Producers Michael G. Wilson and Barbara Broccoli today presented the cast of the 23rd James Bond adventure, entitled SKYFALL.
The film, from Albert R. Broccoli’s Eon Productions, Metro-Goldwyn-Mayer Studios, and Sony Pictures Entertainment, is directed by Academy Award® winner Sam Mendes and stars Daniel Craig, who returns for his third film as James Bond 007.
The screenplay is written by Neal Purvis & Robert Wade and John Logan. SKYFALL, which goes into production on Monday, November 7th, will begin its worldwide roll-out in the UK and Ireland on October 26th 2012 and in North America on November 9th 2012.
Joining Michael G. Wilson, Barbara Broccoli and Director Sam Mendes were members of the cast of SKYFALL, including: Daniel Craig, Javier Bardem, Dame Judi Dench, Naomie Harris and Berenice Marlohe. The filmmakers also announced Ralph Fiennes, Albert Finney and Ben Whishaw.
In SKYFALL, Bond’s loyalty to M is tested as her past comes back to haunt her. As MI6 comes under attack, 007 must track down and destroy the threat, no matter how personal the cost.
“We’re so delighted to have Sam Mendes direct SKYFALL and be working once again with Daniel Craig. We’ve a great script, an extraordinary cast and an incredibly talented creative team for this latest James Bond adventure,” said Wilson and Broccoli.
The Director of Photography is Roger Deakins, a nine-time Oscar® nominee who previously shot the films Jarhead and Revolutionary Road for Mendes. The Production Designer is Oscar® winner Dennis Gassner, who previously designed Quantum of Solace and collaborated with Mendes on the films Road to Perdition and Jarhead.
The Editor is Stuart Baird, A.C.E., whose many credits include Casino Royale.
Jany Temime, whose many credits include the Harry Potter series, In Bruges, and Children of Men, is the Costume Designer. Action specialist Alexander Witt is the 2nd Unit Director.
Gary Powell is Stunt Co-ordinator, Chris Corbould is SFX Supervisor and Steve Begg is Visual Effects Supervisor, all of whom have worked on previous Bond films.
La-La Land Records sent word of their latest genre release.
THE GOLDEN CHILD: LIMITED EDITION (3-CD SET)
Music Composed and Conducted by John Barry
Music Score by Michel Colombier
Limited Edition of 5000 Units
STARTS SHIPPING JULY 12th
RETAIL PRICE $29.98
La-La Land Records presents, in association with Paramount Pictures and Capitol Records, the premiere release of both John Barry’s unused score and Michel Colombier’s score to the 1986 Paramount Pictures action/adventure motion picture THE GOLDEN CHILD, starring Eddie Murphy, Charlotte Lewis, Charles Dance and directed by Michael Ritchie. Mr. Barry’s (FROM RUSSIA WITH LOVE, BODY HEAT, A VIEW TO A KILL, DANCES WITH WOLVES) unused orchestral score is simply put, wondrous — a powerful, majestic work brimming with action, suspense and romance that strongly recalls the recently departed composer’s 80s Bond period while still retaining its own robust identity.
Composer Michel Colombier’s (RUTHLESS PEOPLE, THE MONEY PIT, AGAINST ALL ODDS) score, only a portion of which has been previously released, is finally given its proper due here as well, showcasing the composer’s knack for traditional action scoring blended with the era’s contemporary, synth-based pop sound.
Produced by Lukas Kendall and mastered by Mike Matessino, this comprehensive 3-Disc collection of music contains additional unreleased Barry cues, including the unused song “Dance A Little Closer” performed by none other than Randy Edelman! Along with Barry’s “Best Man In The World,” performed by Ann Wilson of Heart fame, all songs featured on the original 1986 soundtrack album are presented here, including tracks from such artists as Ratt, Ashford & Simpson, Meli’sa Morgan and others.
Film music writer Jon Burlingame takes you behind the film’s duo of scores in his exclusive liner notes. A must for film music fans, this limited edition release of 5000 units showcases the work of two brilliant composers who remain with us through the timelessness of their talent.
