Catégorie
🏖
VoyagesTranscription
00:05:05Ce n'est pas ce que l'arrangement l'arrangement l'arrangement.
00:05:07Et il y a une de la plus bizarre et unlikely originale de l'histoire du film.
00:05:16Maintenant pour notre musical spot.
00:05:18On Monte Norman.
00:05:20Oh, c'est toujours l'horreur de me
00:05:24de l'horreur de l'horreur.
00:05:27J'étais un singe, avec les grandes bandes.
00:05:30Je me suis écrit un singe, et je me suis rendu compte qu'il y a eu de l'horreur.
00:05:36Il y a eu de l'horreur de l'horreur.
00:05:38Donc je me suis rendu compte qu'il y a eu de l'horreur.
00:05:40Cudie Broccoli m'a demandé de venir à ses amis
00:05:44pour rencontrer ses amis, Harry Saltzman.
00:05:47Il a dit qu'il a eu de l'honneur de l'Homme.
00:05:51Il va en faire des films.
00:05:53Il va en faire du score.
00:05:55Nous avons fait tout le travail de l'honneur en Jamaica.
00:05:58Pourquoi ne pas vous d'absorbent l'atmosphère ?
00:06:00Bringz-vous wife.
00:06:01All expenses paid.
00:06:02I mean, how could I refuse ?
00:06:17It was an inspired choice
00:06:19to take this songwriter to Jamaica,
00:06:22absorb the atmosphere
00:06:24and incorporate the players
00:06:26who were actually there in Kingston, Jamaica at the time.
00:06:31Jamaica was great fun.
00:06:33Ian Fleming invited us over to his house, Goldeneye,
00:06:37and he was asking me about the music.
00:06:40I told him we were just about to go into the location
00:06:43for Ursula Andress to come out of the water.
00:06:46Monty wrote this wonderful song,
00:06:48Underneath the Mango Tree,
00:06:50which Ursula Andress is singing
00:06:52as she emerges from the water
00:06:54when we first see Honey Rider.
00:06:56Make booloo loose.
00:06:58Underneath the mango tree,
00:07:00my honey and me...
00:07:02Who is that ?
00:07:04That song became a classic moment in movie history.
00:07:07Right.
00:07:09Up slowly and face that wall.
00:07:11Monty, of course, was a fine songwriter.
00:07:13Hold it.
00:07:16But where he was not entirely comfortable
00:07:18was in writing dramatic music.
00:07:20Gently, but gently.
00:07:22He struggled with the idea of a theme
00:07:24for this new character.
00:07:26And there was some time pressure now.
00:07:28And I suddenly remembered something
00:07:30that I'd written for a musical
00:07:31about the East Indian community in Trinidad
00:07:34called A House for Mr. Biswas.
00:07:37The songs had this Indian sound.
00:07:39But instead of a sitar,
00:07:41I thought that should be done on a guitar.
00:07:43It was a song called Bad Sign, Good Sign.
00:07:46And it goes like this.
00:07:47I was born with this unlucky sneeze
00:07:52And what is worse, I came into the world
00:07:56The wrong way round, and so on.
00:07:59This sounded to me, strangely enough,
00:08:01when you think of it like the character of James Bond.
00:08:06It's an idea at that.
00:08:08But the filmmakers themselves felt
00:08:11they needed something a little bit more dynamic.
00:08:13And that's when the connection with John Barry was made.
00:08:16Thank you very much.
00:08:20In modern music today,
00:08:22people are always looking for what they call a new noise.
00:08:25And we have someone who found a very, very enchanting
00:08:28new sort of noise.
00:08:30Ladies and gentlemen,
00:08:31the John Barry Seven.
00:08:40In 1962, he had already had a number of hits on his own.
00:08:44And he was already somewhat experienced film composer.
00:08:47I received a phone call on a Saturday morning
00:08:52from the head of music at United Artists.
00:08:55And he said that these two guys,
00:08:58two weird guys, I always remember them saying,
00:09:00called Saltzman and Broccoli,
00:09:02they've got a score for the movie,
00:09:04and they're very dissatisfied.
00:09:06Like, tomorrow they need at least a main title.
00:09:09I said, oh, my God.
00:09:11But movies was the thing I wanted to do.
00:09:13So I went in and had a meeting with Monty Norman,
00:09:16and he played me some stuff.
00:09:18And I just said, look,
00:09:20if I've got to do this thing in this amount of time,
00:09:22I have to just go with my instincts.
00:09:24His reply, which I will always remember, was,
00:09:27I'm not proud.
00:09:28He certainly wasn't.
00:09:29So I just went home and worked.
00:09:32And then we went in the studio, recorded it.
00:09:35There are certain recordings where you just know
00:09:37there was some kind of magic that day.
00:09:39John Barry took Monty Norman's theme,
00:09:42and he created a radical arrangement
00:09:45into something that was dynamic and exciting,
00:09:48even a little sexy,
00:09:49that had elements of jazz, pop, and rock in them.
00:09:56I was at the premiere, and when John says,
00:09:59Bond, and music begins, James Bond,
00:10:02the reaction was amazing.
00:10:05There was no way that anybody could tell
00:10:10that that would become one of the most famous melodies in cinema.
00:10:18And the rest, as they say, is history.
00:10:21Monty Norman's theme in John's hands
00:10:24became the most recognizable theme in the entire world,
00:10:28and has been for 60 years.
00:10:30Bond songs are sort of chemistry experiments.
00:10:39You don't quite know what they are until you hear it,
00:10:41and you say, yes, that's it.
00:10:43She always runs while others walk.
00:10:49It's an extraordinary task to write one of those.
00:10:55There's sex, there's death, there's duty, there's sacrifice,
00:11:00there's a kiss, there's a murder.
00:11:02And that's all got to be in a three-and-a-half-minute pop song
00:11:15that then intones the name of the film.
00:11:17If any of those ingredients is missing, it's not a Bond song.
00:11:21I think what made the whole Bond franchise different to begin with
00:11:35was adding that element of that amazing theme song.
00:11:39When you knew a new Bond film was coming out, you got excited wondering,
00:11:43what's the song going to be, and who's going to be singing it?
00:11:46The song should be provocative, kind of guilty pleasure for the audience.
00:11:51I shouldn't be here really, but I am, and I'm going to wallow in it.
00:11:55It's the law of the forbidden.
00:11:58There's a seductive quality in all the songs.
00:12:01They're like a sort of perfume in the air, and they promise you things.
00:12:05They promise you inevitably that your heart will be broken, you know,
00:12:09and you can't wait for them to break your heart.
00:12:12It sort of plunges you into the Bond world, the mystery, the intrigue,
00:12:17the adventure, the sensuality.
00:12:20It's haunting because Bond is a loner at the end of the day,
00:12:25and he always ends up on his own.
00:12:27What it does is it gives you an absolute open doorway to the story,
00:12:32and you have to incorporate the story into the song so that they're married.
00:12:39A really good title song will do that.
00:12:41The songs tend to have an emotional backbone for the film,
00:12:45and oftentimes they'll be involved and tethered into the score,
00:12:48as it is with Billie Eilish and No Time to Die.
00:12:51It had to be almost an ode to all of the music from Bond.
00:12:55It couldn't be either or.
00:12:58It had to be a perfect mix to feel like Bond,
00:13:01and also I had to feel like me.
00:13:03The DNA of a Bond song is timeless.
00:13:06There's plenty of incidences of how broad that church is.
00:13:09If you look at Madonna's Die Another Day, Nobody Does It Better,
00:13:13Live and Let Die.
00:13:14They're all completely different, and yet they're all Bond songs.
00:13:17But for me, the blueprint of the Bond song was John Barry and Shirley Bassey,
00:13:23and that was really with Goldfinger.
00:13:25Doctor No obviously had the James Bond theme.
00:13:28Russia With Love had an amazing song,
00:13:30but the song wasn't until the end of the movie.
00:13:32John got to do the score, but not the song from Russia With Love.
00:13:36It was when he came to Goldfinger,
00:13:38having done such a great job with the two previous films,
00:13:41that Harry and Cubby said he could write both the song and the score.
00:13:45Goldfinger was the name of the villain,
00:13:48so it's kind of a weird thing to have to write a song about.
00:13:51So I sat down and wrote this rather strange melody
00:13:55just based on the word Goldfinger.
00:14:00And so he's working on the tune at his London flat,
00:14:04and Barry was great friends and very often lunchtime mates
00:14:08with Terence Stamp and Michael Caine.
00:14:11John and I became very, very, very close friends.
00:14:14He's one of my closest and oldest friends and a marvelous guy.
00:14:19Stamp and Caine had been roommates,
00:14:21and there was some to do whereby apparently there was a little too much female traffic going in and out of his flat,
00:14:28and Caine was tossed out.
00:14:30I came to a situation where I didn't have anywhere to sleep for two weeks,
00:14:35so John said, come and stay with me.
00:14:37So I said, great, thank you John.
00:14:39He had a lovely flat, and I went to sleep.
00:14:42And I was woken up about an hour later by the piano.
00:14:53John was composing.
00:14:56And all night long, he was on the piano.
00:15:02This is my first night there.
00:15:05I thought, my God, I've got to be here two weeks.
00:15:07I'm never going to get any sleep.
00:15:09He's going to be on the piano every night.
00:15:13In the morning I got up, I went down for breakfast,
00:15:19and he was still on the piano.
00:15:21And when I went into the room, I said, do you want a cup of tea?
00:15:24He said, no.
00:15:25He said, I've finished.
00:15:26And I said, what were you composing last night?
00:15:28He said, this.
00:15:29And he played me Goldfinger.
00:15:41So I was the first person in the world ever to hear Goldfinger.
00:15:45And I heard it all night.
00:15:47It wasn't an obvious hit, because it was a strange song.
00:15:51But I felt like if you could get a singer who had conviction,
00:15:56you could sing the telephone book, you know.
00:15:58And Shirley Bassey fit so well in with that whole James Bond style.
00:16:03John Barry had not only known Shirley Bassey,
00:16:06he had actually been on concert tour with her.
00:16:08We stuck up a relationship.
