1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 2 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 3 00:00:16,976 --> 00:00:18,436 (JAMES BOND THEME MUSIC PLAYING) 4 00:00:24,567 --> 00:00:31,282 ♪♪ Fool me once, fool me twice Are you death or paradise? 5 00:00:31,782 --> 00:00:36,871 ♪♪ Now you'll never see me cry 6 00:00:37,955 --> 00:00:41,250 ♪♪ There's just no time to die ♪♪ 7 00:00:43,252 --> 00:00:44,420 (EXHALES) 8 00:00:44,795 --> 00:00:46,297 Hold on. 9 00:00:46,380 --> 00:00:49,550 BILLIE: Since before I even was really aware of Bond, 10 00:00:49,633 --> 00:00:52,386 the music has always been an important part of my life. 11 00:00:52,470 --> 00:00:53,888 -Wanna take a break? -Yeah. 12 00:00:53,971 --> 00:00:56,098 Yeah, come on. Have a listen. 13 00:00:56,182 --> 00:01:00,311 For years, we would pretend to write Bond songs 14 00:01:00,394 --> 00:01:03,606 because it was such a dream of ours. 15 00:01:03,689 --> 00:01:06,901 For me, Bond music is the most iconic thing on the planet. 16 00:01:16,243 --> 00:01:18,329 I first saw a Bond film... 17 00:01:18,412 --> 00:01:20,289 I think I saw a double bill of 18 00:01:20,372 --> 00:01:24,668 From Russia with Love, and Goldfinger, I think it was. 19 00:01:24,752 --> 00:01:29,340 I wasn't old enough to separate the experience of the music at that point. 20 00:01:29,423 --> 00:01:32,635 The first one that I can think of was Diamonds Are Forever. 21 00:01:32,718 --> 00:01:34,970 I was really struck by the music. 22 00:01:35,054 --> 00:01:37,139 I was at a children's birthday party. 23 00:01:37,223 --> 00:01:39,225 They brought out this ratty projector. 24 00:01:39,308 --> 00:01:41,811 God knows why anyone thought it was a good idea 25 00:01:41,894 --> 00:01:45,648 to show You Only Live Twice to an 8-year-old. It took my head off. 26 00:01:45,731 --> 00:01:48,859 You've got these incredible images and this incredible music. 27 00:01:48,943 --> 00:01:51,654 The music got me through my teenage years, my childhood. 28 00:01:57,576 --> 00:02:02,456 I love the films, but more than the individual plots of each movie, 29 00:02:02,540 --> 00:02:06,293 the thing that stayed with me was the music of Bond. 30 00:02:06,377 --> 00:02:09,797 Working on a Bond movie, there are three things you're playing with: 31 00:02:09,880 --> 00:02:13,592 the Bond theme, the score, and then you've got the song. 32 00:02:13,676 --> 00:02:17,429 I think song is the finest of the art forms, for me. 33 00:02:17,513 --> 00:02:20,266 The intimacy of it, that it can be with you anywhere. 34 00:02:20,349 --> 00:02:21,433 I love Bond songs. 35 00:02:21,517 --> 00:02:24,019 It's impossible to choose a favorite Bond song. 36 00:02:24,103 --> 00:02:26,438 On Her Majesty's Secret Service is my favorite. 37 00:02:26,522 --> 00:02:27,815 Carly Simon's is best. 38 00:02:27,898 --> 00:02:29,900 My favorite artist is Chris Cornell. 39 00:02:29,984 --> 00:02:31,443 Live and Let Die. 40 00:02:31,527 --> 00:02:34,613 I'd have to say Skyfall. That song had a huge impact on me. 41 00:02:34,697 --> 00:02:37,074 No Time To Die has a special place in my heart. 42 00:02:37,157 --> 00:02:38,826 We Have All the Time in the World. 43 00:02:38,909 --> 00:02:43,122 It's a very emotional song for me that reminds me of my childhood. 44 00:02:47,459 --> 00:02:49,169 With the Bond songs, 45 00:02:49,253 --> 00:02:53,632 it's a testament to how brilliant they are that they've lasted so long. 46 00:02:53,716 --> 00:02:58,971 The Bond movies have their own sound that still rings out 60 years later, 47 00:02:59,054 --> 00:03:01,432 which is astonishing for any piece of music. 48 00:03:01,515 --> 00:03:03,517 It's something to be really celebrated. 49 00:03:15,696 --> 00:03:17,781 SAM: Everyone goes into every Bond movie 50 00:03:17,865 --> 00:03:21,994 waiting for the most famous piece of music in film history. 51 00:03:22,077 --> 00:03:26,040 The Bond theme has been in our lives for as long as we can remember. 52 00:03:26,123 --> 00:03:28,334 You're in the womb, what do you hear? 53 00:03:28,417 --> 00:03:30,502 The heartbeat and the Bond theme. 54 00:03:30,586 --> 00:03:33,839 DAVID: When Bond does something typically Bond-esque, 55 00:03:33,923 --> 00:03:36,675 there's only one piece of music you can play. 56 00:03:43,849 --> 00:03:47,061 BARBARA: James Bond, the character, doesn't spend a lot of time 57 00:03:47,144 --> 00:03:50,564 talking about what he's doing or how he's feeling, 58 00:03:50,648 --> 00:03:54,068 so the music has always had to kind of give you 59 00:03:54,151 --> 00:03:57,488 a sense of what's going on within Bond. 60 00:03:57,571 --> 00:04:02,326 The adrenaline, the tension, the joy, the anxiety... 61 00:04:04,828 --> 00:04:08,082 You hear the Bond theme, and it gives you that shot in the arm. 62 00:04:08,165 --> 00:04:09,249 (GUNSHOT) 63 00:04:18,342 --> 00:04:19,927 (HARMONIUM PLAYING BOND THEME) 64 00:04:51,417 --> 00:04:54,086 JON: Over the 60 years and 25 films, 65 00:04:54,169 --> 00:04:58,340 the James Bond theme has become an iconic tune 66 00:04:58,424 --> 00:05:01,385 recognizable to the world at large. 67 00:05:01,468 --> 00:05:03,721 You know exactly what that is 68 00:05:03,804 --> 00:05:05,264 within the first few notes, 69 00:05:05,347 --> 00:05:08,350 no matter what the arrangement sounds like. 70 00:05:08,434 --> 00:05:11,979 And yet it has one of the most strange and unlikely origin stories 71 00:05:12,062 --> 00:05:13,105 in movie history. 72 00:05:17,067 --> 00:05:20,487 Anyway, now for our musical spot, this week, we call on Monty Norman. 73 00:05:28,245 --> 00:05:30,956 MONTY: I was a singer, originally, with the big bands. 74 00:05:32,666 --> 00:05:35,169 Used to write the odd song. 75 00:05:35,252 --> 00:05:36,670 And I suddenly realized 76 00:05:36,754 --> 00:05:39,590 there was money to be made in writing stage musicals, 77 00:05:39,673 --> 00:05:41,216 so I gave up singing. 78 00:05:41,300 --> 00:05:43,302 Cubby Broccoli rang me 79 00:05:43,385 --> 00:05:47,890 and asked me to come to his office to meet his new partner, Harry Saltzman. 80 00:05:47,973 --> 00:05:49,850 He said, "We've just acquired 81 00:05:49,933 --> 00:05:51,977 "Ian Fleming's James Bond novels, 82 00:05:52,061 --> 00:05:55,731 "and we're going to turn them into films. Would you like to do the score? 83 00:05:55,814 --> 00:05:59,068 "We're doing all the location work in Jamaica. 84 00:05:59,151 --> 00:06:01,570 "Why don't you come out, absorb the atmosphere? 85 00:06:01,653 --> 00:06:03,864 "Bring your wife. All expenses paid." 86 00:06:03,947 --> 00:06:05,532 I mean, how could I refuse? 87 00:06:06,825 --> 00:06:10,120 (SOCA MUSIC PLAYING) 88 00:06:18,587 --> 00:06:23,342 It was an inspired choice to take this songwriter to Jamaica, 89 00:06:23,425 --> 00:06:27,304 absorb the atmosphere, and incorporate the players 90 00:06:27,387 --> 00:06:30,182 who were actually there in Kingston, Jamaica, at the time. 91 00:06:32,476 --> 00:06:34,686 MONTY: Jamaica was great fun. 92 00:06:34,770 --> 00:06:38,232 Ian Fleming invited us over to his house, GoldenEye, 93 00:06:38,315 --> 00:06:41,068 and he was asking me about the music. 94 00:06:41,151 --> 00:06:44,905 I told him we were just about to go into the location 95 00:06:44,988 --> 00:06:47,574 for Ursula Andress to come out of the water. 96 00:06:47,658 --> 00:06:51,286 Monty wrote this wonderful song, Underneath the Mango Tree, 97 00:06:51,370 --> 00:06:54,915 which Ursula Andress is singing as she emerges from the water 98 00:06:54,998 --> 00:06:56,959 when we first see Honey Ryder. 99 00:06:57,042 --> 00:06:58,961 ♪♪ Make boolooloop 100 00:06:59,044 --> 00:07:03,132 ♪♪ Underneath the mango tree Me honey and me... ♪♪ 101 00:07:03,215 --> 00:07:04,633 Who is that? 102 00:07:04,716 --> 00:07:07,678 That song became a classic moment in movie history. 103 00:07:09,054 --> 00:07:12,224 Right. Up slowly and face the wall. 104 00:07:12,307 --> 00:07:14,685 Monty, of course, was a fine songwriter. 105 00:07:14,768 --> 00:07:17,187 MAN: Hold it. 106 00:07:17,271 --> 00:07:21,525 But where he was not entirely comfortable was in writing dramatic music. 107 00:07:21,608 --> 00:07:23,318 Gently, bud, gently. 108 00:07:23,402 --> 00:07:26,738 He struggled with the idea of a theme for this new character. 109 00:07:26,822 --> 00:07:29,032 And there was some time pressure now. 110 00:07:29,116 --> 00:07:32,536 I suddenly remembered something that I'd written for a musical 111 00:07:32,619 --> 00:07:35,330 about the East Indian community in Trinidad 112 00:07:35,414 --> 00:07:37,708 called A House for Mr. Biswas. 113 00:07:37,791 --> 00:07:39,960 The songs had this Indian sound, 114 00:07:40,043 --> 00:07:44,464 but instead of a sitar, I thought that should be done on a guitar. 115 00:07:44,548 --> 00:07:48,468 It was a song called Bad Sign, Good Sign, and it goes like this... 116 00:07:48,552 --> 00:07:52,848 ♪♪ I was born with this Unlucky sneeze 117 00:07:52,931 --> 00:07:58,812 ♪♪ And what is worse I came into the world The wrong way round... ♪♪ 118 00:07:58,896 --> 00:08:00,606 And so on. 119 00:08:00,689 --> 00:08:03,442 This sounded to me, strangely enough, when you think of it, 120 00:08:03,525 --> 00:08:07,321 like the character of James Bond. 121 00:08:07,404 --> 00:08:08,906 It's an idea, at that. 122 00:08:10,157 --> 00:08:11,950 But the filmmakers themselves 123 00:08:12,034 --> 00:08:14,703 felt they needed something a little bit more dynamic. 124 00:08:14,786 --> 00:08:17,372 That's when the connection with John Barry was made. 125 00:08:20,000 --> 00:08:21,960 Thank you. Very much. 126 00:08:22,044 --> 00:08:26,757 In modern music today, people are always looking for what they call a new noise. 127 00:08:26,840 --> 00:08:30,677 And we have someone who found a very enchanting new sort of noise. 128 00:08:30,761 --> 00:08:32,679 Ladies and gentlemen, the John Barry Seven! 129 00:08:32,763 --> 00:08:34,681 (AUDIENCE CHEERING) 130 00:08:40,771 --> 00:08:44,816 JON: In 1962, he'd already had a number of hits on his own, 131 00:08:44,900 --> 00:08:48,153 and he was already a somewhat experienced film composer. 132 00:08:51,198 --> 00:08:53,825 JOHN: I received a phone call on a Saturday morning 133 00:08:53,909 --> 00:08:57,120 from the head of music at United Artists. 134 00:08:57,204 --> 00:09:00,791 And he said that these two guys, two weird guys... 135 00:09:00,874 --> 00:09:03,961 I always remember him saying, called Saltzman and Broccoli, 136 00:09:04,044 --> 00:09:07,881 they've got a score for the movie and they're very dissatisfied. 137 00:09:07,965 --> 00:09:11,093 By tomorrow, they need at least a main title. 138 00:09:11,176 --> 00:09:12,636 I said, "Oh, my God." 139 00:09:12,719 --> 00:09:15,055 But movies was the thing I wanted to do, 140 00:09:15,138 --> 00:09:17,975 so I went in and had a meeting with Monty Norman, 141 00:09:18,058 --> 00:09:21,061 and he played me some stuff, and I just said, 142 00:09:21,144 --> 00:09:23,897 "If I've got to do this thing in this amount of time, 143 00:09:23,981 --> 00:09:25,983 "I have to go with my instincts." 144 00:09:26,066 --> 00:09:29,861 His reply, which I will always remember, was, "I am not proud." 145 00:09:29,945 --> 00:09:31,154 He certainly wasn't. 146 00:09:31,238 --> 00:09:34,157 So I just went home and worked. 147 00:09:34,241 --> 00:09:36,785 And then we went in the studio, recorded it. 148 00:09:36,868 --> 00:09:41,206 Some recordings you just know there was some kind of magic that day. 149 00:09:41,290 --> 00:09:46,253 So, John Barry took Monty Norman's theme, and he created a radical arrangement 150 00:09:46,336 --> 00:09:49,256 into something that was dynamic and exciting, 151 00:09:49,339 --> 00:09:50,674 even a little sexy, 152 00:09:50,757 --> 00:09:53,927 that had elements of jazz, pop and rock in them. 153 00:09:57,514 --> 00:10:00,392 I was at the premiere, and when Sean says... 154 00:10:00,475 --> 00:10:01,518 Bond. 155 00:10:01,601 --> 00:10:02,769 And the music begins... 156 00:10:02,853 --> 00:10:03,854 James Bond. 157 00:10:03,937 --> 00:10:05,480 ...the reaction was amazing. 158 00:10:12,321 --> 00:10:14,489 There was no way anybody could tell 159 00:10:14,573 --> 00:10:19,828 that that would become one of the most famous melodies in cinema. 160 00:10:19,911 --> 00:10:22,581 And the rest, as they say, is history. 161 00:10:22,664 --> 00:10:26,043 BARBARA: Monty Norman's theme in John's hands 162 00:10:26,126 --> 00:10:29,296 became the most recognizable in the world 163 00:10:29,379 --> 00:10:31,131 and has been for 60 years. 164 00:10:37,304 --> 00:10:39,806 JASON: Bond songs are sort of chemistry experiments. 165 00:10:39,890 --> 00:10:42,559 You don't quite know what they are until you hear it, 166 00:10:42,642 --> 00:10:45,312 and you say, "Yes, that's it." 167 00:10:45,395 --> 00:10:49,566 ♪♪ He always runs While others walk ♪♪ 168 00:10:54,279 --> 00:10:57,157 It's an extraordinary task to write one of those. 169 00:10:57,240 --> 00:10:59,451 There's sex, there's death, 170 00:10:59,534 --> 00:11:02,245 there's duty, there's sacrifice, 171 00:11:02,329 --> 00:11:04,539 there's a kiss, there's a murder. 172 00:11:06,666 --> 00:11:07,501 (GASPS) 173 00:11:14,174 --> 00:11:16,635 And that's all got to be in a 3.5-minute pop song 174 00:11:16,718 --> 00:11:19,471 that intones the name of the film. 175 00:11:19,554 --> 00:11:22,474 If any of those ingredients is missing, it's not a Bond song. 176 00:11:31,066 --> 00:11:36,279 SHEENA: I think what made the whole Bond franchise different to begin with 177 00:11:36,363 --> 00:11:40,450 was adding that element of that amazing theme song. 178 00:11:40,534 --> 00:11:44,413 When a new Bond film was coming out, you got excited wondering, 179 00:11:44,496 --> 00:11:47,833 "What's the song gonna be, who's singing it?" 180 00:11:47,916 --> 00:11:50,001 DON: The song, it should be provocative, 181 00:11:50,085 --> 00:11:52,587 a kind of guilty pleasure for the audience. 