Music Composed and Conducted by John Barry
(The Child Is Taken) 5:55
2. The Best Man in the World
Performed by Ann Wilson
Produced by Ron Nevison 3:21
3. 2M1 1:45
4. 2M2 2:11
5. 3M1/2/3/4 3:36
6. 3M5/6A (Tin Can Man)
(Includes “Puttin’ on the Ritz”
composed by Irving Berlin) :53
7. 3M7/4M0 (Follow That Bird) 2:54
8. 4M1 (Best Man) 2:03
9. 4M2 :58
10. 5M2 1:12
11. 5M3 1:51
12. 5M4/6M0 2:34
13. 6M1 (Chandler’s Dream) 6:18
14. 7M1 :50
15. 7M2 (Love Theme) 2:21
16. 7M3AR/C :35
17. 7M4/8M0/1 6:13
18. 8M2 2:32
19. 9M1 (Bottomless Pit) 4:51
20. 9M2R (Wisdom of the Ages) 3:50
21. 10M2/3 2:19
22. 10M4 (Kee Nang Gets the Arrow) 2:58
23. 11M1 3:04
(The Final Act) 10:23
25. 12M1 1:04
Disc 1 Time: 77:14
Music Score by Michel Colombier
1. Sardo and the Child 5:27
2. Blood in Oatmeal 1:47
3. Child in Warehouse 1:21
4. Astral Projection 1:57
5. The Bikers :43
6. We Sold Her 4:16
7. Demons 1:58
8. Kee’s Tied Up :34
9. Dream Sequence—Last Part 1:19
10. Kee Nang Offers Herself :47
11. Child in Truck/Chandler Follows Bird 2:09
12. Take It :24
13. The Mountain 1:17
14. The Corridor 2:14
15. The Knife Retrieval 3:35
16. Golden Love 3:47
17. Malibu/Battle at Malibu House 4:47
18. Looking for Sardo 3:07
19. Confrontation 5:31
20. Sardo Is Back 1:01
21. Kee Nang Lives :49
22. The Chosen One (Michel Colombier)
Performed by Robbie Buchanan 3:55
23. Love Goes On (Love Theme From The Golden Child)
Performed by Ashford & Simpson 4:52
Disc 2 Time: 58:07
Additional Music Composed and Conducted by John Barry
1. The Best Man in the World
(Instrumental) (4M1R/2M2R) 3:39
2. 2M1R 1:21
3. 12M1R 1:04
4. 2M4 (Source) 1:53
5. Dance a Little Closer
Performed by Randy Edelman 4:19
Additional Songs From the 1986 Soundtrack Album
6. Deeper Love (Diane Warren)
Performed by Meli’sa Morgan 4:25
7. Shame on You (M. Price–D. Chang)
Performed by Martha Davis 4:14
8. Body Talk (Croucier–De Martini–Pearcy)
Performed by Ratt 3:47
9. (Let Your Love Find)
The Chosen One
(M. Jackson–K. Wakefield)
Performed by Marlon Jackson 5:02
Disc 3 Time: 30:17
Total 3CD Time: 165:38
In this week’s installment of the Cinefantastique Round Table Podcast, Dan Persons, Lawrence French, and Steve Biodrowski analyze the hot topics in the world of horror, fantasy, and science fiction films: Sony Pictures will finance and distribute the new James Bond Film; Barry Cooper may star in THE CROW; Peter Jackson films THE HOBBIT in 3-D and at 48 frames per second; RIO celebrates a box office victory of SCREAM 4; and Lionsgate picks up director Barry Levinson’s docu-style eco-horror film THE BAY (aka ISOPOD). Also, Lawrence French offers a capsule review of RIO and finds it a surprisingly refreshing step up from the ICE AGE sequels.
Sony Pictures has signed a deal with MGM to co-finance and handle theatrical distibution of the next James Bond film, thus far referred to only as BOND 23.