00:16:10And then we did a tour together, and he conducted for me.
00:16:14And it was at the end of the tour, he said to me,
00:16:17I've just written the music for the next Bond film.
00:16:21And I went to his apartment, and he played me the music.
00:16:24I heard that, da-dum, da-da-da-da-dum.
00:16:29And I just got goose pimples, you know.
00:16:32Just, mm.
00:16:33And I said, I don't care what the words are.
00:16:35I'll do it.
00:16:38I always remember when Shirley came into the studio,
00:16:40and she said, what is this song about?
00:16:42I said, Shirley, it's a villain.
00:16:44Don't ask too many questions.
00:16:45Just get in front of the mic and bounce it.
00:16:48Gold finger
00:16:54He's the man, the man with the mind
00:16:58She was terrific.
00:16:59She was at the idea post for a Bond song.
00:17:02A spider's touch
00:17:05John, just let me do it my way.
00:17:08The Bond films, they're so masculine,
00:17:10and because they're little on the violin side and spectacular side,
00:17:14and they're glamorous, you know.
00:17:16I felt a woman singing about Bond was right.
00:17:19But don't go in.
00:17:23During the recording session,
00:17:25John had insisted on take after take and really wanted her to belt it out.
00:17:29John got a bit upset with it because she kept cutting it off too short, running out of breath.
00:17:33To do it over and over again, I mean, it was an all-night session.
00:17:37Towards the end, I mean, I had this restricting bustier on it.
00:17:41She said, just a minute.
00:17:42And then suddenly, her bra came over the top of the thing.
00:17:45She said, now try it. Try it again.
00:17:48So I let it all hang out.
00:17:49I took it and I felt much more comfortable.
00:17:52And I was able to hit the note better anyway.
00:17:55He was born
00:17:58In the early days, it felt like it was a creative explosion
00:18:13of the language of a Bond movie,
00:18:16which hadn't really found its feet, I think, until Goldfinger.
00:18:20Bond music became a universe of its own.
00:18:28Goldfinger, to me, is the most favorite,
00:18:31and it was the first time I was allowed to do everything.
00:18:33The whole Bond formula, it culminated in Goldfinger.
00:18:37Barry sets it up with the song,
00:18:39and then the song becomes the foundation of the score.
00:18:46When we had the big scene at the end, which was the Fort Knox sequence,
00:18:49I used the motif, the da, yada.
00:18:52I just kept repeating it throughout, with the trumpets and the horns.
00:19:02The integration from Goldfinger, Thunderball, You Only Live Twice,
00:19:08they weren't just opening songs and forget it.
00:19:11They ran throughout the whole vein of the movies.
00:19:23Since the time of John Barry, the Bond title song has always been woven
00:19:27into the score of the rest of the film.
00:19:29But No Time To Die is the first time the singer's voice has actually been used as an instrument in the film itself.
00:19:36You always have the main song appear somewhere in the score,
00:19:40but I don't think it was for a few weeks that we kind of discovered that should actually be our love theme.
00:19:46No, I knew. I knew. I know.
00:19:49He didn't tell me for a few weeks.
00:19:51No, I knew there was a moment which was going to slay you when it came back.
00:19:55But it's so funny hearing Hans talk about it, he's always like...
00:19:58Nobody really liked this. They didn't understand the song.
00:20:01But I liked it.
00:20:02I thought it was pretty good. I thought it was okay.
00:20:05People were going, well, hang on a second, but it's not this movie.
00:20:09And I'm going, of course it's not this movie. They haven't seen this movie. Get them on a plane.
00:20:16Literally landed, drove to a studio.
00:20:19With our suitcases, yeah.
00:20:20With our suitcases, so jet-lagged, so tired. So tired.
00:20:24Sat in this little room and watched, you know, whatever there was of the cut.
00:20:30It was great already though. It was already amazing.
00:20:33Then the next couple days was going meeting Hans and working with him.
00:20:38We all sort of hunkered down at Air Studios, which had sort of become the home of Bond over the years now as well.
00:21:01Hans has this way about him that just makes you so comfortable and very at ease.
00:21:06And when you're with him, you're, like, literally fucking crazy that this dude is, like, such a dwarf ball.
00:21:12Legend.
00:21:13And he's...
00:21:14No, but, and he's, like, just the sweetest, you know, goofiest, ridiculous man.
00:21:20I mean, Air is such a beautiful environment. It's such a beautiful acoustic.
00:21:26I just got Billy to just sing as quietly as possible. Not even the song. Just sing it.
00:21:32Could I maybe try it one time without the song in the background? I just... Great.
00:21:49Hummed the whole song. Kind of hummed a bunch of random stuff. Just a few little notes. Did some acapella, you know, verses and choruses. I just did them and forgot about them.
00:22:10I was just gathering ammunition, as it were. I just, I just knew that, you know, this was gonna be good.
00:22:20Dude, being at the premiere.
00:22:23Hi. Hi.
00:22:25And there's, like, 2,000 people in this beautiful theater in London. And the whole cast is there on stage.
00:22:32And then throughout the movie, in the most vulnerable and emotional parts of the film, is my voice.
00:22:39I have to finish this. For us. I know.
00:22:55I'll just be right.
00:22:57Oh god.
00:22:59Billie is actually a ghost. She's a beautiful ghost in the movie.
00:23:45But it's quite a few anecdotes with Bond songs
00:23:47It's a chemistry that somewhere something happens, you know
00:23:54But there isn't a rule book of how you do it
00:23:57Lyrically, most of the songs that have been written for Bond
00:24:01Appear to have something to do with the storyline
00:24:03Most of them have used the title of the film
00:24:06But some memorably haven't, like Nobody Does It Better
00:24:09When John Barry rang me up and said, would you like to do a Bond lyric
00:24:12Do you want me about 0.06 seconds to say yes
00:24:15And then I said, well, what's the title of the film?
00:24:18Thinking it might be something romantic
00:24:20Then he said Octopussy
00:24:21And I went, ah
00:24:22We were always glad we got a view to a kill
00:24:30And not a quantum of solace
00:24:32Quantum of solace is a hard thing to put in a song
00:24:35It's not a lot you can rhyme with, solace
00:24:37You've got lovely bollocks
00:24:38For No Time To Die
00:24:41The lyrics really just came to us perfectly
00:24:45Because we knew what we were writing about
00:24:47We met with Barbara
00:24:50She told us about the beginning where Madeline gets set up
00:24:55And that James thinks that she betrayed him
00:24:57But the main thing she said was she was set up
00:25:00And I can't tell you how important that was for us
00:25:03We just took that and ran
00:25:05And wrote a song about that betrayal
00:25:08You know, was I stupid to love you?
00:25:11Like, was I dumb?
00:25:13Am I blind?
00:25:13And I think that's a thing we've all experienced
00:25:15And it just is a much higher stakes than James Bond
00:25:19But it really erode itself
00:25:22I think it was a natural thing in the 60s
00:25:26For the Bond films to turn to theatrical composers and writers
00:25:31Because Anthony Newley, Lionel Barton, Leslie Bricus, Don Black
00:25:35Delivered fantastic songs
00:25:36When I got asked to do my first Bond song
00:25:38My immediate thought was, call Don Black
00:25:41The title was terrific
00:25:43It was enigmatic
00:25:45But I couldn't think of the next line
00:25:47I walked around a few parks, I can tell you
00:25:50I stared out of a lot of windows
00:25:52And one day my wife Shirley shouted out to me
00:25:55Postman's just come, Don
00:25:56And you've got an OBE
00:25:58And I automatically said
00:26:01It's not a knighthood
00:26:02But it's the perfect way to start
00:26:03And I thought, hey, that's it
00:26:06And that's how I like to write lyrics
00:26:11There's the movie, right?
00:26:14There's the movie
00:26:15Two lines, job done, brilliant
00:26:17That's why you work with Don Black
00:26:18Don Black, he's a great lyricist
00:26:20He's had number ones in America with Michael Jackson
00:26:22You know, he's won Oscar with John Barry for Born Free
00:26:25He's a huge name
00:26:26But I think not only is Diamonds Are Forever
00:26:30The best Bond song, it's his best song
00:26:32Diamonds Are Forever
00:26:37Diamonds Are Forever
00:26:41I just thought was brilliant
00:26:42On about nine different levels
00:26:43They can stimulate and tease me
00:26:48I always say that luck plays such a major part in a songwriter's career
00:26:53Because Diamonds Are Forever
00:26:55Almost never happens
00:26:56Search me
00:26:58Looking back on Diamonds Are Forever
00:27:03Again, I'm looking at a blank page
00:27:05And I've got John's tune in my head
00:27:08Don wrote the lyric and he said
00:27:10Well, what do we sing about?
00:27:11I said, why don't we
00:27:12Treat
00:27:14A diamond
00:27:17Like it's the male sex organ
00:27:21And so he said
00:27:26Yeah
00:27:27I said, well, just sing about a diamond
00:27:30Like it's a you-know-what
00:27:32And when you read the lyrics
00:27:36Touch it, caress it
00:27:38I mean, you just
00:27:39If you submit that thought
00:27:41You probably enjoy the song again
00:27:43It was a song with a wink
00:27:46And then we had the big day at John's apartment
00:27:49When they had to play it to Harry Saltzman
00:27:52It could be broccoli
00:27:53And Harry Saltzman came over to my apartment
00:27:55In London to listen to it
00:27:56Harry Saltzman, God rest his soul
00:27:58He was a difficult man, let's put it that way
00:28:01And after we played Diamonds Are Forever
00:28:03Harry made it very clear that he hated it
00:28:06Ah, we can't have that card
00:28:08I'm sorry in the movie
00:28:09He had a very colourful vocabulary
00:28:11He said, it's filthy
00:28:13Touch it, stroke it, and undress it
00:28:15You can't put that in a lyric
00:28:16And he said, I don't like the music either
00:28:19And then John's
00:28:19Your sheer bluntness came out
00:28:21I said, Harry
00:28:22You hated Goldfinger
00:28:23You are tone deaf
00:28:25He went as red as the Red Sox
00:28:27He usually wore
00:28:28And he just steamed out of the room
00:28:30My apartment
00:28:31Just went out
00:28:32Slammed the door
00:28:33There was this silence
00:28:36And then Coby said
00:28:38Have you any Jack Daniels?