182 00:11:52,671 --> 00:11:56,466 "I shouldn't be here, but I am, and I'm gonna wallow in it." 183 00:11:57,300 --> 00:11:59,553 Lure of the forbidden. 184 00:11:59,636 --> 00:12:02,889 HANS: There's a seductive quality in all the songs. 185 00:12:02,973 --> 00:12:06,810 They're like a perfume in the air, and they promise you things. 186 00:12:06,893 --> 00:12:10,480 They promise you inevitably that your heart will be broken. 187 00:12:10,564 --> 00:12:14,151 And you can't wait for them to break your heart. 188 00:12:14,234 --> 00:12:16,820 MARYAM: It sort of plunges you into the Bond world. 189 00:12:16,903 --> 00:12:21,950 The mystery, the intrigue, the adventure, the sensuality... 190 00:12:22,033 --> 00:12:26,288 It's haunting because Bond is a loner at the end of the day, 191 00:12:26,371 --> 00:12:28,623 and he always ends up on his own. 192 00:12:28,707 --> 00:12:33,753 It gives you an absolute open doorway to the story 193 00:12:33,837 --> 00:12:38,383 and you have to incorporate the story into the song, 194 00:12:38,467 --> 00:12:39,843 so that they are married. 195 00:12:39,926 --> 00:12:42,512 A really good title song will do that. 196 00:12:42,596 --> 00:12:46,766 The songs have an emotional backbone for the film. 197 00:12:46,850 --> 00:12:49,519 They'll be involved and tethered into the score, 198 00:12:49,603 --> 00:12:51,980 as it is with Billie Eilish and No Time to Die. 199 00:12:52,063 --> 00:12:56,776 It had to be an ode to the music from Bond. 200 00:12:56,860 --> 00:12:59,321 It couldn't be either/or, 201 00:12:59,404 --> 00:13:02,449 it had to be a perfect mix to feel like Bond, 202 00:13:02,532 --> 00:13:04,409 and also had to feel like me. 203 00:13:04,493 --> 00:13:06,953 DAVID: The DNA of a Bond song is timeless. 204 00:13:07,037 --> 00:13:10,332 There's plenty of incidences of how broad that church is. 205 00:13:10,415 --> 00:13:12,626 If you look at Madonna's Die Another Day, 206 00:13:12,709 --> 00:13:15,462 Nobody Does It Better, Live and Let Die, 207 00:13:15,545 --> 00:13:18,507 they're completely different, yet they're all Bond songs. 208 00:13:18,590 --> 00:13:20,425 But for me, 209 00:13:20,509 --> 00:13:24,429 the blueprint of the Bond song was John Barry and Shirley Bassey. 210 00:13:24,513 --> 00:13:26,640 And that was really with Goldfinger. 211 00:13:26,723 --> 00:13:29,267 Dr. No obviously had the James Bond theme. 212 00:13:29,351 --> 00:13:31,311 Russia with Love had an amazing song, 213 00:13:31,394 --> 00:13:34,105 but it wasn't until the end of the movie. 214 00:13:34,189 --> 00:13:37,609 John got to do the score but not the song for From Russia With Love. 215 00:13:37,692 --> 00:13:39,444 It was when he came to Goldfinger, 216 00:13:39,528 --> 00:13:42,322 having done a great job with the two previous films, 217 00:13:42,405 --> 00:13:46,409 that Harry and Cubby said he could write both the song and the score. 218 00:13:46,493 --> 00:13:48,912 JOHN: Goldfinger was the name of the villain, 219 00:13:48,995 --> 00:13:51,998 so it was a weird thing to have to write a song about. 220 00:13:52,082 --> 00:13:56,169 So, I sat down and wrote this rather strange melody, 221 00:13:56,253 --> 00:13:58,380 just based on the word "Goldfinger." 222 00:14:01,091 --> 00:14:05,178 JON: And so, he's working on the tune at his London flat, 223 00:14:05,262 --> 00:14:07,430 and Barry was great friends, 224 00:14:07,514 --> 00:14:12,227 and very often, lunchtime mates, with Terence Stamp and Michael Caine. 225 00:14:12,310 --> 00:14:16,231 John and I became very, very close friends. 226 00:14:16,314 --> 00:14:20,443 He's one of my closest and oldest friends, and a marvelous guy. 227 00:14:20,527 --> 00:14:23,154 Stamp and Caine had been roommates. 228 00:14:23,238 --> 00:14:25,198 And there was some to-do 229 00:14:25,282 --> 00:14:28,410 whereby, apparently, there was a little too much female traffic 230 00:14:28,493 --> 00:14:31,788 going in and out of his flat, and Caine was tossed out. 231 00:14:31,871 --> 00:14:33,290 CAINE: I came to a situation 232 00:14:33,373 --> 00:14:36,293 where I didn't have anywhere to sleep for two weeks, 233 00:14:36,376 --> 00:14:38,628 so John said, "Come and stay with me." 234 00:14:38,712 --> 00:14:40,380 I said, "Great. Thank you, John." 235 00:14:40,463 --> 00:14:41,673 He had a lovely flat. 236 00:14:42,841 --> 00:14:44,092 And I went to sleep. 237 00:14:45,260 --> 00:14:46,511 (SNORING) 238 00:14:50,640 --> 00:14:53,977 And I was woken up about an hour later by the piano. 239 00:14:56,688 --> 00:14:58,023 John was composing. 240 00:15:00,483 --> 00:15:02,736 All night long, he was on the piano. 241 00:15:04,821 --> 00:15:06,406 My first night, I thought, 242 00:15:06,489 --> 00:15:09,492 "I'm here for two weeks. I'll never get any sleep. 243 00:15:12,162 --> 00:15:14,372 "He's gonna be on the piano every night." 244 00:15:14,456 --> 00:15:15,957 (ALARM RINGING) 245 00:15:17,667 --> 00:15:20,462 In the morning, I got up, I went down for breakfast, 246 00:15:20,545 --> 00:15:22,964 and he was still on the piano. 247 00:15:23,048 --> 00:15:25,342 I went into the room, said, "Do you want tea?" 248 00:15:25,425 --> 00:15:27,010 He said, "No. I finished." 249 00:15:27,093 --> 00:15:29,638 And I said, "What were you composing last night?" 250 00:15:29,721 --> 00:15:30,764 He said, "This." 251 00:15:30,847 --> 00:15:32,849 And he played me Goldfinger. 252 00:15:32,932 --> 00:15:34,976 (GOLDFINGER THEME PLAYING ON PIANO) 253 00:15:42,317 --> 00:15:46,404 So I was the first person in the world ever to hear Goldfinger, 254 00:15:46,488 --> 00:15:48,948 and I heard it all night. (LAUGHING) 255 00:15:49,032 --> 00:15:53,036 It wasn't an obvious hit because it was a strange song. 256 00:15:53,119 --> 00:15:56,956 But I felt like if you could get a singer who had conviction, 257 00:15:57,040 --> 00:15:59,542 you could sing the telephone book. 258 00:15:59,626 --> 00:16:04,381 And Shirley Bassey fit so well in with that whole James Bond style. 259 00:16:04,464 --> 00:16:07,008 John Barry had not only known Shirley Bassey, 260 00:16:07,092 --> 00:16:09,761 he had actually been on concert tour with her. 261 00:16:09,844 --> 00:16:12,055 We struck up a relationship. 262 00:16:12,138 --> 00:16:15,642 Then we did a tour together, and he conducted for me. 263 00:16:15,725 --> 00:16:18,395 And it was at the end of the tour, he said to me, 264 00:16:18,478 --> 00:16:22,357 "I've just written the music for the next Bond film." 265 00:16:22,440 --> 00:16:25,110 I went to his apartment and he played me the music. 266 00:16:25,193 --> 00:16:26,152 I hear that... 267 00:16:26,236 --> 00:16:30,657 (VOCALIZING GOLDFINGER THEME) 268 00:16:30,740 --> 00:16:33,493 And I just got goose pimples, you know. 269 00:16:33,576 --> 00:16:35,036 Just... Um... 270 00:16:35,120 --> 00:16:38,873 I said, "I don't care what the words are. I'll do it." 271 00:16:38,957 --> 00:16:41,334 JOHN: I remember when Shirley came into the studio, 272 00:16:41,418 --> 00:16:43,420 she said, "What is this song about?" 273 00:16:43,503 --> 00:16:46,631 I said, "It's a villain. Don't ask too many questions. 274 00:16:46,715 --> 00:16:49,551 "Just get in front of the mic and belt it." 275 00:16:49,634 --> 00:16:52,220 ♪♪ Goldfinger 276 00:16:55,014 --> 00:16:59,018 ♪♪ He's the man The man with the Midas touch 277 00:16:59,102 --> 00:17:02,814 And she was terrific. She was the ideal person for a Bond song. 278 00:17:02,897 --> 00:17:04,524 ♪♪ A spider's touch ♪♪ 279 00:17:06,109 --> 00:17:09,154 SHIRLEY: John just let me do it my way. 280 00:17:09,237 --> 00:17:11,448 The Bond films, they're so masculine, 281 00:17:11,531 --> 00:17:13,742 because they're on the violent side, 282 00:17:13,825 --> 00:17:16,745 and spectacular side, and they're glamorous, 283 00:17:16,828 --> 00:17:20,749 I felt a woman singing about Bond was right. 284 00:17:20,832 --> 00:17:24,002 ♪♪ But don't go in ♪♪ 285 00:17:24,085 --> 00:17:27,797 During the recording sessions, John insisted on take after take, 286 00:17:27,881 --> 00:17:30,175 and really wanted her to belt it out. 287 00:17:30,258 --> 00:17:34,220 John got upset because she kept cutting it off, running out of breath. 288 00:17:34,304 --> 00:17:37,724 SHIRLEY: To do it over and over again, it was an all-night session, 289 00:17:37,807 --> 00:17:42,270 and towards the end, I mean, I had this restricting bustier on. 290 00:17:42,353 --> 00:17:46,816 She said, "Just a minute," and suddenly her bra came over the top of the thing. 291 00:17:46,900 --> 00:17:49,110 She said, "Now try it. Try it again." 292 00:17:49,194 --> 00:17:53,281 So I let it all hang out, and I felt much more comfortable. 293 00:17:53,364 --> 00:17:56,493 And I was able to hit the note better anyway. 294 00:17:56,576 --> 00:18:02,540 ♪♪ He loves gold ♪♪ 295 00:18:09,589 --> 00:18:11,007 (AUDIENCE APPLAUDING) 296 00:18:11,090 --> 00:18:14,219 In the early days, it felt like it was a creative explosion 297 00:18:14,302 --> 00:18:16,805 of the language of a Bond movie, 298 00:18:16,888 --> 00:18:19,265 which hadn't really found its feet, 299 00:18:19,349 --> 00:18:21,142 I think, until Goldfinger. 300 00:18:22,852 --> 00:18:25,980 Bond music became a universe of its own. 301 00:18:29,526 --> 00:18:32,237 JOHN: Goldfinger, to me, is the most favorite. 302 00:18:32,320 --> 00:18:34,614 The first time I was allowed to do everything. 303 00:18:34,697 --> 00:18:38,743 The whole Bond formula, it culminated in Goldfinger. 304 00:18:38,827 --> 00:18:41,079 Barry sets it up with the song, 305 00:18:41,162 --> 00:18:43,790 then the song becomes the foundation of the score. 306 00:18:43,873 --> 00:18:44,958 (GOLDFINGER INSTRUMENTAL MUSIC PLAYING) 307 00:18:47,418 --> 00:18:53,007 When we had the big Fort Knox sequence at the end, I used the motif... 308 00:18:53,091 --> 00:18:56,052 I kept repeating it throughout with the trumpets and horns. 309 00:19:03,560 --> 00:19:09,232 The integration from Goldfinger, Thunderball, You Only Live Twice, 310 00:19:09,315 --> 00:19:12,402 they weren't just opening songs and forget it. 311 00:19:12,485 --> 00:19:15,280 They ran throughout the whole vein of the movie. 312 00:19:20,785 --> 00:19:23,705 (PUNCHES THUDDING) 313 00:19:23,788 --> 00:19:28,167 Since the time of John Barry, the Bond title song has always been woven 314 00:19:28,251 --> 00:19:30,712 into the score of the rest of the film. 315 00:19:30,795 --> 00:19:34,299 But No Time to Die is the first time the singer's voice 316 00:19:34,382 --> 00:19:38,052 has actually been used as an instrument in the film itself. 317 00:19:38,136 --> 00:19:41,306 STEVE: You always have the main song appear somewhere in the score, 318 00:19:41,389 --> 00:19:44,851 but I don't think it was for a few weeks that we discovered 319 00:19:44,934 --> 00:19:47,687 that should be our love theme. 320 00:19:47,770 --> 00:19:50,732 -No, I knew. -Okay, he knew. 321 00:19:50,815 --> 00:19:53,776 -He didn't tell me for weeks. -I knew there was a moment 322 00:19:53,860 --> 00:19:56,362 which was gonna slay you when it came back. 323 00:19:56,446 --> 00:19:59,032 It's so funny, hearing Hans talk about it. 324 00:19:59,115 --> 00:20:01,868 "Nobody liked this. They didn't understand the song." 325 00:20:01,951 --> 00:20:03,244 "But I liked it." 326 00:20:03,328 --> 00:20:06,289 "I thought it was pretty good. I thought it was okay." 327 00:20:06,372 --> 00:20:07,874 (LAUGHTER) 328 00:20:07,957 --> 00:20:11,336 People were going, "Hang on a second, but it's not this movie." 329 00:20:11,419 --> 00:20:14,297 I'm going, "Of course not. They haven't seen this movie. 330 00:20:14,380 --> 00:20:15,715 "Get them on a plane." 331 00:20:17,675 --> 00:20:21,554 -Literally landed, drove to a studio... -With our suitcases. 332 00:20:21,638 --> 00:20:25,934 With our suitcases, so jet lagged, so tired. So tired. 333 00:20:26,017 --> 00:20:28,686 Sat in this little room, and watched 334 00:20:28,770 --> 00:20:31,147 -whatever there was of the cut. -The cut. 335 00:20:31,230 --> 00:20:34,567 -It was great. Awesome. -It was amazing. 336 00:20:34,651 --> 00:20:39,238 Then the next couple of days was going meeting Hans and working with him. 337 00:20:39,322 --> 00:20:41,991 We all sort of hunkered down at AIR Studios, 338 00:20:42,075 --> 00:20:46,829 which had sort of become the home of Bond over the years now as well. 339 00:20:46,913 --> 00:20:48,623 (SPEAKING INDISTINCTLY) 340 00:21:01,844 --> 00:21:03,471 BILLIE: Hans has this way about him 341 00:21:03,554 --> 00:21:06,975 that just makes you so comfortable and very at ease. 342 00:21:07,058 --> 00:21:08,935 When you're with him, you're, like, 343 00:21:09,018 --> 00:21:12,146 literally fucking crazy that this dude is, like, such a... 344 00:21:12,230 --> 00:21:14,107 -Legend. -Dorkball, and he's... 345 00:21:15,692 --> 00:21:17,527 No, but... And he's, like, 346 00:21:17,610 --> 00:21:22,657 just the sweetest, you know, goofiest, ridiculous man. 347 00:21:22,740 --> 00:21:26,703 HANS: AIR is such a beautiful environment. It's such a beautiful acoustic. 348 00:21:26,786 --> 00:21:30,581 I just got Billie to just sing as quietly as possible. 349 00:21:30,665 --> 00:21:33,042 Not even the song, just some singing. 350 00:21:33,126 --> 00:21:36,045 (VOCALIZING) 351 00:21:44,262 --> 00:21:48,057 Could I maybe try it one time without the song in the background? 352 00:21:48,141 --> 00:21:50,727 -HANS: Yeah, sure. We can do that for you. -Great. 353 00:21:52,520 --> 00:21:54,480 (VOCALIZING) 354 00:21:59,610 --> 00:22:01,404 BILLIE: Hummed a little song. 355 00:22:01,487 --> 00:22:04,907 Kind of hummed a bunch of random stuff. Just a few little notes. 356 00:22:04,991 --> 00:22:08,411 Did some a cappella, you know, verses and choruses. 