The untitled film, to be directed by Sam Mendes and star Daniel Craig as 007, is scheduled to hit theaters November 9th, 2012.
Sony also distributed CASINO ROYALE and QUANTUM OF SOLACE.
The deal includes a similar arrangement for 24th James Bond movie, and
The companies will co-finance and distribute the movie, known only as Bond 23, which set for release on Nov. 9, 2012, as well as the next film in the franchise.
Sony Pictures, which released the last two James Bond movies, has struck a deal with MGM to co-finance and distribute worldwide the next Bond, still known only as Bond 23.
With Bond 23 set for release on Nov. 9, 2012, Sony and MGM also plan to join forces for the next film in the ongoing series, Bond 24, under a similar arrangement.
The two studios are reportedly also considering co-financing several of each other’s movies set to be made in the next five years, possibly including the TOTAL RECALL remake/reboot.
in related news, MGM has reached an agreement with Twentieth Century Fox Home Entertainment to release BOND 23 and other new productions on home video and continue handling MGM’s available film and TV library through 2016.
Via The Hollywood Reporter
On January 30, 2011, iconic – and very prolific – composer John Barry passed away, after being in ill health for some time. He was seventy-seven years old. There is little doubt a great many will be saddened at the loss of one of film’s truly cherished friends.
Barry was an emotionally introspective and poetic composer whose haunting themes and pulsing atmospheric rhythms gained him far reaching notoriety. He was also a five time Oscar winner (BORN FREE – both score and song; THE LION IN WINTER; OUT OF AFRICA; DANCES WITH WOLVES), a Grammy winner (DANCES WITH WOLVES), and two time BAFTA winner (The Lion in Winter and the Academy Fellowship). In addition to his many other nominations he was nominated for 11 Golden Globe awards, taking home a win for OUT OF AFRICA. Though his work was far from limited to the genre, he contributed several excellent scores to science fiction, fantasy, and horror films – including, of course, several Bond films.
Born John Barry Prendergast in 1933, this son of a movie theater owner in York, England, would grow up to become a sentimental favorite composer of film and film music fans all over the world.
On a somewhat personal note, I was strongly affected by his work when I was very young; it was Barry who instilled within me a deep love for film music that has been with me most of my life. My parents had a collection of record albums that included an interesting mix of musical genres and within that mix were two quite specific albums that captured my attention: GOLDFINGER and YOU ONLY LIVE TWICE, two very famous James Bond scores. At the time I was too young to really know anything about James Bond, but once I discovered these two treasures I was altogether captivated. I even wrote my own stories to some of my favorite TV shows at the time and recorded my little dramas onto cassette using these two albums as the ‘scores’ for what I considered my ‘radio dramas.’ For me there has always been an acute connection to Mr. Barry’s work. And in this I know I am far from alone.
Barry would go on to score eleven of those Ian Fleming-based secret agent films and in so doing would cement a very solid position in the history of his profession. Musician-composer Monty Norman did score the first Bond film, DR. NO; however, Barry arranged and performed the version of the 007 theme heard in the film, which arguably would become the most famous theme music in the history of cinema, as well as one of the most re-recorded. (Some have speculated that Barry actually composed the theme — although the piece is credited to Norman. It certainly fits Barry’s style like a glove.)
In a 1996 interview with Film Score Monthly, Barry credited big band leader Stan Kenton with the inspiration for the Bond style. “I think the genesis of the Bond sound was most certainly that Kentonesque sharp attack,” he said, pointing out Kenton’s brassy sound and notes that hit extreme highs and lows.
THE LIVING DAYLIGHTS would be his final Bond installment in 1987, and in 2006 when asked by the The Sunday Express of London why he never scored another in the series he replied, “I gave up after (that). I’d exhausted all my ideas, rung all the changes possible. It was a formula that had run its course. The best had been done as far as I was concerned.”