00:28:42And I said, yeah, yeah
00:28:44So we all hit the Jack Daniels
00:28:47I thought that was the end of it
00:28:49Well, we had a go
00:28:50He hates it
00:28:51He hates John Barry
00:28:52He hates life
00:28:53He hates everything
00:28:54And Coby said
00:28:55I think it's terrific
00:28:56You should go ahead
00:28:57Diamonds are forever
00:29:02Sparkling rum
00:29:06And my little finger
00:29:08And then we played it to Shirley Bassey
00:29:12And she loved it
00:29:14I loved the song
00:29:15Because it was a song for my heart
00:29:18Because I love Diamonds
00:29:19You're great for
00:29:22I don't need love
00:29:28For what good will love do me
00:29:31Shirley Bassey is one of the great storytellers
00:29:35Diamonds are forever
00:29:36They are all I need to please me
00:29:38I mean, straight away
00:29:39You're in a world
00:29:40You're taken there
00:29:41From the first couple of lines
00:29:43My own feeling is
00:29:50You know, that Shirley Bassey
00:29:51Should sing them all
00:29:52The outrageous
00:29:54Mannered
00:29:55Marvelous
00:29:56Provocative
00:29:57Style she has
00:29:58She's everything
00:29:59That Bond should be
00:30:00Shirley Bassey
00:30:01Is Bond
00:30:02And ever
00:30:05Shirley Bassey
00:30:14She was one of the only examples
00:30:16I think I had growing up
00:30:17Of a black British singer
00:30:19That sang with that huge voice
00:30:22Without her
00:30:24I don't think I would have felt like I could do what I do
00:30:27There's something about the music of the 60s
00:30:30That possesses so much feeling
00:30:32If you think of the 60s as a revolution in England
00:30:43It was music-led
00:30:45The Beatles led the rock and roll
00:30:46And John led the movie music
00:30:48John Barry was a major part of the swinging 60s
00:30:54The whole swinging 60s
00:30:55I mean, amazing
00:30:56I was the luckiest guy in the face of the earth
00:31:00Because you couldn't have been on a more successful kick
00:31:02Than the Bond movies
00:31:04John Barry was so much a part of the DNA of these films
00:31:08That Bond sound is clearly him
00:31:11Whether it's the guitar
00:31:12Whether it's the horns
00:31:14Whether it's any of those things
00:31:15They were so evocative of that era
00:31:17Bond wouldn't be Bond without that
00:31:19You know, he probably is the first person
00:31:25That took the sort of big band swing brass
00:31:28And merged that with the orchestra
00:31:31If you had had a traditional orchestrally based score
00:31:42It might have been serious
00:31:44But it wouldn't have had that sort of sassy feel
00:31:47That we got from John Barry
00:31:49Particularly in the way he wrote for brass
00:31:50That is a significant step forward
00:32:03For film scoring in the 1960s
00:32:05The sex that was so there on the screen
00:32:08Was so there in the music
00:32:09This is John Barry and his pomp
00:32:12That makes two of us
00:32:15The muted horn
00:32:17The muted brass is the signature of Bond
00:32:20So it's bold and it's brassy
00:32:23But there's just a little dampener on it
00:32:26You know, it's like a silencer of a gun
00:32:28It's a musical equivalent
00:32:30I love that John Barry grew up in a cinema
00:32:37His father ran a cinema
00:32:39And he also played trumpet
00:32:40So he has an inherent understanding of cinema and music
00:32:44And I think he's just one of those geniuses
00:32:46That has an instinct for it
00:32:48John Barry then ended up emigrating
00:32:50Living in Oyster Bay on Long Island
00:32:52I get the feeling that you could take the lad out of Yorkshire
00:32:55But you couldn't quite take the Yorkshire
00:32:57Out of the lad
00:32:58Or his music
00:32:59And I've always had a slight theory
00:33:01That there's a whiff of the colliery band
00:33:04About John Barry's obsession with brass
00:33:07When you hear a John Barry piece
00:33:12Something that I just absolutely adore in music
00:33:15Is the melancholic side of music
00:33:18The reflective side of music
00:33:20And Barry, you can hear that
00:33:22Right throughout his scores
00:33:25You know, Bond
00:33:26You can't have a Bond for me
00:33:28Without that feeling
00:33:30John Barry created the sound of James Bond
00:33:36And over the next 25 years
00:33:39He was the reigning king of James Bond music
00:33:42He did 11 of them
00:33:44And I think where other composers have taken on that job
00:33:50The biggest success stories have always been
00:33:52People have had an awareness about Bond music
00:33:55And about how wonderful John Barry stuff is
00:33:58When I was younger
00:34:01I used to work in this charity shop
00:34:04And I volunteered there
00:34:05Because they had loads of vinyl
00:34:07And so I first found a John Barry vinyl
00:34:11And it was actually from Russia with Love
00:34:13When I first started writing
00:34:14I would always reference John Barry
00:34:17He invented this style
00:34:23He couldn't help but be incredibly elegant about his music
00:34:27We start off very much with what John had given us
00:34:30And then slowly branch off into our own style
00:34:34But there's always John Barry
00:34:35He is the center of this universe
00:34:37As far as music is concerned
00:34:39With the song
00:34:44The casting is complex in the sense
00:34:47That many people have ideas about who would be suitable
00:34:51I think it's become a really interesting song contest
00:34:57For me I like dramatic edgy pop
00:34:59That's kind of what I look for
00:35:01And that's what we get every time a new Bond film comes out
00:35:04And I think they've made some really interesting choices
00:35:06Over the last 20 years
00:35:07The fight to do a Bond song
00:35:09I think is as big as the fight to be cast as Bond
00:35:12You know, if you're a musician
00:35:13To do a Bond song is like doing Hamlet
00:35:16It's a top achievement
00:35:18I always felt like I'm casting
00:35:22When you're looking at singers
00:35:23You make the choice
00:35:24You make an informed choice
00:35:25About who it is that you're going to get to sing it
00:35:27And you agree that with Barbara Michael and the director
00:35:31And then they let you go away and do it
00:35:33With Skyform
00:35:35We all wanted it to be a British artist
00:35:37There was a lovely synergy about that film
00:35:40The 50th anniversary, 2012
00:35:45UK feeling great about itself for a change
00:35:48The Olympics
00:35:49And it sort of all went into the movie
00:35:52That sense of pride
00:35:53And Adele was very much part of that
00:35:56I think Adele's the perfect singer for it
00:35:58Because she's done her music history
00:36:00She's grown up with the Bassie songs
00:36:02And the way she finishes the lines
00:36:04It's so authentic
00:36:06You know, she's the heir to those people
00:36:09And yet she's also very contemporary
00:36:11And she has her own thing
00:36:12Ours had to be classic
00:36:14The brief was 50th anniversary
00:36:17Maybe, you know
00:36:17It's got to be classic, you know
00:36:20With Poet, just kind of
00:36:22Normally I go in with an idea
00:36:23And you have an idea ready for me as well
00:36:25And we normally just kind of throw them at each other
00:36:27And then something happens
00:36:28Which is certainly what happened with Skyfall
00:36:29I gave her the script
00:36:31She read it
00:36:31She said, oh, I loved it
00:36:32I went in the bath to read it
00:36:33And by the time I got out
00:36:34My bath was cold, she said
00:36:35And then she went quiet
00:36:37And about halfway through the shoot
00:36:38She sent us the song
00:36:39And it was like
00:36:40Well, that's fantastic
00:36:41I don't think we changed a word
00:36:43Or a note
00:36:44When you approach an artist
00:36:47It's because you love what the artist does
00:36:49We were blown away
00:36:51When Bono and The Edge said
00:36:52That they wanted to do it
00:36:53When we heard what they came up with
00:36:57We loved it
00:36:57They told us they didn't want to perform it
00:36:59They thought it should be a female vocalist
00:37:03And who better than Tina Turner
00:37:05I was sitting at my home in Surrey
00:37:11And Bono sent me the worst demo
00:37:15He kind of threw it together
00:37:18As if he thought I wasn't going to do it
00:37:20I think he was hoarse
00:37:21I don't think he really meant
00:37:26For me to sing it
00:37:28And he said to me
00:37:34I cannot let anyone else write the song
00:37:37Because me and my wife spent our honeymoon
00:37:39At Ian Plymouth's place
00:37:40Golden Isle
00:37:41Not lace and leather
00:37:43With a golden isle
00:37:46To the spot
00:37:47And he said
00:37:48It's a little bit rough
00:37:50And I thought
00:37:50Well, how do I put this together?
00:37:54It wasn't showing me what the melody was
00:37:56Forever to see what I
00:37:58He said to me
00:37:59Dear Tina, this is very rough
00:38:00You probably won't get it
00:38:01But in the recording studio
00:38:02We'll get it together
00:38:03And, true enough
00:38:05It came together in the studio
00:38:06I sung it how I would sing it
00:38:17And even Bono was impressed
00:38:19He said
00:38:19I should have known
00:38:20He said
00:38:20I remember sending you that
00:38:22And after I sent it
00:38:23I realised that it was really bad
00:38:25Looking around for people
00:38:34Who could sing the song
00:38:35And the world is not enough
00:38:36Looking at Shirley
00:38:38And her attitude and energy
00:38:40It was like
00:38:41She could be in this film
00:38:43Maybe she should have been in it
00:38:44She was so potent
00:38:51And unflinching
00:38:52It felt like she had the strength
00:38:55To make that lyric
00:38:57A proper event
00:38:58We happened to be in London
00:39:00And David asked
00:39:01If he could come and meet me
00:39:02For a cup of coffee
00:39:03I went into a Starbucks
00:39:04Across the road from our hotel
00:39:06And he said
00:39:08What do you want?
00:39:09And I said
00:39:09I'll have a skinny latte
00:39:12And he brought it to the table
00:39:14And he plopped it down
00:39:15And he sat in front of me
00:39:16And he said
00:39:17Do you want to know
00:39:19Why I've brought you here?