357 00:22:08,494 --> 00:22:10,788 I just did them and forgot about them. 358 00:22:10,872 --> 00:22:12,373 (VOCALIZING CONTINUES) 359 00:22:15,585 --> 00:22:18,379 HANS: I was just gathering ammunition, as it were. 360 00:22:18,463 --> 00:22:21,132 I just knew that this was gonna be good. 361 00:22:21,215 --> 00:22:24,218 Dude, being at the premiere... 362 00:22:24,302 --> 00:22:26,137 -REPORTER: Hi! -Hi. 363 00:22:26,220 --> 00:22:29,474 And there's 2,000 people in this beautiful theater in London, 364 00:22:29,557 --> 00:22:31,893 and the whole cast is there on stage... 365 00:22:33,561 --> 00:22:35,063 And throughout the movie, 366 00:22:35,146 --> 00:22:38,816 in the most vulnerable and emotional parts of the film, 367 00:22:38,900 --> 00:22:40,109 is my voice. 368 00:22:40,985 --> 00:22:42,278 I have to finish this. 369 00:22:42,820 --> 00:22:43,696 For us. 370 00:22:44,822 --> 00:22:45,782 I know. 371 00:22:46,699 --> 00:22:47,909 (VOCALIZING) 372 00:22:56,167 --> 00:22:57,460 I'll just be a minute. 373 00:23:04,342 --> 00:23:05,426 I've got them. 374 00:23:06,552 --> 00:23:08,346 This might come in handy. 375 00:23:08,429 --> 00:23:10,056 HANS: Billie's actually a ghost. 376 00:23:10,139 --> 00:23:12,141 She's a beautiful ghost in the movie. 377 00:23:25,029 --> 00:23:28,783 Impossible to talk about a Bond song without talking about the lyric. 378 00:23:28,866 --> 00:23:31,202 It's 50% of the experience. 379 00:23:31,285 --> 00:23:34,872 DON: I've always loved lyrics. I've always loved words. 380 00:23:34,956 --> 00:23:36,833 The way I write is instinctive. 381 00:23:36,916 --> 00:23:39,502 You don't analyze it, you go with your heart. 382 00:23:39,585 --> 00:23:43,089 People always want an anecdote when it comes to songwriting, 383 00:23:43,172 --> 00:23:45,675 and, most of the time, there isn't one. 384 00:23:45,758 --> 00:23:48,052 But there's quite a few with Bond songs. 385 00:23:51,430 --> 00:23:54,725 It's a chemistry that somewhere, something happens. 386 00:23:54,809 --> 00:23:57,895 There isn't a rulebook of how you do. 387 00:23:57,979 --> 00:24:03,526 TIM: Lyrically, most Bond songs have something to do with the storyline. 388 00:24:03,609 --> 00:24:09,532 Most used the title of the film. Some haven't, like Nobody Does It Better. 389 00:24:09,615 --> 00:24:12,994 John Barry rang me and said, "Would you like to do a Bond lyric? 390 00:24:13,077 --> 00:24:15,580 Took me about 0.06 seconds to say yes. 391 00:24:15,663 --> 00:24:18,166 And then I said, "What's the title of the film?" 392 00:24:18,249 --> 00:24:20,126 thinking it might be romantic. 393 00:24:20,209 --> 00:24:22,628 And he said, "Octopussy." And I went... (GASPS) Ah! 394 00:24:22,712 --> 00:24:23,588 (LAUGHING) 395 00:24:27,800 --> 00:24:30,303 We were always glad we got A View to a Kill 396 00:24:30,386 --> 00:24:32,930 and not A Quantum of Solace. 397 00:24:33,014 --> 00:24:34,974 "Quantum of Solace" is a hard thing to put in a song. 398 00:24:35,057 --> 00:24:37,560 There's not a lot you can rhyme with "solace." 399 00:24:37,643 --> 00:24:39,979 "Got lovely bollocks." 400 00:24:40,062 --> 00:24:45,109 For No Time to Die, the lyrics really just came to us perfectly 401 00:24:45,193 --> 00:24:48,070 because we knew what we were writing about. 402 00:24:49,447 --> 00:24:50,740 We met with Barbara. 403 00:24:50,823 --> 00:24:52,575 She told us about the beginning, 404 00:24:52,658 --> 00:24:55,036 where Madeleine gets set up, 405 00:24:55,119 --> 00:24:57,747 and that James thinks that she betrayed him. 406 00:24:57,830 --> 00:25:00,583 But the main thing she said was she was set up. 407 00:25:00,666 --> 00:25:03,836 And I can't tell you how important that was for us. 408 00:25:03,920 --> 00:25:09,175 We just took that and ran, and wrote a song about that betrayal. 409 00:25:09,258 --> 00:25:11,177 "Was I stupid to love you?" 410 00:25:11,260 --> 00:25:13,763 Like, "Was I dumb? Am I blind?" 411 00:25:13,846 --> 00:25:16,933 And I think that's a thing we've all experienced. 412 00:25:17,016 --> 00:25:19,769 It just is a much higher stakes in James Bond. 413 00:25:20,603 --> 00:25:22,230 But it really wrote itself. 414 00:25:24,398 --> 00:25:26,901 DAVID: I think it was a natural thing in the '60s 415 00:25:26,984 --> 00:25:31,197 for the Bond films to turn to theatrical composers and writers. 416 00:25:31,280 --> 00:25:34,992 Because Anthony Newley, Lionel Bart, Leslie Bricusse and Don Black 417 00:25:35,076 --> 00:25:36,702 delivered fantastic songs. 418 00:25:36,786 --> 00:25:38,996 When I got asked to do my first Bond song, 419 00:25:39,080 --> 00:25:41,707 my immediate thought was, "Call Don Black." 420 00:25:41,791 --> 00:25:43,584 DON: The title was terrific. 421 00:25:43,668 --> 00:25:47,588 It was enigmatic, but I couldn't think of the next line. 422 00:25:47,672 --> 00:25:50,216 I walked around a few parks, I can tell you. 423 00:25:50,299 --> 00:25:52,426 I stared out of a lot of windows. 424 00:25:52,510 --> 00:25:55,346 And one day, my wife, Shirley, shouted out to me, 425 00:25:55,429 --> 00:25:59,267 "Postman's just come, Don. And you've got an OBE!" 426 00:25:59,350 --> 00:26:00,851 And I automatically said, 427 00:26:00,935 --> 00:26:04,480 "It's not a knighthood, but it's the perfect way to start." 428 00:26:04,563 --> 00:26:06,357 And I thought, "Hey, that's it!" 429 00:26:09,443 --> 00:26:12,822 And that's how I like to write lyrics. 430 00:26:12,905 --> 00:26:15,366 There's the movie, right? There's the movie. 431 00:26:15,449 --> 00:26:18,786 Two lines, job done. Brilliant. That's why you work with Don Black. 432 00:26:18,869 --> 00:26:20,288 He's a great lyricist. 433 00:26:20,371 --> 00:26:22,915 He's had number-ones with Michael Jackson. 434 00:26:22,999 --> 00:26:25,626 He won an Oscar with John Barry for Born Free. 435 00:26:25,710 --> 00:26:26,919 He's a huge name. 436 00:26:27,003 --> 00:26:28,963 (AUDIENCE APPLAUDING) 437 00:26:29,046 --> 00:26:31,924 Not only is Diamonds Are Forever the best Bond song, it's his best song. 438 00:26:35,428 --> 00:26:40,308 ♪♪ Diamonds are forever ♪♪ 439 00:26:40,391 --> 00:26:44,103 Diamonds Are Forever, I thought, was brilliant on nine different levels. 440 00:26:45,604 --> 00:26:48,524 ♪♪ They can stimulate And tease me ♪♪ 441 00:26:48,607 --> 00:26:53,612 I always say that luck plays such a major part in a songwriter's career. 442 00:26:53,696 --> 00:26:56,240 Because Diamonds Are Forever almost never happened. 443 00:26:56,324 --> 00:26:58,993 ♪♪ Desert me ♪♪ 444 00:27:01,412 --> 00:27:03,664 Looking back on Diamonds Are Forever, 445 00:27:03,748 --> 00:27:06,834 again, I'm looking at a blank page 446 00:27:06,917 --> 00:27:09,045 and I've got John's tune in my head. 447 00:27:09,128 --> 00:27:11,505 Don wrote it. He said, "What do we sing about?" 448 00:27:11,589 --> 00:27:12,965 I said, "Why don't we... 449 00:27:14,175 --> 00:27:18,179 "treat a diamond... 450 00:27:19,930 --> 00:27:22,016 "like it's the male sex organ?" 451 00:27:25,269 --> 00:27:28,022 And so, he said, "Yeah?" 452 00:27:28,105 --> 00:27:32,985 I said, "Well, just sing about a diamond like it's a you-know-what." 453 00:27:34,070 --> 00:27:36,572 And when you read the lyrics, 454 00:27:36,655 --> 00:27:38,908 "Touch it, caress it." 455 00:27:38,991 --> 00:27:43,454 I mean, if you submit that thought, you'd probably enjoy the song again. 456 00:27:43,537 --> 00:27:44,872 (CHUCKLING) 457 00:27:44,955 --> 00:27:46,916 It was a song with a wink. 458 00:27:46,999 --> 00:27:49,877 Then we had the big day at John's apartment 459 00:27:49,960 --> 00:27:52,505 when we had to play it to Harry Saltzman. 460 00:27:52,588 --> 00:27:54,465 JOHN: Cubby Broccoli and Harry Saltzman came over 461 00:27:54,548 --> 00:27:56,509 to my apartment to listen to it. 462 00:27:56,592 --> 00:27:58,761 Harry Saltzman, God rest his soul, 463 00:27:58,844 --> 00:28:01,722 he was a difficult man, let's put it that way. 464 00:28:01,806 --> 00:28:06,310 And after we played Diamonds Are Forever, Harry made it very clear that he hated it. 465 00:28:06,394 --> 00:28:09,397 "We can't have that goddamn song in the movie!" 466 00:28:09,480 --> 00:28:11,524 He had a very colorful vocabulary. 467 00:28:11,607 --> 00:28:15,403 He said, "It's filthy. 'Touch it, stroke it, and undress it'? 468 00:28:15,486 --> 00:28:16,946 "Can't put that in a lyric. 469 00:28:17,029 --> 00:28:18,823 "I don't like the music, either." 470 00:28:18,906 --> 00:28:21,283 And then John's Yorkshire bluntness came out. 471 00:28:21,367 --> 00:28:25,663 I said, "Harry, you hated Goldfinger. You are tone-deaf!" 472 00:28:25,746 --> 00:28:28,290 He went as red as the red socks he wore. 473 00:28:28,374 --> 00:28:31,460 And he just steamed out of the room, my apartment. 474 00:28:31,544 --> 00:28:33,796 Just went out, slammed the door, left. 475 00:28:33,879 --> 00:28:35,464 (DOOR SLAMS) 476 00:28:35,548 --> 00:28:37,133 There's this silence. 477 00:28:37,883 --> 00:28:39,885 And then Cubby said, 478 00:28:39,969 --> 00:28:41,762 "Do you have any Jack Daniels?" 479 00:28:42,847 --> 00:28:44,098 And I said, "Yeah." 480 00:28:44,181 --> 00:28:47,101 So we all hit the Jack Daniels. 481 00:28:47,184 --> 00:28:49,478 I thought that was the end of it. 482 00:28:49,562 --> 00:28:51,147 "We had a go, he hates it. 483 00:28:51,230 --> 00:28:54,817 "He hates John Barry. He hates life. He hates everything." 484 00:28:54,900 --> 00:28:57,319 Cubby said, "I think it's terrific. You should go ahead." 485 00:28:57,403 --> 00:28:58,821 (VOCALIZING) 486 00:29:01,407 --> 00:29:03,784 ♪♪ Diamonds are forever 487 00:29:05,369 --> 00:29:08,497 ♪♪ Sparkling round My little finger 488 00:29:09,915 --> 00:29:11,584 ♪♪ Unlike... ♪♪ 489 00:29:11,667 --> 00:29:14,462 And then we played it to Shirley Bassey, and she loved it. 490 00:29:14,545 --> 00:29:18,007 I loved the song, 'cause it was a song from my heart, 491 00:29:18,090 --> 00:29:20,009 because I love diamonds. (CHUCKLES) 492 00:29:20,092 --> 00:29:22,428 ♪♪ ...your grave for 493 00:29:24,555 --> 00:29:28,809 ♪♪ I don't need love 494 00:29:28,893 --> 00:29:32,480 ♪♪ For what good Will love do me? ♪♪ 495 00:29:32,563 --> 00:29:35,149 DON: Shirley Bassey is one of the great storytellers. 496 00:29:35,232 --> 00:29:38,319 "Diamonds are forever. They are all I need to please me." 497 00:29:38,402 --> 00:29:40,696 Straight away, you're in a world. 498 00:29:40,779 --> 00:29:43,782 You're taken there from the first couple of lines. 499 00:29:43,866 --> 00:29:49,288 ♪♪ They'll luster on 500 00:29:49,371 --> 00:29:52,416 My own feeling is that Shirley Bassey should sing them all. 501 00:29:52,500 --> 00:29:54,251 ♪♪ Forever, forever... ♪♪ 502 00:29:54,335 --> 00:29:58,547 That outrageous, mannered, marvelous, provocative style she has. 503 00:29:58,631 --> 00:30:00,841 She's everything that Bond should be. 504 00:30:00,925 --> 00:30:02,760 Shirley Bassey is Bond. 505 00:30:03,552 --> 00:30:09,517 ♪♪ And ever... ♪♪ 506 00:30:10,935 --> 00:30:13,562 (MUSIC STOPS) 507 00:30:13,646 --> 00:30:17,733 Shirley Bassey was one of the only examples I had growing up 508 00:30:17,816 --> 00:30:22,821 of a Black British singer that sang with that huge voice. 509 00:30:22,905 --> 00:30:27,493 Without her, I don't think I would have felt like I could do what I do. 510 00:30:27,576 --> 00:30:30,496 There's something about the music of the '60s 511 00:30:30,579 --> 00:30:32,540 that possesses so much feeling. 512 00:30:40,214 --> 00:30:43,634 CAINE: If you think of the '60s as a revolution in England, 513 00:30:43,717 --> 00:30:45,219 it was music-led. 514 00:30:45,302 --> 00:30:48,472 Beatles led the rock and roll, and John led the movie music. 515 00:30:50,516 --> 00:30:53,978 John Barry was a major part of the Swinging '60s. 516 00:30:54,061 --> 00:30:56,313 The whole Swinging '60s was amazing. 517 00:30:58,107 --> 00:31:00,776 I was the luckiest guy on the face of the Earth, 518 00:31:00,859 --> 00:31:04,697 because I couldn't have been on a more successful kick than the Bond movies. 519 00:31:04,780 --> 00:31:08,742 John Barry was so much a part of the DNA of these films. 520 00:31:08,826 --> 00:31:11,245 That Bond sound is clearly him. 521 00:31:11,328 --> 00:31:15,332 Whether it's the guitar, the horns, whether it's any of those things, 522 00:31:15,416 --> 00:31:17,668 they were so evocative of that era. 523 00:31:17,751 --> 00:31:19,795 Bond wouldn't be Bond without that. 524 00:31:23,299 --> 00:31:28,846 He probably is the first person that took the big band swing brass... 525 00:31:28,929 --> 00:31:31,807 ...and merged that with the orchestra. 526 00:31:31,890 --> 00:31:33,934 (ORCHESTRAL MUSIC PLAYING) 527 00:31:39,398 --> 00:31:43,068 JON: If you had had a traditional orchestrally-based score, 528 00:31:43,152 --> 00:31:44,778 it might have been serious, 529 00:31:44,862 --> 00:31:48,699 but it wouldn't have had that sassy feel that we got from John Barry, 530 00:31:48,782 --> 00:31:51,285 particularly in the way he wrote for brass. 531 00:31:51,368 --> 00:31:53,037 (ROMANTIC MUSIC PLAYING) 532 00:32:00,878 --> 00:32:05,174 That is a significant step forward for film scoring in the 1960s. 533 00:32:05,257 --> 00:32:07,926 NEIL: The sex that was on the screen 534 00:32:08,010 --> 00:32:09,678 was so there in the music. 535 00:32:10,971 --> 00:32:12,765 This is John Barry in his pomp. 536 00:32:13,974 --> 00:32:15,643 That makes two of us. 537 00:32:15,726 --> 00:32:18,395 The muted horn, muted brass 538 00:32:18,479 --> 00:32:21,940 is the signature of Bond. 539 00:32:22,024 --> 00:32:26,278 So it's bold and it's brassy, but there's just a little dampener on it. 540 00:32:26,362 --> 00:32:28,280 It's like a silencer of a gun. 541 00:32:28,364 --> 00:32:29,990 It's the musical equivalent. 