Though he is perhaps best known for the work he did on the Bond series, those scores are merely a fraction of his body of work. He would eventually write the music for well over a hundred productions. And in that there would be television, stage and radio – not to mention very personal efforts – that would beckon him to put pencil to music sheet. For instance, in 2006 he would work with ten well-known tenors on an album titled HERE’S TO THE HEROES. In that effort lyrics were written by lyricist and friend Don Black for Barry themes and a very pleasant, well-selling listening experience was the result.
John Barry was one of the most romantic film composers of his or any generation. Even his action cues have a romantic, moody quality which beg multiple listenings. And several films owe much of their critical and audience liking to his sweeping, moving style. OUT OF AFRICA and DANCES WITH WOLVES are two clear examples. These scores simply ascend with a lush beauty that instantly envelopes the viewer/listener and conjures something in the heart that refuses to be denied.
Many composers, especially modern ones, have a style that, although not bad, can be fairly easily interchanged. Barry, however, was wholly himself. No one has ever sounded quite like him. And though he has on occasion been criticized for works which sound too similar, he consistently turned out material that continues to delight, stimulate and yet at the same time sooth the soul. The imagination of audiences and listeners of his music will continue to bloom as time marches on.
We all have our inspirations in life and Kenton wasn’t the only influence on Barry’s. In fact, it all inadvertently started with his father and those theater chains. As a teen Barry operated the projectors in some of those movie houses and fell in love with cinema and especially its music. He cites composers like Bernard Herrmann, Erich Korngold and Max Stern as some of those who worked their magic on him.
Once bitten by the bug Barry went on to study piano and composition, and then played trumpet in dance bands and later in a military band. Eventually he formed his own successful band, The John Barry Seven, and wound up playing backup for a popular BBC program. The band’s style was rather jazzy and sassy, which was just what the current crop of directors was looking for. He began getting film engagements and with FROM RUSSIA WITH LOVE (the Bond producers didn’t forget his stylish DR. NO contribution) in 1963, and ZULU and GOLDFINGER (which pushed the Beatles’ A Hard Day’s Night off the top spot of the album charts and won Barry a gold disc) in 1964, he was off and running in cinema. Eventually he would go on to score potent and very memorable works for films like MIDNIGHT COWBOY; THE LAST VALLEY; WALKABOUT; MARY, QUEEN OF SCOTS; ROBIN AND MARIAN; KING KONG (from 1976); THE DEEP; HANOVER STREET; THE BLACK HOLE; RAISE THE TITANIC; FRANCIS; BODY HEAT; HIGH ROAD TO CHINA; Francis Ford Coppola’s THE COTTON CLUB (which won a Grammy for Best Jazz Instrumental); Oscar nominated CHAPLIN, and the list goes on and on.
His work for a modestly budgeted fantasy film in 1980 called SOMEWHERE IN TIME helped place that film in cult classic status. Starring Christopher Reeve and Jane Seymour, it didn’t garner much attention from audiences or critics upon its initial release, but its video release and airing on television gave it new life, with many thanks due to the beautiful melodies Barry wrote for it. It is one of his most beloved works. This is the type of almost spiritual elevation he could bring to a motion picture.
Director Sydney Pollack once said, “You can’t listen to his music without seeing movies in your head.” It is hard to imagine a better compliment, or epitaph, than that for a film composer.
Summer’s gone and so is the Cinefantastique Podcast’s Summer Wrap-up Episode. In its wake, Dan Persons, Lawrence French, and Steve Biodrowski debates the merits of classifying James Bond as a member in good standing of the science fiction and/or fantasy genre, while omitting Machete. Also, good news for cult horror fans: numerous titles from Hammer Films and American International Pictures recently became available on Netflix Instant Viewing, some of them not available on DVD. All this and more discursive discussion on this week’s Post-Mortem Podcast…
Best known to most Cinefantastique readers as the screen writer for several James Bond movies, Mankiewiewicz also worked as a director (HART TO HART, TALES FROM THE CRYPT) and often labored behind the scenes as an uncredited creative consultant or ‘script doctor’.