00:39:20And I went
00:39:21Yeah, yeah I do
00:39:22And he went
00:39:23Do you want to sing
00:39:24The next Bon theme?
00:39:29She screamed in a way
00:39:31That I'd never heard
00:39:31Anyone scream before
00:39:32I think she wanted to do
00:39:34One of those all her life as well
00:39:36I mean I don't think
00:39:38I literally screamed like
00:39:39But I was freaking out
00:39:42For any vocalist
00:39:45To be asked to do that
00:39:46Is a huge deal
00:39:47I couldn't really take it in
00:39:49Very well
00:39:50But of course I said yes
00:39:51I had the wherewithal
00:39:53To say yes
00:39:53I would like to do that
00:39:54Thank you
00:39:55With No Time To Die
00:39:58It seemed right
00:40:00That we have a song
00:40:01Which was from
00:40:02The female point of view
00:40:04And I went to see
00:40:06Billy and Phineas
00:40:07When they were performing
00:40:08She came to one of our shows
00:40:19Which was the perfect one
00:40:21For her to come to
00:40:21Because it was like
00:40:22The best one I was so
00:40:23I was so excited
00:40:24That she saw a good show
00:40:24They were saying you know
00:40:25We'd love to hear
00:40:26What you come up with
00:40:27But if we wrote
00:40:27Something terrible
00:40:28It would have been crazy
00:40:29If they were just like
00:40:30You got the job
00:40:30We haven't heard it
00:40:31But you got the job
00:40:32Totally
00:40:32It was an audition
00:40:33And it should have been that way
00:40:35The worst feeling would have been
00:40:36If they don't choose it
00:40:38You think I could have done
00:40:39A better job
00:40:39And I think at least in our case
00:40:41I was like
00:40:42We did the best we could
00:40:43I love this song
00:40:43And if they don't choose it
00:40:45That's okay
00:40:45But this is the best we could do
00:40:47It was awesome
00:40:49And then we didn't hear anything
00:40:50For like two months
00:40:51We didn't hear anything
00:40:53For two months
00:40:54And then they were like
00:40:54Fly to London
00:40:55See the movie
00:40:56And work with Hans
00:40:57Which was awesome
00:40:58So cool
00:40:59But it was pretty crazy
00:41:00So badass
00:41:00Crazy to not hear anything
00:41:02And then be like
00:41:02Get on a plane
00:41:03I'm happy when
00:41:04And we get talent
00:41:05And the talent's good
00:41:07And it has fortunately
00:41:09Been incredible
00:41:10While I've been doing it
00:41:12I want the best song
00:41:13And the best score
00:41:14That we can get
00:41:15I feel very lucky
00:41:16To work with the talent
00:41:17That we had
00:41:18When you take part
00:41:20In Bond music
00:41:21You're very aware
00:41:22Of the history
00:41:23Of what you're getting into
00:41:25You are in charge
00:41:27Of the battle
00:41:27But just for a little while
00:41:29And then you're handing it on
00:41:30To the next leg
00:41:31I think that the most
00:41:44Successful Bond scores
00:41:46Are those that seamlessly
00:41:49Combine elements
00:41:50Of the Bond theme
00:41:52And then whatever new music
00:41:53The new story requires
00:41:55The number of instances
00:42:07Of the Bond theme
00:42:09Being revisited
00:42:11Through the years
00:42:11Is just extraordinary
00:42:13It's absolutely unique
00:42:15In the history of film music
00:42:17Well hi there
00:42:18When you hear
00:42:25George Martin's arrangement
00:42:26It's a much harder
00:42:27Edged rock version
00:42:28Than we'd heard before
00:42:30When Marvin Hamlisch does it
00:42:36He brings the sound
00:42:37Of disco and Studio 54
00:42:39Into the world of Bond
00:42:40And when David Arnold
00:42:51Updates the theme
00:42:52He throws a little
00:42:53Techno into the mix
00:42:54Making Bond
00:42:55Not only orchestral
00:42:57But also electronic
00:42:58Classic sound
00:43:06Modern approach
00:43:08And of course
00:43:08In No Time to Die
00:43:09The James Bond theme
00:43:11Is brilliantly deconstructed
00:43:13So that there are elements
00:43:14Of it throughout the film
00:43:16Done by somebody
00:43:17Who has more experience
00:43:18With action pictures
00:43:19Than anybody
00:43:20And that's Hans Zimmer
00:43:21It might be nice to you
00:43:22But to us
00:43:23It's making a living
00:43:24Hans Zimmer
00:43:26One of the things
00:43:27He was very keen to do
00:43:28Was to bring in
00:43:29A lot of the old theme
00:43:30He was like
00:43:31It's good stuff
00:43:31We're going to use it
00:43:32But then he adds
00:43:33Hans Zimmer to it
00:43:35Zimmer comes to this new project
00:44:00Well versed
00:44:02In the history
00:44:03Of Bond music
00:44:04I don't think
00:44:05I've ever heard
00:44:06The Bond theme
00:44:07Used in such clever
00:44:08And creative ways
00:44:10In any Bond film to date
00:44:11What people want
00:44:16Is that sense of familiarity
00:44:18But turned
00:44:19It catches the light
00:44:20In a slightly different way
00:44:21It occurred to both of us
00:44:24I think
00:44:25That the
00:44:25Da da da da da
00:44:26Was just
00:44:27You couldn't put that
00:44:29Into Skyfall
00:44:30It was just too outgoing
00:44:31So the issue is
00:44:32Well how do you
00:44:33How do you acknowledge Bond
00:44:35Without the meter
00:44:35Going to 11
00:44:36I think you lost your nerve
00:44:38What do you expect
00:44:39A bloody apology
00:44:40You know the rules of the game
00:44:42You've been playing it long enough
00:44:43Tom was looking
00:44:46All the time
00:44:47For ways to weave
00:44:47The Bond theme in
00:44:48A good example of that
00:44:49Is right at the beginning
00:44:50Of Skyfall
00:44:51Daniel's out of focus
00:44:52Figure appears
00:44:53At the end of the corridor
00:44:54There's that brass staff
00:44:55And you're like
00:44:58I'm in
00:44:59He's back
00:45:00You know
00:45:00James Bond is back
00:45:01And that's what's great
00:45:04About the whole idea
00:45:04There are those moments
00:45:05That the fans
00:45:06Do love
00:45:07And you just know
00:45:08They're going to love it
00:45:08Because they're just plain fun
00:45:09We've been trained
00:45:12For 60 years
00:45:13To recognize
00:45:15What the music
00:45:16Is doing with the Bond films
00:45:17In a way that
00:45:18Is not the case
00:45:19With any other
00:45:20Long running franchise
00:45:22In Casino Royale
00:45:28The conception
00:45:29Is to save the Bond theme
00:45:31For the very end
00:45:32Of the movie
00:45:33The whole point
00:45:35Of Casino Royale
00:45:36Was about this man
00:45:37Who becomes
00:45:38The James Bond
00:45:39We all have come to know
00:45:40And hopefully love
00:45:41So it was very important
00:45:44To us that
00:45:45He earned that theme
00:45:46The studio were
00:45:48Very concerned about it
00:45:49Obviously
00:45:49The thing that
00:45:50I think maybe worried
00:45:51Them slightly
00:45:52Was why are we
00:45:54Watching a James Bond film
00:45:55And not hearing
00:45:56The James Bond theme
00:45:57And they thought
00:45:58That was an intellectual
00:45:59Step too far
00:46:00For an audience
00:46:01That they wouldn't
00:46:01Understand why that was
00:46:02Number one
00:46:03You have a brand new Bond
00:46:05Nobody's seen
00:46:05Daniel Craig do this before
00:46:07So the thought was
00:46:08Maybe we need
00:46:09The Bond theme
00:46:10To remind us
00:46:11Of who he is
00:46:12My sort of counterpoint
00:46:15Was we can't
00:46:17Be ahead of where
00:46:18James Bond is
00:46:19In the film
00:46:20What would be more
00:46:22Interesting
00:46:22Would be teasing
00:46:24Those elements
00:46:25Throughout the film
00:46:26When he puts on
00:46:28The tuxedo
00:46:29For the first time
00:46:30In the bathroom
00:46:30And he sees himself
00:46:36And he considers himself
00:46:37In the reflection
00:46:38And in that shot
00:46:40You're thinking about
00:46:4220 other movies
00:46:43You're thinking about
00:46:44All the other times
00:46:45You've seen Bond
00:46:45In a tuxedo
00:46:46And we're looking at him
00:46:50Going like
00:46:50He's getting closer
00:46:51He's getting closer
00:46:52And then at the end
00:46:53First time he says
00:46:54The line
00:46:55Because there's been
00:46:55An opportunity for him
00:46:56To say the line
00:46:57The name's Bond
00:46:57James Bond
00:46:58James Bond
00:47:00You'll find the reservation
00:47:01Under beach
00:47:02Same with like
00:47:03Ordering the drink
00:47:04Boca martini
00:47:05Shaken or stirred
00:47:06Do I look like
00:47:07I give a damn
00:47:07So we are done
00:47:09With convention
00:47:09In this film
00:47:10And then right at the end
00:47:12When Mr. White says
00:47:12Like who are you
00:47:13And he says
00:47:14The name's Bond
00:47:15James Bond
00:47:15We've been waiting
00:47:17Two hours for that
00:47:18So when Mr. White
00:47:21Gets out of his car
00:47:22I'm not really playing
00:47:24What's happening
00:47:25To Mr. White
00:47:26It's like
00:47:27We're on the audience's
00:47:28Side now
00:47:29Waiting for this to happen
00:47:31Hello
00:47:31Mr. White
00:47:32We need to talk
00:47:34Who is this?
