, and which is the greatest song? Episode notes: 3:45 – Arnold, David Arnold 7:04 – Tomorrow Never Plays the Fanfare 11:25 – The fanboy composer? 13:05 – Surrender’s presence in the score 19:23 – Arnold’s neo-Barry romance writing 23:48 – The World Is Sort Of Enough 28:00 – Arnold’s muscular action writing – the submarine escape 33:48 – Score Another Way (electronically) in Die Another Day 40:04 – Bond joins the choir 44:25 – Blond, James Blond 50:18 – Parkour percussion 54:10 – You Know My Chord Progression 59:20 – Vesper’s Theme 1:01:28 – Quantum of Solace 1:05:08 – Watery woodwinds at the opera 1:07:40 – DC3s, tempo, chromaticism, and the peak of Arnold’s action music 1:10:48 – Thomas Newman, Bond’s new man 1:12:35 – M’s retiring brass statements 1:16:50 – Bond on a boat 1:19:47 – Severine and Newman’s romantic strings 1:26:45 – A Spectre haunts 007 1:30:10 – The Writing’s On The Train 1:32:08 – At the end: our favourite score, and our favourite song We love to hear from our listeners – get in touch via Twitter, Instagram, and Facebook, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.

Transcript

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0:00.0	Welcome to Art of the Score, the podcast that explores, demystifies and celebrates some of the greatest soundtracks of all time from the world of film,
0:21.3	TV and video games.
0:23.0	I'm Andrew Poxson.
0:24.2	And in each episode, we'll be joined by Daniel Golding and Nicholas Buck,
0:27.6	as we check out a soundtrack we love, break down its main themes,
0:31.3	explore what makes the score tick,
0:33.3	and hopefully impart our love of the world of soundtrans.
1:00.6	Music and hopefully impart our love of the world of Soundtrans. In episode 20, we conclude our analysis of one of the greatest film franchises in the history of cinema with part three of James Bond.
1:07.4	Having sailed through the Connery era in part one and explored the unique musical places Bond took us in part two,
1:12.1	we finish our series of three with a look down the gun barrel of the music of David Arnold and Thomas Newman with films of Brosnan and of course Daniel Craig as Bond.
1:18.6	And joining me in, still in his full tuxedo, I'm starting to ask, you know, what his dry cleaner is doing.
1:25.1	It's composer, arranger, orchestrator, conductor and a misogynistic
1:30.4	relic from the Cold War era. It's Nicholas Buck. How you doing, Nick?
1:34.5	Summed me up in one sentence there, Andrew. I'm good. I'm very excited about the most, well,
1:41.0	I guess, yeah, the modern era of Bond. To me, David Arnold is the perfect John Barry replacement, and I really adore the music
1:48.2	that he did for all the Bond films, and can't wait to get stuck into these latest and
1:51.9	greatest scores.
1:52.8	Absolutely.
1:53.9	And joining me, as always, is our resident Q.
1:57.6	Apart from that, he's a writer, critic, composer, university lecturer, Nick, whose students
2:02.4	tell me, I spoke to them the other day, they are regularly shaken by his lectures, but interestingly,
2:08.4	rarely stirred. It's interesting, isn't it, Nick? Could you please welcome Dr. Dan Golding,
	...

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