He was consulted on others in the series, such as THE SPY WHO LOVED ME and MOONRAKER, as well. Some felt he was a major contributor of the more jokey/outrageous moments of the Moore 007 films, because ( if memory serves) he’d mentioned adding one-liners and gags in interviews.
In this post about SAW 3-D, being touted as the finale installment in the Jigsaw saga, Lionsgate president Jason Constantine makes the following statement about the longevity of the SAW franchise:
“You can count on one hand the franchises that lasted seven years — and every year, no less,” says Jason Constantine, Lionsgate’s president of acquisitions and co-productions. “It became part of pop-culture discourse.”
This strikes my as slightly myopic in terms of the history of horror, fantasy and science fiction film franchise. Off the top of my head, here are several more than you can count on one hand – unless you are a polydactyl alien from a galaxy far, far away:
- The Universal Pictures Frankenstein series began in 1931 with FRANKENSTEIN and continued through 1948 with ABBOTT AND COSTELLO MEET FRANKENSTEIN, totaling eight films.
- Toho Studio’s original Godzilla franchise began in 1954 with GODZILLA (a.k.a. GOJIRA) and took a breather after TERROR OF MECHA-GODZILLA in 1974. The franchise revived in 1985 and lasted until GODZILLA VS. DESTROYER in 1996, then resumed again in 1999, wrapping up with GODZILLA: FINAL WARS in 2004, with 26 films on its resume.
- The Hammer Films Frankenstein series began in 1957 with CURSE OF FRANKENSTEIN and ended in 1974 with FRANKENSTEIN AND THE MONSTER FROM HELL, totalling six films (not counting the aberration known as HORROR OF FRANKENSTEIN)
- Hammer’s Dracula series began in 1958 with HORROR OF DRACULA and ended in 1974 with LEGEND OF THE SEVEN GOLDEN VAMPIRES (a.k.a. THE SEVEN BROTHERS MEET DRACULA), totaling eight films (nine if you count BRIDES OF DRACULA, in which the Count does not appear).
- The James Bond franchise launched in 1962 with DR. NO and continued until QUANTUM OF SOLACE in 2008, totaling over 20 films. (There was a haitus in the 1990s, but still this is a long-lived franchise).
- HALLOWEEN started its reign of terror in 1978, which lasted through HALLOWEEN: RESURRECTION in 2002. The franchise started up again in 2008 with a remake.
- FRIDAY THE 13TH began in 1980 and lasted through 2003’s FREDDY VS. JASON, before launching a remake last year.
- A NIGHTMARE ON ELM STREET arrived in 1984 and officially ended with FREDDY’S DEAD: THE FINAL NIGHTMARE in 1991 – barely six years. But then the franchise started up again in 1996 with WES CRAVEN’S NEW NIGHTMARE, followed by FREDDY VS. JASON in 2003, and then a remake this year.
Well, that makes eight. I guess we’re not supposed to count the ALIEN franchise and George A. Romero’s sequels to NIGHT OF THE LIVING DEAD (1968), because the films were spaced out at long intervals: the ALIEN films extend from 1979 through ALIENS VS. PREDATOR in 2007; Romero’s latest, SURVIVAL OF THE DEAD, arrived earlier this year.
If we include non-sequel franchise, we get the Vincent Price Poe movies from HOUSE OF USHER in 1960 through THE OBLONG BOX in 1969. Extending past the real of cinefantastique, we get lengthy franchises devoted to Sherlock Holmes and other screen detectives, not to mention such low-brow fare as Ma and Pa Kettle and Francis the Talking Mule.
Let me know if there are any I missed.
According to Coming Soon JAMES BOND producers, Michael G Wilson and Barbara Broccoli of EON Productions, announced today that they have suspended development on the next film in the profitable franchise. BOND 23, as it’s currently known, was previously scheduled for release 2011/2012 but due to financial troubles at MGM has been put on hold.