542 00:32:35,496 --> 00:32:37,665 ANNA: I love that John Barry grew up in a cinema. 543 00:32:37,748 --> 00:32:40,918 His father ran a cinema, and he also played trumpet, 544 00:32:41,001 --> 00:32:44,922 so he has an inherent understanding of cinema and music. 545 00:32:45,005 --> 00:32:48,467 I think he's one of those geniuses that has an instinct for it. 546 00:32:48,550 --> 00:32:52,888 John Barry then ended up emigrating, living in Oyster Bay, on Long Island. 547 00:32:52,971 --> 00:32:56,350 I get the feeling that you could take the lad out of Yorkshire 548 00:32:56,433 --> 00:33:00,020 but you couldn't take the Yorkshire out of the lad, or his music. 549 00:33:00,104 --> 00:33:01,939 I've always had a slight theory 550 00:33:02,022 --> 00:33:04,817 that there's a whiff of the Colliery Band 551 00:33:04,900 --> 00:33:06,694 about John Barry's obsession with brass. 552 00:33:06,777 --> 00:33:08,362 (BRASS BAND PLAYING) 553 00:33:11,031 --> 00:33:15,994 When you hear John Barry play, something that I just adore in music 554 00:33:16,078 --> 00:33:20,874 is the melancholic, reflective side of music. 555 00:33:20,958 --> 00:33:25,212 And Barry, you can hear that right throughout his scores. 556 00:33:25,295 --> 00:33:27,172 You know, Bond... 557 00:33:27,256 --> 00:33:30,259 You can't have a Bond, for me, without that feeling. 558 00:33:33,887 --> 00:33:36,724 DAVID: John Barry created the sound of James Bond. 559 00:33:36,807 --> 00:33:37,766 Jill? 560 00:33:37,850 --> 00:33:39,727 And over the next 25 years, 561 00:33:39,810 --> 00:33:42,688 he was the reigning king of James Bond music. 562 00:33:42,771 --> 00:33:44,440 He did 11 of them. 563 00:33:47,568 --> 00:33:50,571 And I think, where other composers have taken on that job, 564 00:33:50,654 --> 00:33:52,948 the biggest success stories have always been 565 00:33:53,031 --> 00:33:55,576 people who have had an awareness about Bond music 566 00:33:55,659 --> 00:33:58,579 and about how wonderful John Barry's stuff is. 567 00:34:00,456 --> 00:34:04,042 CELESTE: When I was younger, I used to work in this charity shop. 568 00:34:04,126 --> 00:34:07,212 I volunteered there because they had loads of vinyl. 569 00:34:07,296 --> 00:34:13,218 And so, I first found a John Barry vinyl, and it was actually From Russia With Love. 570 00:34:13,302 --> 00:34:17,264 When I first started writing, I would always reference John Barry. 571 00:34:21,310 --> 00:34:23,604 DON: He invented this style. 572 00:34:23,687 --> 00:34:27,024 He couldn't help but be incredibly elegant about his music. 573 00:34:27,107 --> 00:34:30,986 We start off very much with what John had given us, 574 00:34:31,069 --> 00:34:34,364 and then slowly branch off into our own style, 575 00:34:34,448 --> 00:34:36,241 but there's always John Barry. 576 00:34:36,325 --> 00:34:39,620 He is the center of this universe as far as music is concerned. 577 00:34:43,749 --> 00:34:47,294 With the song, the casting is complex, 578 00:34:47,377 --> 00:34:51,840 in the sense that many people have ideas about who would be suitable. 579 00:34:53,634 --> 00:34:57,179 TAYLOR: I think it's become a really interesting song contest. 580 00:34:57,262 --> 00:34:59,890 For me, I like dramatic, edgy pop. 581 00:34:59,973 --> 00:35:04,728 And that's what we get every time a new Bond film comes out. 582 00:35:04,812 --> 00:35:08,398 They've made some really interesting choices over the last 20 years. 583 00:35:08,482 --> 00:35:10,609 JASON: The fight to do a Bond song is 584 00:35:10,692 --> 00:35:13,821 as big as the fight to be cast as Bond, if you're a musician. 585 00:35:13,904 --> 00:35:16,281 To do a Bond song is like doing Hamlet. 586 00:35:16,365 --> 00:35:19,660 It's a top achievement. 587 00:35:19,743 --> 00:35:24,039 DAVID: I felt like I'm casting, when looking at singers. 588 00:35:24,122 --> 00:35:28,001 You make an informed choice about who it is you'll get to sing it. 589 00:35:28,085 --> 00:35:31,046 You agree that with Barbara, Michael, and the director, 590 00:35:31,129 --> 00:35:34,508 and then they let you go away and do it. 591 00:35:34,591 --> 00:35:37,344 SAM: With Skyfall we all wanted to being British artist. 592 00:35:37,427 --> 00:35:40,180 Was a synergy about it. 593 00:35:43,183 --> 00:35:45,727 The 50th Anniversary, 2012, 594 00:35:45,811 --> 00:35:48,438 UK feeling great about itself, for a change, 595 00:35:48,522 --> 00:35:50,357 the Olympics, 596 00:35:50,440 --> 00:35:53,944 and it all went into the movie, that sense of pride. 597 00:35:54,027 --> 00:35:56,196 Adele was very much part of that. 598 00:35:56,280 --> 00:35:59,157 PAUL: I think Adele's the perfect singer for it 'cause 599 00:35:59,241 --> 00:36:00,868 she's done her music history. 600 00:36:00,951 --> 00:36:02,703 She grew up with Bassey songs. 601 00:36:02,786 --> 00:36:06,540 The way she finishes the lines, so authentic. 602 00:36:07,499 --> 00:36:09,543 She's the heir to those people, 603 00:36:09,626 --> 00:36:12,880 and yet she's also very contemporary, she has her own thing. 604 00:36:12,963 --> 00:36:16,008 Ours had to be classic. The brief was... 605 00:36:16,091 --> 00:36:18,093 "50th Anniversary, baby." 606 00:36:18,176 --> 00:36:20,554 It's got to be a classic, you know? 607 00:36:20,637 --> 00:36:22,264 With Paul, it just kind of... 608 00:36:22,347 --> 00:36:25,392 Normally, I go in with an idea, and you have an idea ready. 609 00:36:25,475 --> 00:36:28,312 We throw them at each other, and something happens, 610 00:36:28,395 --> 00:36:29,897 it happened with Skyfall. 611 00:36:29,980 --> 00:36:33,358 I gave her the script. "I loved it! I went in the bath to read it. 612 00:36:33,442 --> 00:36:36,069 "By the time I got out, my bath was cold." 613 00:36:36,153 --> 00:36:37,487 And then she went quiet. 614 00:36:37,571 --> 00:36:39,907 Halfway through the shoot, she sent us the song. 615 00:36:39,990 --> 00:36:41,658 It was like, "That's fantastic." 616 00:36:41,742 --> 00:36:44,244 I don't think we changed a word or a note. 617 00:36:45,329 --> 00:36:46,830 When you approach an artist, 618 00:36:46,914 --> 00:36:50,042 it's because you love what that artist does. 619 00:36:50,125 --> 00:36:54,379 We were blown away when Bono and the Edge said that they wanted to do it. 620 00:36:54,463 --> 00:36:57,382 When we heard what they came up with, we loved it. 621 00:36:57,466 --> 00:36:59,885 They told us they didn't wanna perform it. 622 00:36:59,968 --> 00:37:03,347 They thought it should be a female vocalist. 623 00:37:03,430 --> 00:37:05,307 And who better than Tina Turner? 624 00:37:09,728 --> 00:37:16,652 TINA: I was sitting at my home in Zurich, and Bono sent me the worst demo. 625 00:37:16,735 --> 00:37:20,238 He kind of threw it together as if he thought I wasn't gonna do it. 626 00:37:20,322 --> 00:37:21,907 I think he was hoarse. 627 00:37:21,990 --> 00:37:24,701 ♪♪ ...move through Smoke and mirrors... 628 00:37:24,785 --> 00:37:28,330 I don't think he really meant for me to sing it. 629 00:37:28,413 --> 00:37:30,874 ♪♪ ...in the crowd 630 00:37:30,958 --> 00:37:34,294 ♪♪ Other girls They gather around him ♪♪ 631 00:37:34,378 --> 00:37:37,255 He said, "I cannot let anyone else write the song. 632 00:37:37,339 --> 00:37:41,301 "Me and my wife spent our honeymoon at Ian Fleming's place, GoldenEye." 633 00:37:41,385 --> 00:37:44,137 ♪♪ Golden eye Not lace or leather 634 00:37:44,221 --> 00:37:47,849 ♪♪ With the Golden eye Take him to the spot ♪♪ 635 00:37:47,933 --> 00:37:50,060 He said, "It's a little bit rough." 636 00:37:50,143 --> 00:37:53,939 And I thought, "How do I put this together?" 637 00:37:54,022 --> 00:37:56,316 It wasn't showing me what the melody was. 638 00:37:58,568 --> 00:38:00,404 He said, "Dear Tina, this is rough. 639 00:38:00,487 --> 00:38:03,824 "You probably won't get it. In the studio, we'll get it together." 640 00:38:03,907 --> 00:38:06,743 And, true enough, it came together in the studio. 641 00:38:07,369 --> 00:38:09,913 ♪♪ ...Be denied 642 00:38:10,872 --> 00:38:14,584 ♪♪ It's a gold and honey trap ♪♪ 643 00:38:14,668 --> 00:38:17,045 I sung it how I would sing it. 644 00:38:17,129 --> 00:38:18,839 And even Bono was impressed. 645 00:38:18,922 --> 00:38:22,342 He said, "I should have known. I remember sending you that, 646 00:38:22,426 --> 00:38:25,721 "and after I sent it, I realized that it was really bad." 647 00:38:25,804 --> 00:38:29,433 ♪♪ ...Got you in my sight ♪♪ 648 00:38:32,185 --> 00:38:35,772 Looking around for people who could sing the song 649 00:38:35,856 --> 00:38:37,190 in The World Is Not Enough. 650 00:38:37,274 --> 00:38:40,819 Looking at Shirley, and her attitude and energy, 651 00:38:40,902 --> 00:38:44,406 it was like she could be in this film. Maybe she should've been in it. 652 00:38:44,489 --> 00:38:46,616 ♪♪ I think I'm paranoid 653 00:38:48,285 --> 00:38:49,453 ♪♪ They call me... ♪♪ 654 00:38:49,536 --> 00:38:53,415 She was so potent and unflinching, 655 00:38:53,498 --> 00:38:58,503 it felt like she had the strength to make that lyric a proper event. 656 00:38:58,587 --> 00:39:03,425 We were in London. David asked if he could meet for coffee. 657 00:39:03,508 --> 00:39:06,595 I went into a Starbucks across the road from our hotel, 658 00:39:06,678 --> 00:39:09,556 and he said, "What do you want?" 659 00:39:09,639 --> 00:39:12,684 And I said, "I'll have a skinny latte." 660 00:39:12,768 --> 00:39:16,354 He brought it to the table, plopped it down, and sat in front of me. 661 00:39:16,438 --> 00:39:20,734 He said, "Do you want to know why I've brought you here?" 662 00:39:20,817 --> 00:39:22,819 And I went, "Yeah, I do." 663 00:39:22,903 --> 00:39:25,697 He went, "Do you want to sing the next Bond theme?" 664 00:39:25,781 --> 00:39:26,531 (LAUGHTER) 665 00:39:29,576 --> 00:39:32,746 She screamed in a way that I'd never heard anyone scream before. 666 00:39:32,829 --> 00:39:36,958 I think she wanted to do one of those all her life as well. 667 00:39:37,042 --> 00:39:40,212 I mean, I don't think I literally screamed like... 668 00:39:40,295 --> 00:39:43,048 But I was freaking out. 669 00:39:43,131 --> 00:39:47,928 For any vocalist to be asked to do that is a huge deal. 670 00:39:48,011 --> 00:39:51,723 I couldn't really take it in very well, but of course, I said yes. 671 00:39:51,807 --> 00:39:55,685 I had the wherewithal to say, "Yes. I would like to do that. Thank you." 672 00:39:57,354 --> 00:40:00,524 With No Time To Die, it seemed right 673 00:40:00,607 --> 00:40:04,486 that we have a song which was from the female point of view. 674 00:40:04,569 --> 00:40:08,281 And I went to see Billie and Finneas when they were performing. 675 00:40:08,365 --> 00:40:11,535 ♪♪ She'll pity all the men I know 676 00:40:11,618 --> 00:40:13,203 -♪♪ So you're a... -CROWD: ♪♪ Tough guy 677 00:40:13,286 --> 00:40:14,871 ♪♪ Like it really rough guy 678 00:40:14,955 --> 00:40:16,623 ♪♪ Just can't get enough guy 679 00:40:16,706 --> 00:40:18,416 -♪♪ Chest always... ♪♪ -♪♪ ...So puffed guy ♪♪ 680 00:40:18,500 --> 00:40:20,001 BILLIE: She came to one of our shows, 681 00:40:20,085 --> 00:40:23,004 which was perfect 'cause it was the best one. 682 00:40:23,088 --> 00:40:24,881 I was excited she saw a good show. 683 00:40:24,965 --> 00:40:28,468 Said, "Love to hear what you come up with," but if it's terrible... 684 00:40:28,552 --> 00:40:31,138 It'd be crazy if they said, "We haven't heard it, 685 00:40:31,221 --> 00:40:32,848 -"but you got it." -Totally. 686 00:40:32,931 --> 00:40:34,891 It was an audition. It should've been. 687 00:40:34,975 --> 00:40:39,855 The worst is if they don't choose it, you think, "I could've done a better job." 688 00:40:39,938 --> 00:40:41,606 At least in our case, I was like, 689 00:40:41,690 --> 00:40:43,900 -"I love this song." -We did our best. 690 00:40:43,984 --> 00:40:49,030 "If they don't choose it, that's okay, but this is the best we could do." 691 00:40:49,114 --> 00:40:51,616 It was awesome. We didn't hear anything for two months. 692 00:40:51,700 --> 00:40:53,368 (BOTH LAUGHING) 693 00:40:53,451 --> 00:40:57,581 Then they were like, "Fly to London. See the movie and work with Hans," 694 00:40:57,664 --> 00:40:59,082 -which was awesome. -So cool. 695 00:40:59,166 --> 00:41:01,710 -So badass. -But it was crazy to not hear anything, 696 00:41:01,793 --> 00:41:03,253 then, "Get on a plane." 697 00:41:03,336 --> 00:41:05,088 I'm happy when we get talent. 698 00:41:05,172 --> 00:41:07,841 And the talent's good. 699 00:41:07,924 --> 00:41:11,803 And it has, fortunately, been incredible while I've been doing it. 700 00:41:11,887 --> 00:41:15,849 I want the best song and the best score that we can get. 701 00:41:15,932 --> 00:41:19,060 I felt very lucky to work with the talent that we had. 702 00:41:19,144 --> 00:41:21,354 JASON: When you take part in Bond music, 703 00:41:21,438 --> 00:41:25,275 you're very aware of the history of what you're getting into. 704 00:41:25,358 --> 00:41:29,070 You are in charge of the baton, but just for a little while, 705 00:41:29,154 --> 00:41:31,323 then you're handing it on to the next leg. 706 00:41:33,992 --> 00:41:34,951 (CRICKETS CHIRPING) 707 00:41:43,543 --> 00:41:46,671 JON: I think that the most successful Bond scores 708 00:41:46,755 --> 00:41:52,135 are those that seamlessly combine elements of the Bond theme 709 00:41:52,219 --> 00:41:55,222 and then whatever new music the new story requires. 710 00:42:05,232 --> 00:42:07,817 The number of instances 711 00:42:07,901 --> 00:42:11,821 of the Bond theme being revisited through the years 712 00:42:11,905 --> 00:42:13,949 is just extraordinary. 713 00:42:14,032 --> 00:42:17,494 It's absolutely unique in the history of film music. 714 00:42:17,577 --> 00:42:18,578 Well, hi there. 715 00:42:19,537 --> 00:42:20,747 (LIVE AND LET DIE THEME PLAYING) 716 00:42:24,668 --> 00:42:27,045 JON: When you hear George Martin's arrangement, 717 00:42:27,128 --> 00:42:31,383 it's a much harder-edged rock version than we'd heard before. 