00:47:38He gets shot in the knee
00:47:39As he's coming up the steps
00:47:44There's even a tambourine in it
00:47:46That famous rhythm
00:47:47For the Bond thing
00:47:48And then the trombones start
00:47:51And then you see Bond
00:47:55On the
00:47:55You know
00:47:56Just his feet
00:47:56On the steps
00:47:57As he crawls up towards him
00:47:58So you know
00:47:59You're kind of
00:48:00Careering towards this moment
00:48:02And we need
00:48:03Access to it
00:48:04We need permission
00:48:05The name's Bond
00:48:08James Bond
00:48:10I mean I've seen that
00:48:19Three or four times
00:48:20In a cinema
00:48:21And everyone went nuts
00:48:23I didn't even write it
00:48:36You know
00:48:36It's like
00:48:37All I did was position it
00:48:38In such a way
00:48:39That enabled that to happen
00:48:40The recording of
00:48:42The James Bond theme
00:48:43At the end of Casino RL
00:48:44Was the most exciting
00:48:45Recording experience
00:48:46I had in any film
00:48:47That I'd done
00:48:48The band were waiting
00:48:49For that moment
00:48:50And this thing just
00:48:52Exploded out of the speakers
00:48:53He's back
00:48:55And the music's back
00:48:56And the theme is back
00:48:58We used the David Arnold
00:49:10Arrangement and recording
00:49:11At the end of Skyfall
00:49:13And there was a moment
00:49:14Where I thought
00:49:15Well should I be writing
00:49:16Something else
00:49:16Should there be
00:49:17A different arrangement
00:49:17But it barked so well
00:49:19It was so
00:49:20It was just a great performance
00:49:22So I was either
00:49:23Going to be chasing it
00:49:24And trying to make it as good
00:49:25In which case
00:49:25Why bother
00:49:26Or doing something different
00:49:27For the sake of doing
00:49:28Something different
00:49:29And you could argue
00:49:30Why bother
00:49:31After Arnold had created
00:49:38That version of the Bond theme
00:49:40It wound up being used
00:49:41Again and again
00:49:42Because to cop a phrase
00:49:43Nobody does it better
00:49:44That'd be great that one
00:49:51Thank you guys
00:49:52If you look at the entire
00:49:59History of Bond music
00:50:00There are so many
00:50:01Fascinating tales
00:50:02Of incidents that happened
00:50:04During recording sessions
00:50:05It's such a big opportunity
00:50:07Doing the Bond theme
00:50:08There is definitely
00:50:09A spirituality to how
00:50:11These things happened
00:50:12In the studio
00:50:12One story is that
00:50:15Nancy Sinatra came to London
00:50:16To record
00:50:17You Only Live Twice
00:50:18I was really scared
00:50:20Going there
00:50:21Because I knew
00:50:22This was nitty gritty
00:50:24Hardcore singing
00:50:26There was literally
00:50:2720, 25 photographers
00:50:30Impressed people
00:50:30In the studio
00:50:31Which is an impossible
00:50:32Way to record
00:50:33If John Barry hadn't been there
00:50:35I would have just
00:50:36Turned around
00:50:37I think and run back
00:50:38To the hotel
00:50:39Because I was so scared
00:50:40I think I tried to squeak out
00:50:42Two or three takes
00:50:44I was a wreck
00:50:45Ultimately they had to
00:50:47Piece the recording together
00:50:48From as many as
00:50:4925 different takes
00:50:51And you know in some ways
00:50:53Thunderball is my favorite story
00:50:55Because Tom Jones comes in
00:50:57Has to hit this huge note
00:50:59At the end
00:51:00And hold it forever
00:51:01John Barry said to me
00:51:03Now the last note
00:51:03The music's gonna go on
00:51:05For a long time
00:51:05But hold it as long as you can
00:51:07And okay here we go
00:51:08Live
00:51:09As soon as I hit ball
00:51:11I close my eyes
00:51:12Because I can't hold it any longer
00:51:13The room was spinning
00:51:14I had to hold on
00:51:16To the sides of the booth
00:51:17To stop myself falling over
00:51:18John said that's it
00:51:20We got it
00:51:20He did it in one take
00:51:22Because he couldn't sing that again
00:51:23It's become part of
00:51:25Bond's mythology
00:51:26With writings on the wall
00:51:29Me and Jimmy wrote the song
00:51:30In about 20 minutes
00:51:31And then recorded it
00:51:3220 minutes later
00:51:33And that was it
00:51:34We're in the studio
00:51:35And we were actually
00:51:36Rerecording a vocal
00:51:37To my song Lay Me Down
00:51:38Jimmy just played some chords
00:51:41And it just flowed
00:51:42After we'd finished writing
00:51:45We literally went
00:51:46Next door to
00:51:47Rack Studio One
00:51:48And recorded it
00:51:50And that was the take
00:51:51The vocal is the demo vocal
00:51:55The first vocal I ever did
00:51:57For the song
00:51:57You can hear the piano in the back
00:52:00We're playing just live in the room
00:52:03It was very special
00:52:06That it was the first take
00:52:08You know
00:52:09It's all just in that moment
00:52:11When I heard that all come together
00:52:28It was a really magical day
00:52:30It's such a big deal
00:52:31Bond's song
00:52:32It's the dream gig to get
00:52:34If you think about it historically
00:52:43It must be the series
00:52:45That has stayed relevant
00:52:47And timeless for the longest
00:52:48And at the same time
00:52:57It's managed to do that
00:52:58By not actually staying timeless
00:53:00By embracing wherever we were
00:53:02At whatever point in time we were
00:53:04It's a snapshot
00:53:05The coolest thing about the Bond franchise
00:53:08To me is that it's set in present day
00:53:09So it's just got to reflect the world
00:53:12That we live in
00:53:13If you just went theme song by theme song
00:53:15Chronologically
00:53:16Throughout the Bond history
00:53:18You also get a sense of human pop culture
00:53:21At the time
00:53:21Once you switch from Sean Connery
00:53:25And the big John Barry classics
00:53:26Then you've got the Roger Moore era
00:53:28Which required different themes
00:53:30And the music of the Roger Moore era
00:53:32Signals a little step shift
00:53:34We got into the songwriter performers
00:53:38You know like Paul McCartney
00:53:39Who would compose the song
00:53:41And sing it themselves
00:53:42And of course they would do it
00:53:44In their style
00:53:45When you were young
00:53:48And your heart
00:53:50Was an open book
00:53:52Broccoli and Saltzman
00:53:55Had put around
00:53:57That they wanted a good theme tune
00:53:59One of the team
00:54:00Asked Paul McCartney
00:54:02If he would write a song
00:54:04I said okay
00:54:05Send me the book around
00:54:06They didn't have a script then
00:54:08I don't think
00:54:08So he sent me this
00:54:09Ian Fleming book
00:54:10And I read it
00:54:11Thought it was pretty good
00:54:12And that afternoon
00:54:13I wrote the song
00:54:14It was co-produced
00:54:16With George Martin
00:54:17And I worked with George
00:54:19Which I hadn't done
00:54:19Since the Beatles
00:54:20George took an acetate
00:54:22Of it out to
00:54:24I think it was the Bahamas
00:54:25Where they were filming it
00:54:26And he took it to
00:54:26Harry Saltzman
00:54:27And I thought
00:54:28Well he's going to
00:54:29Sort of look me over
00:54:29And at the end of this
00:54:31He said by the way
00:54:32Who do you think
00:54:34We should get to sing the song
00:54:35I said
00:54:38Well
00:54:38You do have Paul McCartney
00:54:40Yeah
00:54:41Yeah
00:54:42What do you think
00:54:43Think of Thelma Houston
00:54:44I said
00:54:44Well I think she's great
00:54:45But Paul
00:54:47How about Aretha Franklin
00:54:50I said
00:54:50Fantastic
00:54:51But Paul
00:54:53And I suddenly realised
00:54:54That I had to put it to him
00:54:56As delicately as I could
00:54:57That if he didn't take Paul
00:54:59He wouldn't get the song
00:55:01George kind of looked at me
00:55:02And said
00:55:02This is the real track lads
00:55:04Hope you like it
00:55:05It was rock and roll
00:55:17You hadn't had a Bond song
00:55:19That sounded like that
00:55:20That was what blew me off my seat
00:55:27Oh I remember
00:55:30Dad playing
00:55:31The Paul McCartney song
00:55:33He had big speakers
00:55:34In the living room
00:55:35My sister and I
00:55:36Just going crazy
00:55:38Going absolutely crazy
00:55:40It's a little bit of everything
00:55:42There's a kind of
00:55:42Strange reggae interlude
00:55:44It's not my favourite part
00:55:45Of the song
00:55:46I have to confess
00:55:46But nevertheless
00:55:47It's there
00:55:48What's it going on
00:55:52And man's like
00:55:52No
00:55:53Paul what are you thinking
00:55:54It shouldn't make sense
00:55:56But it does
00:55:57And it remains
00:55:59One of the great Bond themes
00:56:00Don't you agree
00:56:18Live and let die there
00:56:23Which got to number nine
00:56:24In the summer of 1973
00:56:25With James Bond's changing
00:56:28You get a change in the music
00:56:29Things that bring him along
00:56:34Every time into a new era
00:56:36Once again John Barry's not available
00:56:39For The Spy Who Loved Me
00:56:40So what do they do
00:56:41They get the hottest young composer
00:56:44Then working in America
00:56:46Marvin Hamlet
00:56:48Just got back from London
00:56:52Walking home
00:56:52Yes
00:56:52Just got back
00:56:53I like it very much
00:56:54I worked on a
00:56:55Wonderful new picture
00:56:56Which is a new
00:56:57James Bond picture
00:56:58Hey
00:56:58I thought that that's
00:57:00For the reason
00:57:00They actually hired me
00:57:01Because there's such a similarity