They had this to say:
“Due to the continuing uncertainty surrounding the future of MGM and the failure to close a sale of the studio, we have suspended development on ‘Bond 23’ indefinitely. We do not know when development will resume and do not have a date for the release of ‘Bond 23”.
These two know what they’re talking about as EON Productions have produced twenty two JAMES BOND films since 1962. Michael G Wilson and Barbara Broccoli took over the franchise from Albert R Broccoli in 1995 and were responsible for the latest two Bond films, CASINO ROYALE and QUANTUM OF SOLACE. If these two say the future of Bond is in jeopardy then they’re to be trusted.
This is rather unfortunate news for Bond fans as it could now be several years until BOND 23 even begins shooting. Sam Mendes (ROAD TO PERDITION, REVOLUTIONARY ROAD) was set to direct but whether he’ll stick around is anyone’s guess and star Daniel Craig’s schedule is looking rather busy for the foreseeable future. This is by no means the end of Bond though, it’s a far too profitable a series to be left stuck in development hell, it’s just a matter of waiting longer than anticipated for a new film.
Over at USA Today, Scott Bowles points out that Summer 2009 is loaded with blockbusters that feature origin stories. The motivations for this a fairly clear: Hollywood likes familiar franchises, but audiences are getting tired of sequels rehashing the same old plots. Prequels allow filmmakers to fill in the back story; more than that, an origin story also offer a chance to reboot a franchise entirely.
Consequently, this season is offering films like X-MEN ORIGINS: WOLVERINE and STAR TREK, which take us back to the beginning in different ways: WOLVERINE is a genuine prequel; STAR TREK is a reboot. Even TERMINATOR SALVATION, which opened today, is a prequel of sorts: although set in the future, because of the series’ time-travel plot, it tells us the back story of John Connor and Kyle Reese, which was referenced in THE TERMINATOR (1984).
Bowles quotes Lauren Shuler Donner on her strategy for WOLVERINE:
“You have to start somewhere,” says Lauren Shuler Donner […]. “An origins story is like getting to know somebody. When you meet someone and like them, you want to know where they came from. It grounds your franchise.”
Producers credit BATMAN BEGINS with launching the current craze for franchise reboots:
“Batman Begins really showed how much a back story can free you up creatively,” says Chris Aronson of 20th Century Fox, which released Wolverine. “You don’t have to confine yourself.”
This is true, but in a way I think SPIDER-MAN was the proto-type for this approach. Though not technically a reboot (unless you remember the old live-action television series), SPIDER-MAN showed what you could achieve with an origin story showing a character make the transition from normal human to superhero – which is the basic formula that BATMAN BEGINS used so well.
I would also add CASINO ROYALE to the list, or as I liked to call it “Bond Begins Again.” that film was a perfect example of reinvigorating an old franchise by throwing out the old baggage and starting over like new – something that this year’s STAR TREK took to heart. Although J. J. Abrams’ film retains the old mythology, it uses a time travel plot device to create an alternate time line that will allow sequels to warp in a new direction instead of building toward story lines we already know – a problem that killed the STAR WARS prequels.
Whatever the reasons, this summer’s sequels are trying to sound less like knock-offs by avoiding numerals in their titles: ANGELS & DEMONS, NIGHT AT THE MUSEUM: BATTLE OF THE SMITHSONIAN, TRANSFORMERS: REVENGE OF THE FALLEN, ICE AGE: DAWN OF THE DINOSAURS. Only HALLOWEEN 2 is a hold-out. (Hey, Rob Zombie – how about “Halloween: Second Season” instead?)
Meanwhile, the prequels are proving potent at the box office. WOLVERINE achieved this year’s biggest opening ($85-million), and STAR TREK made a debut twice as big as any previous movie in the franchise.
At this rate can 1992: HAL’S BIRTHDAY ODYSSEY, DAWN OF THE MATRIX, PLANET OF THE APES: EVOLUTION, and THE EXORCIST: THE BEGINNING be far behind? Oh wait, they already did that last one…