718 00:42:31,466 --> 00:42:32,550 (THE SPY WHO LOVED ME THEME PLAYING) 719 00:42:35,095 --> 00:42:39,432 When Marvin Hamlisch does it, it brings the sound of disco and Studio 54 720 00:42:39,516 --> 00:42:41,184 into the world of Bond. 721 00:42:43,228 --> 00:42:45,689 (TOMORROW NEVER DIES THEME PLAYING) 722 00:42:45,772 --> 00:42:47,440 (GUNSHOTS) 723 00:42:50,735 --> 00:42:52,904 And when David Arnold updates the theme, 724 00:42:52,988 --> 00:42:55,240 he throws a little techno into the mix, 725 00:42:55,323 --> 00:42:58,159 making Bond not only orchestral, but also electronic. 726 00:43:06,042 --> 00:43:07,919 Classic sound, modern approach. 727 00:43:08,003 --> 00:43:10,005 And, of course, in No Time To Die, 728 00:43:10,088 --> 00:43:13,508 the James Bond theme is brilliantly deconstructed 729 00:43:13,591 --> 00:43:16,386 so that there are elements of it throughout the film. 730 00:43:16,469 --> 00:43:20,098 Done by somebody with more experience with action pictures than anybody. 731 00:43:20,181 --> 00:43:21,599 Hans Zimmer. 732 00:43:21,683 --> 00:43:24,894 It might be noise to you, but to us, it's making a living. 733 00:43:24,978 --> 00:43:26,479 (ALL LAUGHING) 734 00:43:26,563 --> 00:43:30,567 Hans Zimmer, he was very keen to bring in a lot of the old theme. 735 00:43:30,650 --> 00:43:32,736 He was like, "It's good. We'll use it." 736 00:43:32,819 --> 00:43:35,280 But then he adds Hans Zimmer to it. 737 00:43:35,363 --> 00:43:36,323 (GUNSHOTS) 738 00:43:39,909 --> 00:43:40,952 (BRAKES SCREECHING) 739 00:43:48,460 --> 00:43:49,544 (ENGINE REVVING) 740 00:43:58,178 --> 00:44:04,392 Zimmer comes to this new project well-versed in the history of Bond music. 741 00:44:04,476 --> 00:44:07,187 I don't think I'd ever heard the Bond theme 742 00:44:07,270 --> 00:44:11,524 used in such clever and creative ways in any Bond film to date. 743 00:44:13,777 --> 00:44:15,278 (TIRES SCREECHING) 744 00:44:15,362 --> 00:44:18,239 What people want is that sense of familiarity, 745 00:44:18,323 --> 00:44:21,576 but turned so it catches the light in a slightly different way. 746 00:44:23,495 --> 00:44:27,874 It occurred to both of us that the... 747 00:44:27,957 --> 00:44:31,711 You couldn't put that into Skyfall. It was just too outgoing. 748 00:44:31,795 --> 00:44:33,254 So the issue was, 749 00:44:33,338 --> 00:44:37,133 how do you acknowledge Bond without the meter going to 11? 750 00:44:37,217 --> 00:44:38,551 I think you lost your nerve. 751 00:44:38,635 --> 00:44:41,513 Well, what do you expect, a bloody apology? 752 00:44:41,596 --> 00:44:44,224 You know the rules of the game. You've been playing it long enough. 753 00:44:44,307 --> 00:44:48,561 Tom was looking all the time for ways to weave the Bond theme in. 754 00:44:48,645 --> 00:44:51,022 A good example is at the beginning of Skyfall. 755 00:44:51,106 --> 00:44:54,401 Daniel's out-of-focus figure appears at the end of the corridor. 756 00:44:54,484 --> 00:44:56,069 There's that brass stamp... 757 00:44:57,862 --> 00:44:59,489 And you're like, "I'm in." 758 00:44:59,572 --> 00:45:01,699 He's back! James Bond is back! 759 00:45:02,992 --> 00:45:04,911 That's what's great about the idea. 760 00:45:04,994 --> 00:45:07,122 There are those moments that the fans love. 761 00:45:07,205 --> 00:45:10,125 You know they're gonna love it 'cause they're plain fun. 762 00:45:11,543 --> 00:45:14,045 We've been trained for 60 years 763 00:45:14,129 --> 00:45:17,424 to recognize what the music is doing with the Bond films 764 00:45:17,507 --> 00:45:22,637 in a way that is not the case with any other long-running franchise. 765 00:45:26,933 --> 00:45:31,396 In Casino Royale, the conception is to save the Bond theme 766 00:45:31,479 --> 00:45:33,690 for the very end of the movie. 767 00:45:33,773 --> 00:45:38,111 The whole point of Casino Royale was about this man who becomes 768 00:45:38,194 --> 00:45:41,156 the James Bond we all have come to know and hopefully love. 769 00:45:41,573 --> 00:45:42,907 (GRUNTS) 770 00:45:42,991 --> 00:45:47,120 So it was very important to us that he earned that theme. 771 00:45:47,203 --> 00:45:49,914 The studio were very concerned about it, obviously. 772 00:45:49,998 --> 00:45:53,877 DAVID: The thing that maybe worried them slightly was, 773 00:45:53,960 --> 00:45:57,505 "Why are we watching a James Bond film without the theme?" 774 00:45:57,589 --> 00:46:00,967 They thought that was an intellectual step too far for an audience, 775 00:46:01,050 --> 00:46:03,052 that they wouldn't understand. 776 00:46:03,136 --> 00:46:05,180 Number one, you have a brand-new Bond. 777 00:46:05,263 --> 00:46:07,474 Nobody's seen Daniel Craig do this before. 778 00:46:07,557 --> 00:46:09,142 So the thought was, 779 00:46:09,225 --> 00:46:12,228 "Maybe we need the Bond theme to remind us of who he is." 780 00:46:14,189 --> 00:46:16,524 My counterpoint was, 781 00:46:16,608 --> 00:46:20,695 we can't be ahead of where James Bond is in the film, 782 00:46:20,778 --> 00:46:23,031 but what would be more interesting 783 00:46:23,114 --> 00:46:27,202 would be teasing those elements throughout the film. 784 00:46:27,285 --> 00:46:30,580 When he first puts on the tuxedo in the bathroom... 785 00:46:35,460 --> 00:46:40,006 and he sees himself and considers himself in the reflection. 786 00:46:40,089 --> 00:46:43,384 And in that shot, you're thinking about 20 other movies. 787 00:46:43,468 --> 00:46:47,138 You're thinking about all the other times you've seen Bond in a tuxedo. 788 00:46:47,222 --> 00:46:49,057 (CHUCKLES) 789 00:46:49,140 --> 00:46:52,268 We're looking at him like, "He's getting closer." 790 00:46:52,352 --> 00:46:55,188 Then at the end, the first time he says the line, 791 00:46:55,271 --> 00:46:58,233 there's been an opportunity to say, "Bond. James Bond." 792 00:46:58,316 --> 00:46:59,692 Welcome to the Hotel Splendide. Your name, sir? 793 00:46:59,776 --> 00:47:02,487 James Bond. You'll find the reservation under "Beach." 794 00:47:02,570 --> 00:47:04,531 Same with ordering the drink. 795 00:47:04,614 --> 00:47:05,823 Vodka martini. 796 00:47:05,907 --> 00:47:08,326 Shaken or stirred? Do I look like I give a damn? 797 00:47:08,409 --> 00:47:10,662 DAVID: So we are done with convention in this film. 798 00:47:10,745 --> 00:47:14,165 Then, right at the end, when Mr. White says, "Who are you?" 799 00:47:14,249 --> 00:47:16,292 He says, "The name's Bond. James Bond." 800 00:47:16,376 --> 00:47:18,378 We've been waiting two hours for that. 801 00:47:20,547 --> 00:47:23,174 So when Mr. White gets out of his car, 802 00:47:23,258 --> 00:47:26,344 I'm not really playing what's happening to Mr. White. 803 00:47:27,470 --> 00:47:29,556 We're on the audience's side now, 804 00:47:29,639 --> 00:47:31,140 waiting for this to happen. 805 00:47:31,224 --> 00:47:32,725 -Hello? -MAN: Mr. White. 806 00:47:33,518 --> 00:47:34,477 We need to talk. 807 00:47:35,228 --> 00:47:36,104 Who is this? 808 00:47:36,187 --> 00:47:37,313 -(GUNSHOTS) -(GRUNTS) 809 00:47:38,356 --> 00:47:39,857 He gets shot in the knee. 810 00:47:39,941 --> 00:47:41,985 (GROANING) 811 00:47:43,069 --> 00:47:45,029 He's coming up the steps. 812 00:47:45,113 --> 00:47:48,741 There's even a tambourine in it, the famous rhythm for the Bond theme. 813 00:47:49,784 --> 00:47:51,578 Then the trombones start. 814 00:47:53,913 --> 00:47:58,918 Then you see Bond's feet on the steps as he crawls up towards him. 815 00:47:59,002 --> 00:48:02,589 So you know you're kind of careering towards this moment. 816 00:48:02,672 --> 00:48:05,300 And we need access to it. We need permission. 817 00:48:07,427 --> 00:48:08,386 The name's Bond. 818 00:48:09,637 --> 00:48:10,805 James Bond. 819 00:48:16,102 --> 00:48:18,646 (BOND THEME MUSIC PLAYING) 820 00:48:18,730 --> 00:48:23,109 I've seen it three or four times in the cinema, and everyone went nuts. 821 00:48:35,079 --> 00:48:37,123 I didn't even write it, you know. 822 00:48:37,206 --> 00:48:41,169 All I did was position it in such a way that enabled that to happen. 823 00:48:41,252 --> 00:48:44,547 The recording of the James Bond theme at the end of Casino Royale 824 00:48:44,631 --> 00:48:48,384 was the most exciting recording experience I'd had in any film I'd done. 825 00:48:48,468 --> 00:48:50,803 The band were waiting for that moment, 826 00:48:50,887 --> 00:48:54,349 and this thing just exploded out of the speakers. 827 00:48:54,432 --> 00:48:58,102 He's back, and the music's back, and the theme is back. 828 00:49:09,238 --> 00:49:12,950 We used the David Arnold arrangement and recording at the end of Skyfall. 829 00:49:13,034 --> 00:49:16,621 There was a moment where I thought, "Should I be writing something else? 830 00:49:16,704 --> 00:49:19,582 "A different arrangement?" But it barked so well. 831 00:49:19,666 --> 00:49:21,959 It was just a great performance. 832 00:49:22,043 --> 00:49:24,253 I was gonna be chasing it, 833 00:49:24,337 --> 00:49:26,589 try to make it as good, in which case, why bother? 834 00:49:26,673 --> 00:49:29,467 Or doing something different for the sake of it, 835 00:49:29,550 --> 00:49:31,469 and, you could argue, why bother? 836 00:49:36,891 --> 00:49:39,811 DON: After Arnold had created that version of the Bond theme, 837 00:49:39,894 --> 00:49:41,854 it wound up being used again and again 838 00:49:41,938 --> 00:49:44,524 because, to cop a phrase, "Nobody does it better." 839 00:49:44,607 --> 00:49:46,192 (MUSIC ENDS) 840 00:49:48,653 --> 00:49:49,862 (ALL CHEERING) 841 00:49:49,946 --> 00:49:52,323 Sounded great, that one. Thank you, guys. 842 00:49:58,538 --> 00:50:01,207 If you look at the entire history of Bond music, 843 00:50:01,290 --> 00:50:03,835 there are so many fascinating tales of incidences 844 00:50:03,918 --> 00:50:05,962 that happened during recording sessions. 845 00:50:06,045 --> 00:50:09,090 PAUL: It's such a big opportunity, doing a Bond theme. 846 00:50:09,173 --> 00:50:13,678 There is a spirituality to how these things happened in the studio. 847 00:50:13,761 --> 00:50:16,889 One story is that Nancy Sinatra came to London 848 00:50:16,973 --> 00:50:19,058 to record You Only Live Twice. 849 00:50:19,142 --> 00:50:21,978 NANCY: I was really scared going there 850 00:50:22,061 --> 00:50:26,816 because I knew this was nitty-gritty, hardcore singing. 851 00:50:26,899 --> 00:50:31,195 There was literally 20, 25 photographers and press people in the studio, 852 00:50:31,279 --> 00:50:33,656 which is an impossible way to record. 853 00:50:33,740 --> 00:50:35,658 If John Barry hadn't been there, 854 00:50:35,742 --> 00:50:37,618 I would have just turned around 855 00:50:37,702 --> 00:50:40,663 and run back to the hotel because I was so scared. 856 00:50:40,747 --> 00:50:44,375 I think I tried to squeak out two or three takes. 857 00:50:44,459 --> 00:50:46,294 I was a wreck. 858 00:50:46,377 --> 00:50:50,798 They had to piece the recording together from as many as 25 different takes. 859 00:50:52,800 --> 00:50:55,470 In some ways, Thunderball is my favorite story 860 00:50:55,553 --> 00:50:57,346 because Tom Jones comes in, 861 00:50:57,430 --> 00:51:01,976 has to hit this huge note at the end and hold it forever. 862 00:51:02,059 --> 00:51:03,978 TOM: John said, "The last note... 863 00:51:04,061 --> 00:51:05,813 "the music will go on, 864 00:51:05,897 --> 00:51:07,440 "but hold it as long as you can. 865 00:51:07,523 --> 00:51:09,776 Okay, here we go, live." 866 00:51:09,859 --> 00:51:13,780 As soon as I hit "ball," I closed my eyes, I can't hold it any longer. 867 00:51:13,863 --> 00:51:15,782 The room was spinning. 868 00:51:15,865 --> 00:51:18,910 I had to hold on to the sides of the booth to stop myself falling over. 869 00:51:18,993 --> 00:51:20,912 John said, "That's it. We got it." 870 00:51:20,995 --> 00:51:24,040 DON: He did it in one take because he couldn't sing that again. 871 00:51:24,123 --> 00:51:26,375 It's become part of Bond's mythology. 872 00:51:27,752 --> 00:51:29,504 SAM: With Writing's on the Wall, 873 00:51:29,587 --> 00:51:31,589 me and Jimmy wrote it in 20 minutes, 874 00:51:31,672 --> 00:51:34,884 recorded it 20 minutes later, that was it. 875 00:51:34,967 --> 00:51:39,639 We were actually re-recording a vocal to my song Lay Me Down. 876 00:51:39,722 --> 00:51:42,600 Jimmy just played some chords, and it just flowed. 877 00:51:44,185 --> 00:51:47,355 After writing it, we went next door... 878 00:51:47,438 --> 00:51:50,191 ...to RAK Studio 1 and recorded it. 879 00:51:50,274 --> 00:51:51,859 And that was the take. 880 00:51:53,861 --> 00:51:58,241 The vocal is the demo vocal, the first vocal I ever did for the song. 881 00:51:58,324 --> 00:52:01,244 You can hear the piano in the back. 882 00:52:01,327 --> 00:52:03,788 We're playing just live in the room. 883 00:52:06,082 --> 00:52:09,418 It was very special that it was the first take. 884 00:52:09,502 --> 00:52:11,754 It's all just in that moment. 885 00:52:11,838 --> 00:52:17,718 ♪♪ The writing's on the wall 886 00:52:19,637 --> 00:52:26,602 ♪♪ The writing's on the wall ♪♪ 887 00:52:27,019 --> 00:52:30,898 When I heard that all come together, it was a really magical day. 888 00:52:30,982 --> 00:52:32,817 Such a big deal, a Bond song. 889 00:52:32,900 --> 00:52:34,443 It's the dream gig to get. 890 00:52:41,284 --> 00:52:43,619 DON: If you think about it historically, 891 00:52:43,703 --> 00:52:48,791 it must be the series that has stayed relevant and timeless for the longest. 892 00:52:55,756 --> 00:53:00,136 At the same time, it's managed to do that by not actually staying timeless, 893 00:53:00,219 --> 00:53:04,557 but embracing wherever we were at whatever point in time we were. 894 00:53:04,640 --> 00:53:06,517 FINNEAS: It's a snapshot. 