00:57:02Between myself
00:57:06You know
00:57:06And James Bond
00:57:07And James Bond
00:57:08Yes
00:57:08Marvin Hamlet
00:57:09Was a character
00:57:11He was a performer
00:57:12Composer
00:57:13And he was another
00:57:14Musical genius
00:57:15You know
00:57:16I remember
00:57:17Marvin Hamlet
00:57:18Sitting in our piano
00:57:19We had in the upstairs kitchen
00:57:22Where he banged out
00:57:23Nobody Does It Better
00:57:25And sang it
00:57:26His voice was very different
00:57:29To Carly Simon
00:57:30But boy did you know then
00:57:33That that was an incredible song
00:57:36It's wonderful to hear it that way
00:57:44Before you orchestrate it
00:57:45Before you get in
00:57:46A professional singer
00:57:48You really see the enthusiasm
00:57:50The composer has for it
00:57:51I was thinking about this film
00:58:04Thinking about how
00:58:05Everything is bigger than life
00:58:07On a Bond film
00:58:08Everything is bigger than life
00:58:09So I went just the opposite
00:58:11Is this really what they do
00:58:18Inside the area
00:58:18Yes
00:58:19But not how they do it
00:58:21I suppose he wanted to get away
00:58:28From the John Barry style
00:58:30And make his own style
00:58:31In the film
00:58:31Which I think he succeeded
00:58:33It's very romantic
00:58:34This is where we get to see
00:58:43Bond emotionally stripped bare
00:58:44And it was the song that did that
00:58:46I was working with my lyricist
00:58:50Carol Bear Sager
00:58:52And I said
00:58:52What do you think
00:58:53Could be said about James Bond
00:58:55You know
00:58:55After all these years
00:58:56She came up with the title
00:58:58Which we think is
00:58:59The most modest title of all
00:59:01Called Nobody Does It Better
00:59:02And I guess from there
00:59:03We decided
00:59:04If it was that vain
00:59:05We should have Carly Simon sing it
00:59:06Nobody does it better
00:59:12Makes me feel sad
00:59:18For the rest
00:59:21You're moving with the times
00:59:23Into a pop era
00:59:25I remember hearing like
00:59:26On my aunt's car
00:59:28Nobody does it better
00:59:29And you'd think
00:59:30Wow, that's a James Bond song
00:59:31Such a smart thing to do
00:59:33Because you're drawing in
00:59:34So many more other people
00:59:35I wasn't looking
00:59:40There's something about it
00:59:59Feeling like it's from
01:00:00The woman's perspective
01:00:01That it's both celebratory
01:00:04And also slyly satirical
01:00:06Over the years
01:00:09Nobody does it better
01:00:10It's become synonymous
01:00:11With Bond
01:00:12Even to this day
01:00:14When plugging Bond films
01:00:16You obviously
01:00:16Nobody does it better
01:00:17Two, three, three
01:00:35Take one
01:00:36Well, we were
01:00:38Nearly 20 years
01:00:39Into Bonds
01:00:39And there've been
01:00:40A lot of big hits
01:00:41If you've got
01:00:4260 years of Bond songs
01:00:43Not all
01:00:44However many there are
01:00:45Are going to be
01:00:46Number one standards
01:00:47Where are you
01:00:51When we're
01:00:54I still never know
01:00:55Sometimes why things
01:00:56Just don't come together
01:00:57That song
01:00:59It didn't work
01:01:00Hated it
01:01:00That's why
01:01:01I've never sung it
01:01:02In my act
01:01:03I suppose everybody thinks
01:01:14If only ours was as strong
01:01:16As Goldfinger
01:01:16All Time High
01:01:17Was a nice song
01:01:19Yeah, it's alright
01:01:20You know
01:01:21It's not my favourite part
01:01:23The gentle ones
01:01:24Have never been
01:01:24What I gravitate to
01:01:25But it works
01:01:26In the romantic sense
01:01:28Of it
01:01:28I think they were
01:01:29Lacking edge
01:01:30You know
01:01:30And it all seemed
01:01:31A bit M.O.R.
01:01:32I mean I would have said
01:01:33Anything to get
01:01:34Foot in the door
01:01:35Yeah
01:01:35I rolled up to this party
01:01:39And I saw
01:01:40Cubby Broccoli
01:01:41Across the room
01:01:42And you know
01:01:43I had that
01:01:43You know
01:01:44That confidence
01:01:45Of youth
01:01:46I went over to him
01:01:47And I said
01:01:47You know
01:01:47When are you going to
01:01:48Have a decent theme song
01:01:49Again
01:01:49And he said
01:01:51You want to do it
01:01:52I said
01:01:53Yes
01:01:54Yes
01:01:54It's yours
01:02:00Me
01:02:00Aren't you
01:02:01Bond
01:02:02Simon
01:02:03Le Bond
01:02:04Duran Duran
01:02:13I thought that song
01:02:15Modernized Bond
01:02:16It was hipper
01:02:17Than it was getting to be
01:02:19At that point
01:02:19They were perfect for it
01:02:21Obviously
01:02:22They were like
01:02:22The embodiment of the 80s
01:02:23And that sophistication
01:02:24The suits
01:02:25And everything
01:02:25And it was just like
01:02:27Yeah
01:02:27Of course
01:02:28They were big
01:02:29Big Bond fans
01:02:30I mean
01:02:31John telling you
01:02:32Everything about
01:02:32Every Bond movie
01:02:33Imaginable
01:02:34I was just getting
01:02:35The whole Bond experience
01:02:37I fell in love
01:02:37With the cars
01:02:38The clothes
01:02:38The girls
01:02:39But over time
01:02:40You realized
01:02:41How impactful
01:02:42The music was
01:02:44John Barry
01:02:45Was the guy
01:02:46That gave pathos
01:02:47To Bond
01:02:48I must have written
01:02:49Over a hundred songs
01:02:50With John Barry
01:02:51But I've never written
01:02:52Anything with him
01:02:53In the same room
01:02:54He wasn't very good
01:02:56At collaboration
01:02:56In the traditional sense
01:02:58Yeah I mean
01:03:00John was amazing
01:03:01You know
01:03:01I thought
01:03:02I mean he was
01:03:02A dick
01:03:03But he was
01:03:04An amazing guy
01:03:05Sometimes the collaborations
01:03:12That we had him
01:03:14Get involved with
01:03:15Were challenging
01:03:16For him
01:03:17They just used to
01:03:20I said well how do you guys work
01:03:21I said oh we'll meet you
01:03:23At this rehearsal room
01:03:24At eleven o'clock
01:03:25One morning we went in there
01:03:26And then they used to sit around
01:03:29Play a bit here
01:03:30Play a bit there
01:03:32Throw out ideas
01:03:33It was a totally alien way
01:03:35Of working
01:03:35He was a tricky guy
01:03:37But he knew what he wanted
01:03:38He didn't know how to get it politely
01:03:41But the song was number one
01:03:43So
01:03:43The piece of music we made
01:03:55Was a Duran Duran piece of music
01:03:57You know with that beat
01:03:58There's a lot of energy
01:04:05And Albon theme
01:04:06That is still a bit of a rarity
01:04:08I think I wrote them
01:04:12As long as I could find something
01:04:13Slightly new to do
01:04:15You had to keep within the bounds
01:04:18And I think I exhausted the bounds
01:04:20And that's when I thought
01:04:22I better
01:04:23I better cut out of the situation
01:04:26In 1987
01:04:28Variety did a special issue
01:04:30Commemorating 25 years of James Bond
01:04:32And John Barry took out a full page ad
01:04:35To congratulate his old pal
01:04:37Cubby Broccoli
01:04:38And to say thank you
01:04:40For the opportunity
01:04:41That it had presented
01:04:42And it was kind of a nice way to go out
01:04:44Yeah he always would be
01:04:47The man who created
01:04:48The sound of Bond
01:04:49But I can entirely see
01:04:52Why there came a point
01:04:53Where he just went
01:04:54Not anymore
01:04:55And had an exquisite later career
01:05:00We've all got a list of people
01:05:09We think should have done a Bond song
01:05:11And never did
01:05:12Although never say never
01:05:14Why hasn't Beyonce done one
01:05:16She could have done a fantastic one
01:05:18Prince or I mean Whitney Houston
01:05:20Would have killed it
01:05:21Lana Del Rey
01:05:21She should be the next Bond girl
01:05:23Stormzy
01:05:24I think Laura Mvila
01:05:26Or Rihanna Bond song
01:05:27Rihanna Bond song would be awesome
01:05:29Why didn't Queen ever get a Bond song
01:05:31Rami had to say Queen
01:05:32It's just in his contract
01:05:33He has to promote Queen
01:05:35Almost always
01:05:36I think his contract's up in a year
01:05:37Missed opportunity
01:05:38Perhaps
01:05:39There is a long list of people
01:05:41That have written and recorded songs
01:05:43That for some reason
01:05:44Never found favor
01:05:45Blondie
01:05:46Ace of Bass
01:05:47Alice Cooper
01:05:48Pulp
01:05:49Saint Etienne
01:05:50Radiohead
01:05:51With Spectre
01:05:52We were talking to Radiohead
01:05:54And obviously Sam and Daniel
01:05:56Were huge fans
01:05:57This song is called Spectre
01:05:59Not to be confused
01:06:04With the James Bond film
01:06:06Radiohead came in
01:06:12All five of them actually
01:06:13To talk about it
01:06:14I was slightly starstruck
01:06:16And they did write something
01:06:18Which sadly we couldn't use
01:06:24Because they'd already actually
01:06:25They'd never released it
01:06:26But it had been played
01:06:27I think on a live album
01:06:29And that wasn't the brief
01:06:31I mean it needs to be
01:06:32A completely original song
01:06:33Otherwise for example
01:06:34It's not eligible for Academy Awards
01:06:36But also we felt
01:06:37It deserves to be a song
01:06:38You want to feel like
01:06:39It's written just for the movie
01:06:40So we had to then say
01:06:42Well we can't use this
01:06:43Even though it was great
01:06:44And we went off
01:06:46And explored other possibilities
01:06:47One of whom was Sam
01:06:48Then Tom York said
01:06:51We've written another song
01:06:52Like
01:06:53Oh no
01:06:54Do you know how you told me
01:06:57And he played it
01:06:59And it was absolutely beautiful
01:07:00And very melancholy
01:07:02I loved it
01:07:19I mean I still love it
01:07:20I mean I still play it
01:07:21Because I love Radiohead so much
01:07:22It probably would have worked brilliantly
01:07:25But it was kind of a beat too late
01:07:27By that time
01:07:28We have to do the graphics
01:07:30For the main title
01:07:31And the images have to match the words
01:07:33Even the fact that we had a conversation
01:07:36With Radiohead is for me
01:07:37Like you know
01:07:39It was a dream come true
01:07:40I love that Radiohead song
01:07:59But you know
01:07:59You just get lucky sometimes
01:08:02And then you get unlucky sometimes too
01:08:04It's just
01:08:04It's not a barometer
01:08:05Of whether you're better than anyone else
01:08:07It's just
01:08:08Whether you get that lucky call
01:08:10Please
01:08:11We think about all of these things
01:08:14That might have been
01:08:15And maybe most of all
01:08:17What if Amy Winehouse
01:08:20Had been able to do the song
01:08:21For Quantum of Solace
01:08:22Barbara
01:08:25And Michael and I
01:08:26We all sat down
01:08:27And discussed
01:08:28Different performing artists
01:08:30And we all
01:08:30Thought Amy would be a great choice
01:08:32She had the
01:08:34Smokey Soho
01:08:36British route
01:08:37There was a danger
01:08:38To Amy Winehouse
01:08:39That would have tried
01:08:40Very well with Bond
01:08:41Amy would have done
01:08:42A brilliant one
01:08:43Especially given her influence
01:08:44Across British music
01:08:46Since you know
01:08:46There's definitely influence
01:08:48From her
01:08:48In Adele's
01:08:49Delivery I think
01:08:51We had a meeting
01:08:53And
01:08:55She was extraordinary
01:08:57She was a combination
01:08:58Of effervescence
01:09:01And fragility
01:09:03And
01:09:04We sat at the table
01:09:06She wanted to know
01:09:07The emotional
01:09:08Theme of the film
01:09:10And she asked for
01:09:11A notebook
01:09:12And she was writing
01:09:13During the whole time
01:09:17I was talking
01:09:17Taking notes
01:09:18And Quantum of Solace
01:09:21Was about him
01:09:23Having his heart broken
01:09:24And him realizing
01:09:26That revenge
01:09:27Doesn't fill the void
01:09:28And when she left
01:09:32She left the paper behind
01:09:34And she had just written
01:09:39Blake
01:09:40Blake, Blake, Blake, Blake
01:09:44She clearly wasn't in a place
01:09:51Where she could do her work
01:09:54She was exceptional
01:10:00Exceptional talent
01:10:02And seemed like
01:10:04A really sweet
01:10:05Lovely person
01:10:06I'll never forget it
01:10:08I'll never forget her
01:10:09The loss of Amy Winehouse
01:10:15Leaves a kind of
01:10:16Lingering shadow
01:10:17That the Jack White song
01:10:20Really couldn't escape
01:10:21He's a long time
01:10:25Bond fan
01:10:25So he comes in
01:10:27And does
01:10:28Another Way to Die
01:10:28Which is a duet
01:10:30With Alicia Keys
01:10:31First time
01:10:32That there's a duet
01:10:33In the history
01:10:33Of Bond songs
01:10:35The best thing about it
01:10:36Being the only duet
01:10:37Strictly for pub quizzes
01:10:39In Britain
01:10:39That's its number one appeal
01:10:42It was really roll-kiss
01:10:56That's what I like about it
01:10:57Very much in your face
01:10:58Very bold
01:10:58Something I'd always wanted to do
01:11:07And here we are
01:11:08In a moment
01:11:09Where it might happen
01:11:10And I thought
01:11:10This is also a great time
01:11:11For me to put things
01:11:13In that they would
01:11:14Never have approved of
01:11:15They had a year
01:11:16To think about it
01:11:17The guitar solo alone
01:11:20You would never expect
01:11:21A guitar solo like that
01:11:23To be part of
01:11:24Any major Hollywood production
01:11:25Let alone a James Bond song
01:11:27I'm a huge fan
01:11:33Of both of them
01:11:34I just really appreciated
01:11:35That Bond was daring enough
01:11:37To bring these two people together
01:11:39Whether it was going to work
01:11:41For everybody or not
01:11:42It's great when they choose
01:11:43People who are like
01:11:44I'm going to try to break
01:11:45This a little bit
01:11:46Which is super important
01:11:47Especially with Bond
01:11:48I mean it's the number one
01:11:50Most divisive thing
01:11:51I have ever been a part of
01:11:52I remember telling
01:11:53The engineer in the room
01:11:54There's going to be people
01:11:54That don't like this song
01:11:55I know that
01:11:57But it doesn't matter
01:12:00How good the song is
01:12:01You get so much shit
01:12:03It's funny
01:12:03Because when it happened to us
01:12:05And we got so much pushback
01:12:07I mean it was almost
01:12:08I would say embarrassing
01:12:09It felt embarrassing
01:12:10How awful people were
01:12:11About the song
01:12:12You're joining into this
01:12:15Plethora of a billion fans
01:12:17That a portion of them
01:12:18Cannot be satisfied
01:12:19But the only time I met Prince
01:12:20He said I really like
01:12:21That James Bond song you did
01:12:23And I said wow
01:12:24Really thank you
01:12:25That's incredible
01:12:26And I'm really glad
01:12:26To hear you say that
01:12:27Because there's a lot of people
01:12:28Who dislike it
01:12:29I remember him
01:12:29Exactly the way he said it
01:12:31He goes
01:12:31I thought it was real strong
01:12:32That's the thing
01:12:35Like when you're in there
01:12:36You say it's better
01:12:37To go down in flames
01:12:38Than to try to play it safe
01:12:39I wanted to have it
01:12:40Be dangerous
01:12:41And be strange
01:12:42And live in its own
01:12:43Little world
01:12:43But also be part of the family
01:12:45It's the strange cousin
01:12:46Who came to visit
01:12:47You know
01:12:48Bond is really big
01:12:54On legacy
01:12:55And the films
01:12:56Have got a 60 year history
01:12:57To draw on now
01:12:58Just as the films
01:13:00Nod to the past
01:13:01The music has to acknowledge it too
01:13:03No other film series
01:13:04Has that shorthand
01:13:06Because no other film series
01:13:07Has that history
01:13:08The fun of making a Bond film
01:13:11Is you can't tap into
01:13:12The history of Bond
01:13:13And that's the joyful
01:13:14If it's the cars
01:13:15The sound
01:13:15The songs
01:13:16The score
01:13:16Whatever it is
01:13:17One has to do that
01:13:18Modern composers
01:13:20Modern filmmakers
01:13:21Are very keen
01:13:22To nod back to that
01:13:23And to reference those songs
01:13:25Because Bond is all about
01:13:27The 60 year history
01:13:28Both Hans and I
01:13:30Really wanted to
01:13:31Kind of take it back
01:13:31To what John Barry did
01:13:33No time to die
01:13:34Was very much akin to
01:13:36On her majesty
01:13:37Secret service
01:13:38That was the first Bond
01:13:39That ever tackled
01:13:40His emotional life really
01:13:41And his love life
01:13:43And loss
01:13:43I love you
01:13:44I know I'll never find
01:13:47Another girl like you
01:13:48Will you marry me
01:13:53Honor majesty
01:13:57Secret service
01:13:58Has this wonderful love theme
01:14:00Called we have all the time
01:14:01In the world
01:14:01Which is a line
01:14:03From the end of the movie
01:14:04I said to Kirby Broccoli
01:14:05You know
01:14:05I'm trying to think
01:14:07Who can bring some kind
01:14:08Of irony
01:14:09To that title
01:14:11And I said
01:14:12I think it's
01:14:12Louis Armstrong
01:14:13So Kirby was very
01:14:14Very for it
01:14:15And I was trying to
01:14:22Just come out of hospital
01:14:23They'd been in hospital
01:14:23For about a year
01:14:24And we came to New York
01:14:27And recorded
01:14:28And to finally walk
01:14:30In the studio
01:14:31And you know
01:14:31It was like
01:14:32Oh my god
01:14:33You know
01:14:33He was
01:14:35An absolute dream
01:14:36To work with
01:14:37And you're talking
01:14:37About a musical legend
01:14:39A man who has
01:14:40You know
01:14:40Brought so much to music
01:14:42Here's a tune folks
01:14:44That I happen to sing
01:14:45In the soundtracks
01:14:47Of one of James Bond's pictures
01:14:50That just opened
01:14:51In New York
01:14:52And what almost broke my heart at the end
01:15:20Is when we were all through
01:15:22He thanked me
01:15:23I was very moved
01:15:26And I felt rather stupid
01:15:28But it was such a nice thing
01:15:30Of him to do
01:15:30I get kind of teary eyed
01:15:32When I think about it
01:15:33Because it was the last thing he did
01:15:34Out of all the songs
01:15:36I like that probably with the best
01:15:38It was the least Bondian
01:15:40Of all the songs
01:15:41That we wrote
01:15:41We have all the time in the world
01:15:50Is not just the love theme
01:15:51But it underscores the tragic finale
01:15:54There's no hope you see
01:15:55We have all the time in the world
01:15:57James Bond has just gotten married
01:16:01And his new wife has just been murdered
01:16:03By Blofeld
01:16:04It is a shocking ending to the movie
01:16:07But an emotionally rich one
01:16:09There's gravitas in that song
01:16:12And there's history in that song
01:16:14And there's history to Bond
01:16:16It's timeless
01:16:19With some nostalgia
01:16:21And some heartbreak in it
01:16:23It just seems such an appropriate way
01:16:26Of telling you the history of the franchise
01:16:29And where it's going
01:16:30Can you go faster?