895 00:53:06,601 --> 00:53:10,062 The coolest thing about the Bond franchise is it's set in present-day, 896 00:53:10,146 --> 00:53:12,773 so it's got to reflect the world that we live in. 897 00:53:12,857 --> 00:53:16,944 If you went theme song by theme song chronologically 898 00:53:17,028 --> 00:53:18,654 throughout Bond history 899 00:53:18,738 --> 00:53:23,159 you also get a sense of human pop culture at the time. 900 00:53:23,242 --> 00:53:27,121 Once you switch from Sean Connery and the big John Barry classics, 901 00:53:27,204 --> 00:53:30,166 it's the Roger Moore era, which required different themes. 902 00:53:30,249 --> 00:53:34,921 And the music of the Roger Moore era signals a little step shift. 903 00:53:35,004 --> 00:53:39,467 We'd got into the songwriter-performers, like Paul McCartney, 904 00:53:39,550 --> 00:53:42,470 who would compose the song and sing it themselves, 905 00:53:42,553 --> 00:53:44,764 and they would do it in their style. 906 00:53:47,099 --> 00:53:53,064 ♪♪ When you were young and Your heart was an open book ♪♪ 907 00:53:54,273 --> 00:53:55,900 Broccoli and Saltzman 908 00:53:55,983 --> 00:53:59,946 had wanted a good theme tune. 909 00:54:00,029 --> 00:54:04,617 One of the team asked Paul McCartney if he would write a song. 910 00:54:04,700 --> 00:54:06,702 PAUL: I said, "Okay, send me the book around." 911 00:54:06,786 --> 00:54:10,790 They didn't have a script then, I don't think. He sent me the book. 912 00:54:10,873 --> 00:54:13,334 I read it. I thought it was pretty good. 913 00:54:13,417 --> 00:54:15,544 And that afternoon I wrote the song. 914 00:54:15,628 --> 00:54:17,797 It was co-produced with George Martin. 915 00:54:17,880 --> 00:54:21,217 I worked with George, which I hadn't done since the Beatles. 916 00:54:21,300 --> 00:54:23,594 George took an acetate of it out to, 917 00:54:23,678 --> 00:54:26,222 I think they were filming it in the Bahamas. 918 00:54:26,305 --> 00:54:28,057 He took it to Harry Saltzman. 919 00:54:28,140 --> 00:54:30,851 GEORGE: And I thought, "Well, he's gonna look me over." 920 00:54:30,935 --> 00:54:33,729 And at the end of it, he said, "By the way, 921 00:54:33,813 --> 00:54:37,483 "who do you think we should get to sing the song?" 922 00:54:37,566 --> 00:54:41,153 I said, "Well, you do have Paul McCartney." 923 00:54:41,237 --> 00:54:44,156 "Yeah. Yeah. What do you think of Thelma Houston?" 924 00:54:44,240 --> 00:54:45,908 I said, "I think she's great, 925 00:54:47,118 --> 00:54:48,327 "but Paul..." 926 00:54:48,411 --> 00:54:50,204 "How about Aretha Franklin?" 927 00:54:50,287 --> 00:54:51,956 I said, "Fantastic." 928 00:54:52,039 --> 00:54:54,041 But Paul and I, 929 00:54:54,125 --> 00:54:58,045 we suddenly realized that I had to put it to him as delicately as I could, 930 00:54:58,129 --> 00:55:01,590 that if he didn't take Paul, he wouldn't get the song. 931 00:55:01,674 --> 00:55:04,260 George said, "This is the real track, lads. 932 00:55:04,343 --> 00:55:05,469 "Hope you like it." 933 00:55:05,553 --> 00:55:07,221 ♪♪ To live and let die 934 00:55:10,349 --> 00:55:12,184 ♪♪ Live and let die 935 00:55:14,145 --> 00:55:16,272 ♪♪ Live and let die ♪♪ 936 00:55:16,355 --> 00:55:17,690 It was rock and roll. 937 00:55:17,773 --> 00:55:20,609 You hadn't had a Bond song that sounded like that. 938 00:55:25,364 --> 00:55:27,241 That blew me off my seat. 939 00:55:30,036 --> 00:55:33,622 I remember Dad playing the Paul McCartney song. 940 00:55:33,706 --> 00:55:36,083 He had big speakers in the living room. 941 00:55:36,167 --> 00:55:38,461 My sister and I just going crazy. 942 00:55:38,544 --> 00:55:40,880 Going absolutely crazy. 943 00:55:40,963 --> 00:55:44,633 It's a bit of everything. There's a strange reggae interlude. 944 00:55:44,717 --> 00:55:49,180 It's not my favorite part of the song, I confess, but it's there. 945 00:55:49,263 --> 00:55:51,140 ♪♪ What does it matter to ya ♪♪ 946 00:55:51,223 --> 00:55:54,852 "What's it gonna matter..." No! Paul, what are you thinking? 947 00:55:56,103 --> 00:55:58,105 Shouldn't make sense, but it does. 948 00:55:58,189 --> 00:56:01,067 And it remains one of the great Bond themes. 949 00:56:01,150 --> 00:56:02,443 Wouldn't you agree? 950 00:56:21,796 --> 00:56:26,258 MAN: Live and Let Die, which got to number 9 in the summer of 1973. 951 00:56:26,342 --> 00:56:29,845 With James Bond's changing, you get a change in the music. 952 00:56:33,390 --> 00:56:37,311 Things that bring him along every time into a new era. 953 00:56:37,394 --> 00:56:40,397 Again, John Barry's not available for The Spy Who Loved Me, 954 00:56:40,481 --> 00:56:42,191 so what do they do? 955 00:56:42,274 --> 00:56:46,487 They get the hottest young composer then working in America, 956 00:56:47,279 --> 00:56:48,447 Marvin Hamlisch. 957 00:56:50,491 --> 00:56:53,285 Just got back from London. Yes. Just got back. 958 00:56:53,369 --> 00:56:56,288 I like it very much. I worked on a wonderful new picture, 959 00:56:56,372 --> 00:56:59,667 -which is the new James Bond picture. -WOMAN: Hey! 960 00:56:59,750 --> 00:57:02,878 I thought that was the reason they hired me, because of the similarity 961 00:57:02,962 --> 00:57:04,797 (AUDIENCE LAUGHING) 962 00:57:04,880 --> 00:57:07,341 between myself and James Bond. 963 00:57:07,424 --> 00:57:08,676 -And James Bond? -Yes. 964 00:57:08,759 --> 00:57:11,303 Marvin Hamlisch was a character. 965 00:57:11,387 --> 00:57:15,766 He was a performer-composer, and he was another musical genius. 966 00:57:15,850 --> 00:57:19,812 I remember Marvin Hamlisch sitting at our piano 967 00:57:19,895 --> 00:57:22,148 we had in the upstairs kitchen 968 00:57:22,231 --> 00:57:26,235 where he banged out Nobody Does It Better and sang it. 969 00:57:27,903 --> 00:57:30,781 His voice was very different to Carly Simon. 970 00:57:30,865 --> 00:57:32,283 (LAUGHING) 971 00:57:32,366 --> 00:57:36,162 But, boy, did you know then that that was an incredible song. 972 00:57:36,245 --> 00:57:38,289 (PIANO MUSIC PLAYING) 973 00:57:42,042 --> 00:57:45,838 It's so wonderful to hear it that way, before you orchestrate it, 974 00:57:45,921 --> 00:57:48,549 before you get a professional singer, 975 00:57:48,632 --> 00:57:52,553 and you see the enthusiasm that the composer has for it. 976 00:58:02,730 --> 00:58:04,648 I was thinking about this film, 977 00:58:04,732 --> 00:58:07,860 about how everything is bigger-than-life on a Bond film, 978 00:58:07,943 --> 00:58:11,238 everything is bigger-than-life, so I went just the opposite. 979 00:58:16,785 --> 00:58:18,954 Is this really what they do in Siberia? 980 00:58:19,038 --> 00:58:21,582 Yes, but not how they do it. 981 00:58:26,128 --> 00:58:30,466 I suppose he wanted to get away from the John Barry style 982 00:58:30,549 --> 00:58:33,510 and make his own style. I think he succeeded. 983 00:58:33,594 --> 00:58:34,845 It's very romantic. 984 00:58:41,644 --> 00:58:44,772 This is where we get to see Bond emotionally stripped bare. 985 00:58:44,855 --> 00:58:46,607 It was the song that did that. 986 00:58:49,193 --> 00:58:51,904 MARVIN: I was working with my lyricist Carole Bayer Sager. 987 00:58:51,987 --> 00:58:55,282 I said, "What do you think could be said about James Bond 988 00:58:55,366 --> 00:58:56,825 "after all these years?" 989 00:58:56,909 --> 00:59:00,704 She came up with the title, a modest title 990 00:59:00,788 --> 00:59:02,706 called Nobody Does It Better. 991 00:59:02,790 --> 00:59:06,460 We decided it was that vein, we should have Carly Simon sing it. 992 00:59:08,504 --> 00:59:13,425 ♪♪ Nobody does it better 993 00:59:15,761 --> 00:59:21,350 ♪♪ Makes me feel sad For the rest ♪♪ 994 00:59:21,433 --> 00:59:25,354 You're moving with the times into a pop era. 995 00:59:25,437 --> 00:59:29,316 I remember hearing on my aunt's car, Nobody Does It Better. 996 00:59:29,400 --> 00:59:32,486 You think, "Wow, that's a James Bond song." 997 00:59:32,569 --> 00:59:35,864 Such a smart thing to do. You're drawing in so many other people. 998 00:59:38,075 --> 00:59:45,082 ♪♪ I wasn't lookin' but Somehow you found me 999 00:59:45,165 --> 00:59:51,755 ♪♪ I tried to hide from your Love light 1000 00:59:51,839 --> 00:59:54,925 ♪♪ But like heaven above me 1001 00:59:55,009 --> 00:59:57,970 ♪♪ The spy who loved me ♪♪ 1002 00:59:58,053 --> 01:00:02,057 There's something about it feeling like it's from the woman's perspective, 1003 01:00:02,141 --> 01:00:08,314 that it's both celebratory and also slyly satirical. 1004 01:00:08,397 --> 01:00:13,277 Over the years, Nobody Does It Better has become synonymous with Bond. 1005 01:00:13,360 --> 01:00:15,946 Even to this day, when plugging Bond films, 1006 01:00:16,030 --> 01:00:17,656 you see Nobody Does It Better. 1007 01:00:17,740 --> 01:00:20,951 ♪♪ Baby, you're the best ♪♪ 1008 01:00:34,381 --> 01:00:37,468 Two-three-three, take one. 1009 01:00:37,551 --> 01:00:41,513 We were nearly 20 years into Bonds, and there'd been a lot of big hits. 1010 01:00:41,597 --> 01:00:44,058 If you've got 60 years of Bond songs, 1011 01:00:44,141 --> 01:00:48,103 not all, however many there are, will be number-one standards. 1012 01:00:54,151 --> 01:00:58,072 I still never know sometimes why things just don't come together. 1013 01:00:58,155 --> 01:01:00,240 SHIRLEY: That song didn't work. 1014 01:01:00,324 --> 01:01:03,243 Hated it. That's why I've never sung it in my act. 1015 01:01:03,952 --> 01:01:05,454 (STATIC OVER RADIO) 1016 01:01:12,836 --> 01:01:16,673 I suppose everybody thinks, "If only ours was as strong as Goldfinger." 1017 01:01:16,757 --> 01:01:19,426 All Time High was a nice song. 1018 01:01:19,510 --> 01:01:21,428 Yeah, it's all right, you know? 1019 01:01:21,512 --> 01:01:23,305 It's not my favorite. 1020 01:01:23,389 --> 01:01:26,100 The gentle ones have never been what I gravitate to, 1021 01:01:26,183 --> 01:01:28,394 but it works in the romantic sense of it. 1022 01:01:28,477 --> 01:01:30,312 I think they were lacking edge. 1023 01:01:30,396 --> 01:01:32,940 And it all seemed a bit M.O.R. 1024 01:01:33,023 --> 01:01:35,692 I'd have said anything to get a foot in the door. 1025 01:01:35,776 --> 01:01:38,278 (LAUGHING) 1026 01:01:38,362 --> 01:01:42,658 I rolled up to this party and I saw Cubby Broccoli across the room. 1027 01:01:42,741 --> 01:01:46,078 And I had that confidence of youth. 1028 01:01:46,161 --> 01:01:49,706 I said, "When are you gonna have a decent theme song again?" 1029 01:01:49,790 --> 01:01:51,792 (LAUGHING) And he said, 1030 01:01:51,875 --> 01:01:53,001 "You wanna do it?" 1031 01:01:53,085 --> 01:01:54,503 I said, "Hell, yes!" 1032 01:01:59,633 --> 01:02:00,467 Excuse me. 1033 01:02:00,551 --> 01:02:02,177 -Aren't you... -Bon. 1034 01:02:02,803 --> 01:02:04,221 Simon LeBon. 1035 01:02:05,514 --> 01:02:06,974 (POP MUSIC PLAYING) 1036 01:02:13,147 --> 01:02:16,108 Duran Duran, I thought that song modernized Bond. 1037 01:02:16,191 --> 01:02:20,362 It was hipper than it was getting to be at that point. 1038 01:02:20,446 --> 01:02:22,322 They were perfect for it. 1039 01:02:22,406 --> 01:02:26,076 They were the embodiment of the '80s, that sophistication, the suits. 1040 01:02:26,160 --> 01:02:28,912 It was just like, "Yeah, of course." 1041 01:02:28,996 --> 01:02:30,831 They were big, big Bond fans. 1042 01:02:30,914 --> 01:02:34,793 John telling you everything about every Bond movie imaginable. 1043 01:02:34,877 --> 01:02:36,962 I was getting the whole Bond experience. 1044 01:02:37,045 --> 01:02:39,715 I fell in love with the cars, the clothes, the girls. 1045 01:02:39,798 --> 01:02:44,219 But over time you realized how impactful the music was. 1046 01:02:44,303 --> 01:02:48,474 John Barry was the guy that gave pathos to Bond. 1047 01:02:48,557 --> 01:02:51,518 I must have written over 100 songs with John Barry, 1048 01:02:51,602 --> 01:02:54,980 but I've never written anything with him in the same room. 1049 01:02:55,063 --> 01:02:58,984 He wasn't very good at collaboration in the traditional sense. 1050 01:03:00,110 --> 01:03:02,237 John was amazing, I thought. 1051 01:03:02,321 --> 01:03:05,365 He was a dick, but he was an amazing guy. 1052 01:03:10,412 --> 01:03:15,667 Sometimes the collaborations that we had him get involved with 1053 01:03:15,751 --> 01:03:17,211 were challenging for him. 1054 01:03:18,670 --> 01:03:21,673 They just used to... I said, "How do you guys work?" 1055 01:03:21,757 --> 01:03:27,304 "We'll meet you at this rehearsal room at 11:00 one morning." We went in there. 1056 01:03:27,387 --> 01:03:29,681 And then they used to sit around. 1057 01:03:29,765 --> 01:03:33,101 Play a bit here, play a bit there, throw out ideas. 1058 01:03:33,185 --> 01:03:35,729 It was a totally alien way of working. 1059 01:03:35,812 --> 01:03:39,316 He was a tricky guy, but he knew what he wanted. 1060 01:03:39,399 --> 01:03:41,777 He didn't know how to get it politely. 1061 01:03:41,860 --> 01:03:44,154 -But the song was number one, so... -(CLEARS THROAT) 1062 01:03:45,280 --> 01:03:49,326 ♪♪ Until we dance Into the fire 1063 01:03:49,409 --> 01:03:53,747 ♪♪ That fatal kiss Is all we need ♪♪ 1064 01:03:53,830 --> 01:03:57,501 The piece of music we made was a Duran Duran piece of music. 1065 01:03:57,584 --> 01:03:59,753 It had beat, that... (IMITATING DRUM BEATS) 1066 01:04:04,299 --> 01:04:08,845 There's a lot of energy in our Bond theme that is still a bit of a rarity. 1067 01:04:11,723 --> 01:04:16,603 JOHN: I wrote them as long as I could find something slightly new to do. 1068 01:04:16,687 --> 01:04:21,066 You had to keep within the bounds, and I think I exhausted the bounds. 1069 01:04:21,149 --> 01:04:24,194 And that's when I thought I better... 1070 01:04:24,278 --> 01:04:27,739 I better cut out of the situation. 1071 01:04:27,823 --> 01:04:32,578 In 1987, Variety did a special issue commemorating 25 years of James Bond, 1072 01:04:32,661 --> 01:04:35,289 and John Barry took out a full-page ad 1073 01:04:35,372 --> 01:04:38,917 to congratulate his old pal Cubby Broccoli, 1074 01:04:39,001 --> 01:04:42,754 uh, and to say thank you for the opportunity that it had presented. 1075 01:04:42,838 --> 01:04:44,715 It was a nice way to go out. 1076 01:04:46,425 --> 01:04:49,928 He always would be the man who created the sound of Bond. 1077 01:04:50,012 --> 01:04:54,558 But I can entirely see why there came a point where he just went, 1078 01:04:54,641 --> 01:04:56,476 "Not anymore." 1079 01:04:56,560 --> 01:04:59,855 And had an exquisite later career. 1080 01:05:07,863 --> 01:05:12,826 We've all got a list of people we think should've done a Bond song and never did. 1081 01:05:12,909 --> 01:05:15,162 Although, never say never. 1082 01:05:15,245 --> 01:05:17,831 Why hasn't Beyonce done one? She'd be fantastic. 1083 01:05:17,914 --> 01:05:21,084 Prince, or... Whitney Houston would've killed it. 1084 01:05:21,168 --> 01:05:23,587 Lana Del Rey. She should be the next Bond girl. 1085 01:05:23,670 --> 01:05:24,671 Stormzy. 1086 01:05:24,755 --> 01:05:26,048 I think Laura Mvula. 1087 01:05:26,131 --> 01:05:29,134 A Rihanna Bond song. Rihanna Bond song would be awesome. 1088 01:05:29,217 --> 01:05:31,011 Why didn't Queen get a Bond song? 1089 01:05:31,094 --> 01:05:33,722 Rami had to say Queen. It's just in his contract. 1090 01:05:33,805 --> 01:05:37,726 He has to promote Queen almost always. His contract's up in a year. 1091 01:05:37,809 --> 01:05:40,020 Missed opportunity? Perhaps. 1092 01:05:40,103 --> 01:05:43,190 There are people that have written and recorded songs 1093 01:05:43,273 --> 01:05:45,400 that for some reason never found favor. 1094 01:05:45,484 --> 01:05:46,735 Blondie, 1095 01:05:46,818 --> 01:05:47,778 Ace of Base, 1096 01:05:47,861 --> 01:05:48,862 Alice Cooper, 1097 01:05:48,945 --> 01:05:50,489 Pulp, Saint Etienne, 1098 01:05:50,572 --> 01:05:51,740 Radiohead. 1099 01:05:51,823 --> 01:05:54,201 With Spectre, we were talking to Radiohead. 1100 01:05:54,284 --> 01:05:57,245 Obviously, Sam and Daniel were huge fans. 1101 01:05:57,329 --> 01:05:59,247 This song is called Spectre. 1102 01:06:03,460 --> 01:06:06,129 Not to be confused with the James Bond film. 1103 01:06:06,213 --> 01:06:07,589 (CROWD LAUGHING) 1104 01:06:11,301 --> 01:06:14,846 Radiohead came in, all five of them, to talk about it. 1105 01:06:14,930 --> 01:06:18,225 I was slightly starstruck. And they did write something. 1106 01:06:22,771 --> 01:06:25,148 Which we couldn't use because they'd already... 1107 01:06:25,232 --> 01:06:29,194 They'd never released it, but it had been played on a live album. 1108 01:06:29,277 --> 01:06:30,904 And that wasn't the brief. 1109 01:06:30,987 --> 01:06:32,906 It needs to be an original song, 1110 01:06:32,989 --> 01:06:36,451 otherwise it's not eligible for Academy Awards. 1111 01:06:36,535 --> 01:06:38,620 But also it deserves to be a song, 1112 01:06:38,704 --> 01:06:41,540 you want to feel like it's written just for the movie. 1113 01:06:41,623 --> 01:06:44,793 We had to say, "We can't use this," even though it was great. 1114 01:06:44,876 --> 01:06:49,297 And we went off and explored other possibilities, one of whom was Sam. 1115 01:06:49,381 --> 01:06:52,634 Then Thom Yorke said, "We've written another song." 1116 01:06:53,385 --> 01:06:55,095 It was like, "Oh, no! 1117 01:06:55,178 --> 01:06:56,388 (LAUGHING) 1118 01:06:56,471 --> 01:06:58,098 "Now you tell me." 1119 01:06:58,181 --> 01:06:59,516 And he played it, 1120 01:06:59,599 --> 01:07:02,436 and it was absolutely beautiful and very melancholy. 1121 01:07:03,603 --> 01:07:06,732 ♪♪ I'm lost 1122 01:07:06,815 --> 01:07:09,860 ♪♪ I'm a ghost 1123 01:07:10,777 --> 01:07:14,281 ♪♪ Dispossessed 1124 01:07:14,364 --> 01:07:17,284 ♪♪ Taken host ♪♪ 1125 01:07:19,161 --> 01:07:23,039 I loved it. I still play it because I love Radiohead so much. 1126 01:07:23,123 --> 01:07:25,667 It probably would've worked brilliantly, 1127 01:07:25,751 --> 01:07:28,336 but it was a beat too late by that time. 1128 01:07:28,420 --> 01:07:31,131 We have to do the graphics for the main title 1129 01:07:31,214 --> 01:07:33,592 and the images have to match the words. 1130 01:07:33,675 --> 01:07:37,929 Even the fact that we had a conversation with Radiohead is for me a... 1131 01:07:38,013 --> 01:07:39,848 It was a dream come true. 1132 01:07:39,931 --> 01:07:45,896 ♪♪ Spectre has come for me ♪♪ 1133 01:07:57,073 --> 01:07:59,284 SHIRLEY: I love that Radiohead song, 1134 01:07:59,367 --> 01:08:02,204 but, you know, you just get lucky sometimes, 1135 01:08:02,287 --> 01:08:04,122 and you get unlucky sometimes, too. 1136 01:08:04,206 --> 01:08:07,375 It's not a barometer of whether you're better than anyone else, 1137 01:08:07,459 --> 01:08:10,462 it's just whether you get that lucky call. 1138 01:08:11,129 --> 01:08:12,839 Please. 1139 01:08:12,923 --> 01:08:16,176 DON: We think about all of these things that might have been. 1140 01:08:16,259 --> 01:08:18,970 And maybe, most of all, what if 1141 01:08:19,054 --> 01:08:22,724 Amy Winehouse had been able to do the song for Quantum of Solace? 1142 01:08:24,976 --> 01:08:26,603 MARC: Barbara and Michael and I, 1143 01:08:26,686 --> 01:08:29,981 we sat down and discussed different artists. 1144 01:08:30,065 --> 01:08:33,318 We thought Amy would be a great choice. 1145 01:08:33,401 --> 01:08:37,572 She had the smoky Soho British roots. 1146 01:08:37,656 --> 01:08:42,035 There was a danger to Amy Winehouse that would've tied very well with Bond. 1147 01:08:42,118 --> 01:08:44,162 Amy would've done a brilliant one, 1148 01:08:44,246 --> 01:08:47,207 given her influence across British music since. 1149 01:08:47,290 --> 01:08:51,461 There's definitely influence from her within Adele's delivery, I think. 1150 01:08:52,546 --> 01:08:54,548 We had a meeting, 1151 01:08:54,631 --> 01:08:57,592 and she was extraordinary. 1152 01:08:57,676 --> 01:09:03,473 She was a combination of effervescence and fragility. 1153 01:09:03,557 --> 01:09:06,726 And we sat at the table, 1154 01:09:06,810 --> 01:09:10,146 she wanted to know the emotional theme of the film. 1155 01:09:10,230 --> 01:09:13,358 And she asked for a notebook and she was writing... 1156 01:09:16,319 --> 01:09:19,531 during the whole time I was talking, taking notes. 1157 01:09:19,614 --> 01:09:24,995 And Quantum of Solace was about him having his heart broken 1158 01:09:25,078 --> 01:09:28,748 and him realizing that revenge doesn't fill the void. 1159 01:09:30,542 --> 01:09:34,880 And when she left, she left the paper behind, 1160 01:09:37,007 --> 01:09:40,176 and she had just written "Blake." 1161 01:09:42,053 --> 01:09:45,557 "Blake, Blake, Blake, Blake, Blake, Blake, Blake." 1162 01:09:49,561 --> 01:09:55,025 She clearly wasn't in a place where she could do her work. 1163 01:09:59,279 --> 01:10:03,241 She was exceptional, exceptional talent, 1164 01:10:03,325 --> 01:10:07,454 and seemed like a really sweet, lovely person. 1165 01:10:07,537 --> 01:10:10,040 I'll never forget it. I'll never forget her. 1166 01:10:13,209 --> 01:10:18,632 The loss of Amy Winehouse leaves a kind of lingering shadow 1167 01:10:18,715 --> 01:10:21,468 that the Jack White song really couldn't escape. 1168 01:10:24,054 --> 01:10:26,181 He's a longtime Bond fan, 1169 01:10:26,264 --> 01:10:29,100 so he comes in and does Another Way to Die, 1170 01:10:29,184 --> 01:10:31,519 which is a duet with Alicia Keys. 1171 01:10:31,603 --> 01:10:35,398 First time that there's a duet in the history of Bond songs. 1172 01:10:35,482 --> 01:10:37,651 The best thing about it being the only duet, 1173 01:10:37,734 --> 01:10:40,445 strictly for pub quizzes in Britain. 1174 01:10:40,528 --> 01:10:42,405 That's its number-one appeal. 1175 01:10:54,751 --> 01:10:56,211 It was really raucous. 1176 01:10:56,294 --> 01:10:59,381 That's what I like about it. In your face, very bold. 1177 01:10:59,464 --> 01:11:03,259 ♪♪ Yeah, a door left open A woman walking by 1178 01:11:03,343 --> 01:11:06,304 ♪♪ A drop in the water A look in the eye ♪♪ 1179 01:11:06,388 --> 01:11:09,933 I'd always wanted to do it, and here it might happen. 1180 01:11:10,016 --> 01:11:12,602 I thought, "This is also a great time for me 1181 01:11:12,686 --> 01:11:15,438 "to put things in that they would never have approved of 1182 01:11:15,522 --> 01:11:17,524 "if they had a year to think about it." (CHUCKLING) 1183 01:11:18,900 --> 01:11:20,235 The guitar solo alone, 1184 01:11:20,318 --> 01:11:23,571 you would never expect a guitar solo like that 1185 01:11:23,655 --> 01:11:25,907 to be part of any major Hollywood production, 1186 01:11:25,991 --> 01:11:27,659 let alone a James Bond song. 1187 01:11:31,913 --> 01:11:34,290 CELESTE: I am a huge fan of both of them. 1188 01:11:34,374 --> 01:11:37,961 I just really appreciated that Bond was daring enough 1189 01:11:38,044 --> 01:11:39,963 to bring these two people together, 1190 01:11:40,046 --> 01:11:42,882 whether it was going to work for everybody or not. 1191 01:11:42,966 --> 01:11:46,803 It's great when they choose people who will try to break it a little bit, 1192 01:11:46,886 --> 01:11:48,555 which is important with Bond. 1193 01:11:48,638 --> 01:11:52,475 It's the number-one most divisive thing I've ever been a part of. 1194 01:11:52,559 --> 01:11:55,770 I remember telling the engineer, "Some people won't like this song." 1195 01:11:58,732 --> 01:12:03,236 SHIRLEY: It doesn't matter how good the song is, you get so much shit. 1196 01:12:03,319 --> 01:12:07,365 It's funny 'cause when it happened to us, we got so much pushback. 1197 01:12:07,449 --> 01:12:09,909 It was almost, I would say, embarrassing. 1198 01:12:09,993 --> 01:12:13,121 It felt embarrassing how awful people were about the song. 1199 01:12:13,204 --> 01:12:17,083 You're joining into this plethora of a billion fans 1200 01:12:17,167 --> 01:12:19,669 that a portion of them cannot be satisfied. 1201 01:12:19,753 --> 01:12:23,214 When I met Prince, he said, "I like that James Bond song you did." 1202 01:12:23,298 --> 01:12:26,009 I said, "Wow, really? Thank you. That's incredible. 1203 01:12:26,092 --> 01:12:29,012 "I'm glad to hear you say that. A lot of people dislike it." 1204 01:12:29,095 --> 01:12:32,557 I remember exactly the way he said it, "I thought it was real strong." 1205 01:12:32,640 --> 01:12:34,142 (CHUCKLING) 1206 01:12:35,310 --> 01:12:36,728 When you're in there, 1207 01:12:36,811 --> 01:12:39,689 it's better to go down in flames than to try to play it safe. 1208 01:12:39,773 --> 01:12:43,526 I wanted it to be dangerous and strange, live in its own world, 1209 01:12:43,610 --> 01:12:45,403 but also be part of the family. 1210 01:12:45,487 --> 01:12:48,114 It's the strange cousin who came to visit. 1211 01:12:52,660 --> 01:12:55,330 Bond is really big on legacy. 1212 01:12:55,413 --> 01:12:59,501 The films have got a 60-year history to draw on now. 1213 01:12:59,584 --> 01:13:03,671 Just as the films nod to the past, the music has to acknowledge it, too. 1214 01:13:03,755 --> 01:13:06,257 No other film series has that shorthand 1215 01:13:06,341 --> 01:13:09,969 because no other film series has that history. 1216 01:13:10,053 --> 01:13:13,598 The fun of making a Bond film is you can tap into the history of Bond. 1217 01:13:13,681 --> 01:13:16,684 That's the joyful, if it's the cars, sound, songs, score, 1218 01:13:16,768 --> 01:13:18,853 whatever it is, one has to do that. 1219 01:13:18,937 --> 01:13:21,481 JAMES: Modern composers, modern filmmakers 1220 01:13:21,564 --> 01:13:23,775 are very keen to nod to that... 1221 01:13:23,858 --> 01:13:25,443 and to reference those songs 1222 01:13:25,527 --> 01:13:29,489 because Bond is all about the 60-year history. 1223 01:13:29,572 --> 01:13:33,535 Hans and I wanted to take it back to what John Barry did. 1224 01:13:33,618 --> 01:13:38,289 No Time to Die was very much akin to On Her Majesty's Secret Service. 1225 01:13:38,373 --> 01:13:41,668 That was the first Bond that tackled his emotional life, really, 1226 01:13:41,751 --> 01:13:43,962 and his love life and loss. 1227 01:13:44,045 --> 01:13:45,004 I love you. 1228 01:13:46,548 --> 01:13:49,134 I know I'll never find another girl like you. 1229 01:13:52,720 --> 01:13:53,888 Will you marry me? 1230 01:13:56,975 --> 01:14:00,353 On Her Majesty's Secret Service has this wonderful love theme called 1231 01:14:00,436 --> 01:14:04,524 We Have All the Time in the World, which is a line from the end of the movie. 1232 01:14:04,607 --> 01:14:06,484 I said to Cubby Broccoli, 1233 01:14:06,568 --> 01:14:11,322 "I'm trying to think who can bring some kind of irony to that title." 1234 01:14:11,406 --> 01:14:13,825 I said, "I think it's Louis Armstrong." 1235 01:14:13,908 --> 01:14:15,910 So, Cubby was very, very for it. 1236 01:14:20,081 --> 01:14:22,083 (AUDIENCE APPLAUDING) 1237 01:14:22,167 --> 01:14:26,087 Armstrong had just come out of hospital, where he'd been for a year. 1238 01:14:26,171 --> 01:14:29,007 JOHN: And we came to New York and recorded it. 1239 01:14:29,090 --> 01:14:34,095 To finally walk in the studio with him, it was like, "Oh, my God." 1240 01:14:34,179 --> 01:14:37,265 He was an absolute dream to work with. 1241 01:14:37,348 --> 01:14:39,517 You're talking about a musical legend. 1242 01:14:39,601 --> 01:14:42,729 The man who has brought so much to music. 