01:16:34We don't need to go faster
01:16:35We have all the time in the world
01:16:39Daniel Craig says the line
01:16:50And then we are immediately catapulted back
01:16:53Into another era of Bond
01:16:55Louis Armstrong
01:16:56He recorded that
01:16:57And he was very close to death himself
01:16:59And therefore the music
01:17:00Has a lot of emotion attached to it
01:17:02That's gold dust for any composer
01:17:04To twist it and turn it
01:17:06And to sort of incorporate it
01:17:07Into the soundtrack
01:17:08We hear we have all the time in the world
01:17:11Which is a kind of frightening premonition
01:17:13That things may not work out as we hope
01:17:16I wanted it from the very beginning
01:17:18That song
01:17:19Knowing where we were headed with the script
01:17:21It felt so right for this
01:17:23To end everything
01:17:24It does have hope, that song
01:17:26As sad as it is
01:17:28It has hope in it
01:17:29It's so important
01:17:33To keep Bond fresh
01:17:35To keep Bond current
01:17:36But also to keep referring
01:17:38To the old Bond themes
01:17:40And so in No Time to Die
01:17:42You have the Billie Eilish theme
01:17:44Which becomes the love theme of the movie
01:17:46You have the James Bond theme
01:17:50Which is brilliantly deconstructed
01:17:53So that there are elements of it
01:17:54Throughout the film
01:17:56And then you have
01:17:59The overall score itself
01:18:00Done by Hans Zimmer
01:18:01And his co-writer Steve Mazzaro
01:18:03And by the time we reach the end of the movie
01:18:06He combines them into a kind of seamless whole
01:18:08It really, really brings the whole world
01:18:10To Bond together
01:18:11What we've been talking about
01:18:13Is that there's an overall Bond language
01:18:16Which was established by John Barry
01:18:18You always use that as our touchstone
01:18:20But on this film
01:18:22Especially towards the end
01:18:24It gets deep
01:18:25It allows you to leave the John Barry world behind
01:18:35And you do your own thing
01:18:36And start setting up
01:18:38What is happening to this character now
01:18:40And really become his inner voice
01:18:43We've been making music together
01:18:45For a really long time
01:18:47And I can't think of any better occupation
01:18:51Than doing what we do
01:18:53We actually make people quite happy sometimes
01:18:55With this noise we make
01:18:57And you guys make the best noise in the world
01:19:00And you know that
01:19:01You really do
01:19:03And this one's special
01:19:05This one we know is special
01:19:08This is Bond
01:19:09James Bond
01:19:10So cute
01:19:13Working with Hans on the score
01:19:15And trying to figure out how to crack it
01:19:17Trying to go from that
01:19:19Very tricky step of saying
01:19:20Yeah sure that's a great feeling
01:19:21In terms of a stand alone piece of music
01:19:23But then how does that
01:19:24Marry with picture
01:19:25It would come down to sometimes
01:19:27Hans just jumping on his little keyboard
01:19:28And he'd go
01:19:29Well how about this
01:19:30And he would like hammer out something
01:19:31And that's a very unusual thing
01:19:32In a Bond movie
01:19:33Where you get to build an emotion
01:19:35Over however many minutes
01:19:37You know
01:19:38And you're going
01:19:39Hang on a second
01:19:40Is this really going to go where
01:19:41Maybe I think this is going to go
01:19:43I can't be going there
01:19:44You know
01:19:45The music just takes you there
01:19:47It had a profound effect
01:19:49On the end of the film
01:19:50It was a very very tough cue
01:19:53It's leading up to Bond's sacrifice
01:19:57Hans building that score with Steve
01:19:59And everyone
01:20:00It was a master class
01:20:02And it's always amazing
01:20:03To watch a master do his thing
01:20:04I had said something to him on the way out
01:20:06Because I'd given a bunch of notes
01:20:07And you know
01:20:08When you're in post production
01:20:09You're just kind of being shipped around
01:20:10To different departments
01:20:11I was about to leave
01:20:12To go to my next stop essentially
01:20:13And I said
01:20:14You know
01:20:14I just feel like
01:20:15There's something about this
01:20:17That needs to sound like a requiem
01:20:18And I was like
01:20:19He's like
01:20:19Okay
01:20:20And I was like
01:20:21Starting to hit the door
01:20:21And I like
01:20:22Basically had my hand
01:20:23On the handle of the door
01:20:24And he's like
01:20:24You mean like this
01:20:25And he just hammers out these chords
01:20:27And I'm like
01:20:28Yes
01:20:30Yes
01:20:30Like that
01:20:31Keep going
01:20:31Wait what was that
01:20:32Keep going
01:20:32As we morph slowly
01:20:36Into nearly a requiem
01:20:39But you know
01:20:40You know
01:20:40You still got the romantics
01:20:42Of chords in there
01:20:43You still have the elegance
01:20:45Of Bond
01:20:45Hidden in there
01:20:47There's a mystery
01:20:48Within a mystery
01:20:48Within a mystery
01:20:49And he just sits sat there
01:20:51And he's just like
01:20:51Played I don't know
01:20:52Like 30, 45 seconds
01:20:53Of something
01:20:54And I'm like
01:20:54What was that
01:20:55He's like
01:20:55I don't know
01:20:56He's like
01:20:56Someone was recording that
01:20:57Right
01:20:57I think everybody knows
01:21:00What that means
01:21:02Right
01:21:03It's really just
01:21:04Three chords
01:21:06But then
01:21:07They let you go
01:21:07Anywhere you want
01:21:08You know
01:21:09If you think about it
01:21:10Somewhere in there
01:21:12Is complete tragedy
01:21:13You know
01:21:14It was important
01:21:14That there's a sort of
01:21:16Finality to the whole thing
01:21:17Bond has that kind of
01:21:19Which is not very emotional
01:21:24But when you turn it on
01:21:25It's head a little bit
01:21:26And kind of
01:21:28Go to that chord
01:21:30It's so much more powerful
01:21:32And so much more emotive
01:21:34You made me do this
01:21:36You see
01:21:37So we incorporated
01:21:40The Bond theme
01:21:41And Billy's song
01:21:42Into the score
01:21:43And then there's a line
01:21:51That we wrote
01:21:52Where it's just this
01:21:53Which appears throughout the film
01:21:58As a basic motif
01:21:59And we've superimposed that
01:22:01Over the Bond theme
01:22:02Which keeps growing
01:22:03And growing
01:22:04And growing
01:22:04Would you put Madeline on please
01:22:06Once Bond gets to the point
01:22:09Where he tells
01:22:10Madeline that he's not
01:22:10Coming back
01:22:11Is when we start
01:22:13To fragment
01:22:14Billy and Phineas' tune
01:22:16Have you left?
01:22:19No
01:22:20Um
01:22:21I'm not gonna make it
01:22:24What?
01:22:30Are you promised
01:22:31Madeline?
01:22:36Just as a little
01:22:39A little taste
01:22:40Hearing the orchestra
01:22:42Play the melodies
01:22:43Of the song
01:22:44Just alone
01:22:45Was astounding
01:22:46I mean just
01:22:47You know
01:22:47In like these beautiful
01:22:50Moments
01:22:51And Phineas were like
01:22:52Oh my god
01:22:53Sitting there
01:22:54It was crazy
01:22:55And so it really all
01:22:57Ties everything together
01:22:58It was really important
01:23:00To us to honor Bond's past
01:23:02And John Barry's style
01:23:03While looking to the future
01:23:04It was just a moment
01:23:06Time
01:23:07If we only had more time
01:23:10You have all the time
01:23:17In the world
01:23:17The whole last section
01:23:20Of this film
01:23:21Without the music
01:23:22It doesn't soar
01:23:23You know
01:23:23That's what the music
01:23:24Brings to this
01:23:25It makes it do
01:23:25It makes it fly
01:23:26That closing scene
01:23:32And the music
01:23:33Really connects with you
01:23:35Emotionally
01:23:36In your gut
01:23:37In your memory
01:23:38And reminds you
01:23:41Of all the Bonds
01:23:42That you've seen before
01:23:43All the many different
01:23:44Iterations of Bonds
01:23:45And the sense of that
01:23:46Coming to an end
01:23:47So I'm getting chills
01:23:48Actually just remembering it
01:23:50Somehow Bond music
01:23:53Became a universe
01:23:54Of its own
01:23:55When you listen
01:23:56To those songs
01:23:57You're reminded
01:23:58Of how groundbreaking
01:23:59It was
01:23:59You struggle to argue
01:24:01With the success
01:24:02That these things
01:24:03Have had around the world
01:24:04Music has this ability
01:24:09To connect to our unconscious
01:24:10And bring on emotions
01:24:12That we are not aware of
01:24:14Or understand
01:24:14But we feel them
01:24:16And that's what John Berry
01:24:18And David Arnold
01:24:19Tom Newman
01:24:20And Hans Zimmer
01:24:21Are masters of
01:24:23When you talk about
01:24:28The music of Bond
01:24:29You're automatically
01:24:30Diving into a history list
01:24:31Bond in his own way
01:24:33Has more to do
01:24:34With our culture
01:24:35Than people will ever
01:24:36Probably admit
01:24:37Because he's been with us
01:24:39For 60 years now
01:24:41And it's truly astonishing
01:24:42The way that you hold me
01:24:59Whenever you hold me
01:25:02There's some kind of magic inside
01:25:06That keeps me from running
01:25:12But just keep it coming
01:25:15How'd you learn to do
01:25:18The things you do
01:25:21Nobody does it better
01:25:28Makes me feel safe
01:25:33For the rest
01:25:36Nobody does it
01:25:41Half as good as you
01:25:45Baby, baby
01:25:48Darling
01:25:49You're the best
01:25:53Baby, you're the best
01:26:00Baby, you're the best
01:26:06Baby, you're the best
01:26:10Baby, you're the best
01:26:10Baby, you're the best
01:26:12Baby, you're the best
01:26:12Baby, you're the best
01:26:13Baby, you're the best
01:26:14Baby, you're the best
01:26:14Baby, you're the best
01:26:15Baby, you're the best
01:26:15Baby, you're the best
01:26:16Baby, you're the best
01:26:16Baby, you're the best
01:26:17Baby, you're the best
01:26:18Baby, you're the best
01:26:18Baby, you're the best
01:26:19Baby, you're the best
01:26:19Baby, you're the best
01:26:20Baby, you're the best
01:26:21Baby, you're the best
01:26:22Baby, you're the best
01:26:23Baby, you're the best
01:26:24Baby, you're the best
01:26:25Baby, you're the best
01:26:26Baby, you're the best
01:26:27Baby, you're the best
01:26:58...
01:27:28...
01:27:30...
01:27:32...
01:27:34...
01:27:36...
01:27:38...
01:27:40...
01:27:42...
01:27:44...
01:27:46...
01:27:48...
01:27:50...
01:27:52...
01:27:54...
01:27:56...
01:27:58...
01:28:04...
01:28:06...
01:28:08...