1243 01:14:42,812 --> 01:14:46,316 Here's a tune, folks, that I happened to sing 1244 01:14:46,399 --> 01:14:50,862 in the soundtracks of one of James Bond's pictures 1245 01:14:50,945 --> 01:14:52,405 that just opened in New York. 1246 01:14:52,488 --> 01:14:53,531 (AUDIENCE APPLAUDING) 1247 01:14:56,993 --> 01:15:01,623 ♪♪ We have all the time 1248 01:15:02,707 --> 01:15:04,083 ♪♪ In the world 1249 01:15:06,336 --> 01:15:08,796 ♪♪ Time enough for life 1250 01:15:08,880 --> 01:15:12,967 ♪♪ To unfold All the precious things 1251 01:15:13,051 --> 01:15:14,928 ♪♪ Love has in store 1252 01:15:15,845 --> 01:15:17,597 ♪♪ We have all... ♪♪ 1253 01:15:17,680 --> 01:15:20,975 JOHN: And what almost broke my heart at the end 1254 01:15:21,059 --> 01:15:23,645 is when we were all through, he thanked me. 1255 01:15:25,146 --> 01:15:28,483 I was very moved, and I felt rather stupid. 1256 01:15:28,566 --> 01:15:31,236 But it was such a nice thing of him to do. 1257 01:15:31,319 --> 01:15:35,740 I get teary-eyed when I think about it because it was the last thing he did. 1258 01:15:35,823 --> 01:15:38,743 Out of all the songs, I like that probably the best. 1259 01:15:38,826 --> 01:15:42,288 It was the least Bondian of all the songs that we wrote. 1260 01:15:42,372 --> 01:15:48,962 ♪♪ Only love ♪♪ 1261 01:15:49,045 --> 01:15:52,131 We Have All The Time In The World is not just the love theme, 1262 01:15:52,215 --> 01:15:54,717 but it underscores the tragic finale. 1263 01:15:54,801 --> 01:15:58,972 There's no hurry, you see. We have all the time in the world. 1264 01:15:59,055 --> 01:16:01,641 James Bond has just gotten married 1265 01:16:01,724 --> 01:16:04,686 and his new wife has just been murdered by Blofeld. 1266 01:16:04,769 --> 01:16:07,814 It is a shocking ending to the movie, 1267 01:16:07,897 --> 01:16:10,441 but an emotionally rich one. 1268 01:16:10,525 --> 01:16:14,320 There's gravitas in that song and there is history in that song 1269 01:16:14,404 --> 01:16:15,780 and there's history to Bond. 1270 01:16:18,574 --> 01:16:23,997 It's timeless, with some nostalgia and some heartbreak in it. 1271 01:16:24,080 --> 01:16:27,792 It just seems such an appropriate way of telling you 1272 01:16:27,875 --> 01:16:30,336 the history of the franchise and where it's going. 1273 01:16:32,005 --> 01:16:32,964 Can you go faster? 1274 01:16:34,424 --> 01:16:36,009 We don't need to go faster. 1275 01:16:37,677 --> 01:16:39,721 We have all the time in the world. 1276 01:16:49,397 --> 01:16:51,316 Daniel Craig says the line 1277 01:16:51,399 --> 01:16:55,778 and then we are immediately catapulted back into another era of Bond. 1278 01:16:55,862 --> 01:16:59,073 Louis Armstrong recorded that and was very close to death himself, 1279 01:16:59,157 --> 01:17:02,285 and therefore the music has a lot of emotion attached to it. 1280 01:17:02,368 --> 01:17:06,164 That's gold dust for any composer to twist it and turn it 1281 01:17:06,247 --> 01:17:09,000 and to incorporate it into the soundtrack. 1282 01:17:09,083 --> 01:17:11,586 We hear We Have All the Time in the World, 1283 01:17:11,669 --> 01:17:13,546 which is a kind of frightening premonition 1284 01:17:13,629 --> 01:17:16,966 that things may not work out as we hope. 1285 01:17:17,050 --> 01:17:19,427 DANIEL: I wanted it from the very beginning, that song. 1286 01:17:19,510 --> 01:17:21,804 Knowing where we were headed with the script, 1287 01:17:21,888 --> 01:17:24,140 it felt so right for this to end everything. 1288 01:17:25,058 --> 01:17:26,893 It does have hope, that song. 1289 01:17:26,976 --> 01:17:29,187 As sad as it is, it has hope in it. 1290 01:17:32,607 --> 01:17:36,986 It's so important to keep Bond fresh, to keep Bond current, 1291 01:17:37,070 --> 01:17:40,782 but also to keep referring to the old Bond themes, 1292 01:17:40,865 --> 01:17:44,160 so, on No Time to Die, you have the Billie Eilish theme, 1293 01:17:44,243 --> 01:17:46,829 which becomes the love theme of the movie. 1294 01:17:48,956 --> 01:17:53,336 You have the James Bond theme, which is brilliantly deconstructed 1295 01:17:53,419 --> 01:17:56,464 so that there are elements of it throughout the film. 1296 01:17:58,424 --> 01:18:01,052 And then you have the overall score itself, 1297 01:18:01,135 --> 01:18:03,971 done by Hans Zimmer and his co-writer, Steve Mazzaro. 1298 01:18:04,055 --> 01:18:08,726 And by the end of the movie, he combines them into a seamless whole. 1299 01:18:08,810 --> 01:18:11,854 It really brings the whole world of Bond together. 1300 01:18:11,938 --> 01:18:16,692 What we've been talking about is that there's an overall Bond language, 1301 01:18:16,776 --> 01:18:18,945 which was established by John Barry. 1302 01:18:19,028 --> 01:18:21,280 We always used that as our touchstone, 1303 01:18:21,364 --> 01:18:25,785 but on this film, especially towards the end, it gets deep. 1304 01:18:31,499 --> 01:18:34,794 It allows you to leave the John Barry world behind 1305 01:18:34,877 --> 01:18:36,921 and you do your own thing, 1306 01:18:37,004 --> 01:18:41,259 and start setting up what is happening to this character now 1307 01:18:41,342 --> 01:18:43,219 and really become his inner voice. 1308 01:18:43,302 --> 01:18:47,598 We've been making music together for a really long time, 1309 01:18:47,682 --> 01:18:53,563 and I can't think of any better occupation than doing what we do. 1310 01:18:53,646 --> 01:18:57,316 We make people quite happy sometimes with this noise we make. 1311 01:18:57,400 --> 01:19:01,612 And you guys make the best noise in the world, and you know that. 1312 01:19:02,321 --> 01:19:03,698 You really do. 1313 01:19:03,781 --> 01:19:05,116 (ALL APPLAUDING) 1314 01:19:05,199 --> 01:19:08,327 And this one's special. This one we know is special. 1315 01:19:08,411 --> 01:19:10,788 This is Bond, James Bond. 1316 01:19:10,872 --> 01:19:12,498 (ALL LAUGHING) 1317 01:19:12,582 --> 01:19:14,333 Thank you. 1318 01:19:14,417 --> 01:19:17,462 CARY: Working with Hans on a score, figuring out how to crack it, 1319 01:19:17,545 --> 01:19:20,465 trying to go from that tricky step of saying, 1320 01:19:20,548 --> 01:19:23,843 "Yeah, sure. That's a great feeling in terms of a standalone piece of music 1321 01:19:23,926 --> 01:19:25,845 "...but does it marry with picture?" 1322 01:19:25,928 --> 01:19:29,223 It'd come down to Hans jumping on his keyboard 1323 01:19:29,307 --> 01:19:31,350 and he'd hammer out something. 1324 01:19:31,434 --> 01:19:35,396 It's a very unusual thing in a Bond movie where you get to build an emotion 1325 01:19:35,480 --> 01:19:39,567 over however many minutes, and you're going, 1326 01:19:39,650 --> 01:19:43,488 "Hang on, is this really gonna go where I think this is gonna go? 1327 01:19:43,571 --> 01:19:45,323 "It can't be going there." 1328 01:19:45,406 --> 01:19:47,492 The music just takes you there. 1329 01:19:47,575 --> 01:19:50,703 It had a profound effect on the end of the film. 1330 01:19:50,786 --> 01:19:53,372 It was a very, very tough cue. 1331 01:19:53,456 --> 01:19:57,585 It's leading up to Bond's sacrifice. 1332 01:19:57,668 --> 01:20:00,671 Hans building that score with Steve and everyone, 1333 01:20:00,755 --> 01:20:02,131 it was a masterclass. 1334 01:20:02,215 --> 01:20:04,592 CARY: It's amazing to watch a master do his thing. 1335 01:20:04,675 --> 01:20:07,929 I said something on the way out, I'd given him some notes. 1336 01:20:08,012 --> 01:20:11,098 In post-production, you're in different departments. 1337 01:20:11,182 --> 01:20:14,185 I was about to go to my next stop, and I said, 1338 01:20:14,268 --> 01:20:18,814 "I just feel like something about this needs to sound like a requiem." 1339 01:20:18,898 --> 01:20:20,441 He's like, "Okay." 1340 01:20:20,525 --> 01:20:23,986 And I basically had my hand on the door handle, 1341 01:20:24,070 --> 01:20:26,280 he's like, "You mean like this?" 1342 01:20:26,364 --> 01:20:29,659 He hammers out these chords and I'm like, 1343 01:20:29,742 --> 01:20:32,745 "Yes, like that. Keep going. What was that? Keep going." 1344 01:20:35,122 --> 01:20:39,752 As we morph slowly into nearly a requiem, 1345 01:20:39,835 --> 01:20:43,839 but you still got the romantics of chords in there. 1346 01:20:43,923 --> 01:20:47,134 You still have the elegance of Bond hidden in there. 1347 01:20:47,218 --> 01:20:49,845 There's a mystery within a mystery within a mystery. 1348 01:20:49,929 --> 01:20:54,141 He just sat there and played 30, 45 seconds of something. 1349 01:20:54,225 --> 01:20:56,269 I say, "What's that?" He says, "Don't know. 1350 01:20:56,352 --> 01:20:58,813 "Someone was recording that, right?" 1351 01:20:58,896 --> 01:21:03,901 I think everybody knows what that means, right? 1352 01:21:03,985 --> 01:21:06,445 It's really just three chords. 1353 01:21:06,529 --> 01:21:08,948 But then they let you go any way you want. 1354 01:21:09,031 --> 01:21:13,911 If you think about it, somewhere in there is complete tragedy. 1355 01:21:13,995 --> 01:21:18,124 It was important that there's a finality to the whole thing. 1356 01:21:18,207 --> 01:21:19,625 Bond has that kind of... 1357 01:21:22,503 --> 01:21:24,505 which is not very emotional, 1358 01:21:24,589 --> 01:21:27,216 but when you turn it on its head a little bit 1359 01:21:27,300 --> 01:21:30,720 and kind of go to that chord, 1360 01:21:30,803 --> 01:21:35,099 it's so much more powerful and so much more emotive. 1361 01:21:35,182 --> 01:21:37,560 You made me do this, you see? 1362 01:21:39,812 --> 01:21:43,858 So we incorporated the Bond theme and Billie's song into the score. 1363 01:21:50,615 --> 01:21:53,326 There's a line that we wrote where it's just this... 1364 01:21:57,121 --> 01:21:59,582 which appears throughout the film as a basic motif. 1365 01:21:59,665 --> 01:22:02,960 And we've superimposed that over the Bond theme, 1366 01:22:03,044 --> 01:22:05,338 which keeps growing and growing. 1367 01:22:05,421 --> 01:22:07,673 Would you put Madeleine on, please? 1368 01:22:07,757 --> 01:22:11,719 Once Bond gets to the point where he tells Madeleine he's not coming back, 1369 01:22:11,802 --> 01:22:16,265 is when we start to fragment Billie and Finneas's tune. 1370 01:22:17,183 --> 01:22:18,392 WOMAN: Have you left? 1371 01:22:19,727 --> 01:22:23,606 No. I'm... I'm not gonna make it. 1372 01:22:25,691 --> 01:22:26,525 What? 1373 01:22:29,904 --> 01:22:30,905 No. 1374 01:22:30,988 --> 01:22:33,449 -But you promised. -Madeleine. 1375 01:22:33,532 --> 01:22:34,992 (MELANCHOLIC MUSIC PLAYING) 1376 01:22:38,496 --> 01:22:41,248 Just as a little taste. 1377 01:22:41,332 --> 01:22:46,253 Hearing the orchestra play the melodies of the song was astounding. 1378 01:22:46,337 --> 01:22:48,005 I mean, just, you know... 1379 01:22:48,089 --> 01:22:49,298 (VOCALIZING) 1380 01:22:49,382 --> 01:22:51,467 And, like, these beautiful moments. 1381 01:22:51,550 --> 01:22:54,428 Me and Finneas were like, "Oh, my God," sitting there. 1382 01:22:54,512 --> 01:22:55,596 It was crazy. 1383 01:22:55,680 --> 01:22:59,141 And so it really all ties everything together. 1384 01:22:59,225 --> 01:23:03,521 It was really important to us to honor Bond's past and John Barry's style 1385 01:23:03,604 --> 01:23:05,690 while looking to the future. 1386 01:23:05,773 --> 01:23:07,274 We just need more time. 1387 01:23:08,484 --> 01:23:10,111 If we only had more time... 1388 01:23:10,194 --> 01:23:11,070 (SOBBING) 1389 01:23:15,991 --> 01:23:19,286 You have all the time in the world. 1390 01:23:19,370 --> 01:23:23,499 The whole last section of this film without the music, it doesn't soar. 1391 01:23:23,582 --> 01:23:27,294 That's what the music brings to this. It makes it do, it makes it fly. 1392 01:23:31,924 --> 01:23:34,093 That closing scene and the music 1393 01:23:34,176 --> 01:23:38,097 really connects with you emotionally in your gut, in your memory, 1394 01:23:40,099 --> 01:23:43,060 and reminds you of all the Bonds that you've seen before, 1395 01:23:43,144 --> 01:23:45,563 all the many different iterations of Bonds 1396 01:23:45,646 --> 01:23:48,065 and the sense of that coming to an end. 1397 01:23:48,149 --> 01:23:50,443 I'm getting chills just remembering it. 1398 01:23:51,902 --> 01:23:55,573 Somehow, Bond music became a universe of its own. 1399 01:23:55,656 --> 01:23:57,700 When you listen to the songs, 1400 01:23:57,783 --> 01:24:00,411 you're reminded of how groundbreaking it was. 1401 01:24:00,494 --> 01:24:04,373 You struggle to argue with the success they've had around the world. 1402 01:24:07,251 --> 01:24:11,005 Music has this ability to connect to our unconscious 1403 01:24:11,088 --> 01:24:14,717 and bring on emotions that we are not aware of or understand, 1404 01:24:14,800 --> 01:24:16,886 but we feel them. 1405 01:24:16,969 --> 01:24:20,598 And that's what John Barry, and David Arnold, Tom Newman, 1406 01:24:20,681 --> 01:24:23,392 and Hans Zimmer are masters of. 1407 01:24:27,271 --> 01:24:31,609 When you talk about the music of Bond, you're diving into a history lesson. 1408 01:24:31,692 --> 01:24:35,738 Bond, in his own way, has more to do with our culture 1409 01:24:35,821 --> 01:24:38,032 than people will ever probably admit, 1410 01:24:38,115 --> 01:24:42,453 because he's been with us for 60 years now. It's truly astonishing. 1411 01:24:47,166 --> 01:24:48,584 (MUSIC STOPS) 1412 01:24:56,467 --> 01:25:00,054 ♪♪ The way that you hold me 1413 01:25:00,137 --> 01:25:03,140 ♪♪ Whenever you hold me 1414 01:25:03,224 --> 01:25:09,188 ♪♪ There's some kind of magic Inside you 1415 01:25:10,272 --> 01:25:13,526 ♪♪ That keeps me from runnin' 1416 01:25:13,609 --> 01:25:16,362 ♪♪ But just keep it comin' 1417 01:25:16,445 --> 01:25:22,409 ♪♪ How'd you learn to do The things you do? 1418 01:25:23,327 --> 01:25:28,916 ♪♪ And nobody does it better 1419 01:25:31,126 --> 01:25:35,923 ♪♪ Makes me feel sad For the rest 1420 01:25:38,259 --> 01:25:41,303 ♪♪ Nobody does it 1421 01:25:41,387 --> 01:25:45,933 ♪♪ Half as good as you 1422 01:25:46,016 --> 01:25:48,978 ♪♪ Baby, baby 1423 01:25:49,061 --> 01:25:54,733 ♪♪ Darlin', you're the best 1424 01:25:57,152 --> 01:26:02,700 ♪♪ Baby, you're the best 1425 01:26:04,201 --> 01:26:09,290 ♪♪ Baby, you're the best ♪♪