- 22/06/2025
The Sound of 007 (2022) is a documentary that explores the iconic music behind the James Bond film series. From unforgettable theme songs to legendary composers, the film takes viewers on a journey through six decades of soundtracks that have helped define the world’s most famous spy. Featuring behind-the-scenes insights and interviews, it celebrates the lasting legacy of Bond music.
the sound of 007, 2022 documentary, james bond music, film soundtrack, spy movie themes, iconic songs, movie composers, bond theme songs, cinematic music, music documentary, 007 legacy, film history, classic movie soundtracks, behind the scenes, british cinema
the sound of 007, 2022 documentary, james bond music, film soundtrack, spy movie themes, iconic songs, movie composers, bond theme songs, cinematic music, music documentary, 007 legacy, film history, classic movie soundtracks, behind the scenes, british cinema
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Art et designTranscription
00:05:05Ce n'est pas ce que l'arrangement l'arrangement l'arrangement.
00:05:07Et il y a une de la plus bizarre et unlikely originale de l'histoire du film.
00:05:16Maintenant pour notre musical spot.
00:05:18On Monte Norman.
00:05:20Oh, c'est toujours l'horreur de me
00:05:24de l'horreur de l'horreur.
00:05:27J'étais un singe, avec les grandes bandes.
00:05:30Je me suis écrit un singe, et je me suis rendu compte qu'il y a eu de l'horreur.
00:05:36Il y a eu de l'horreur de l'horreur.
00:05:39Je me suis rendu compte que je n'avais pas de musique.
00:05:41Cubby Broccoli m'a demandé de venir à ses offices
00:05:44pour rencontrer ses amis, Harry Saltzman.
00:05:47Il m'a dit qu'il a juste d'acquire
00:05:49Ian Fleming's James Bond novels.
00:05:51Nous allons faire des films.
00:05:53Il m'a dit qu'il a fait le score.
00:05:55Nous sommes allés de l'occasion de l'or en Jamaica.
00:05:58Why don't you come out, absorb the atmosphere?
00:06:00Bring your wife, all expenses paid.
00:06:02I mean, how could I refuse?
00:06:17It was an inspired choice
00:06:19to take this songwriter to Jamaica,
00:06:22absorb the atmosphere
00:06:24and incorporate the players
00:06:26who were actually there in Kingston, Jamaica at the time.
00:06:31Jamaica was great fun.
00:06:33Ian Fleming invited us over to his house, Goldeneye,
00:06:37and he was asking me about the music.
00:06:40I told him we were just about to go into the location
00:06:43for Ursula Andress to come out of the water.
00:06:46Monty wrote this wonderful song,
00:06:48Underneath the Mango Tree,
00:06:50which Ursula Andress is singing
00:06:52as she emerges from the water
00:06:54when we first see Honey Rider.
00:06:56Make booloo loose.
00:06:58Underneath the mango tree,
00:07:00my honey and me...
00:07:02Who is that?
00:07:04That song became a classic moment in movie history.
00:07:07Right!
00:07:09Up slowly and face that wall.
00:07:11Monty, of course, was a fine songwriter.
00:07:13Hold it.
00:07:16But where he was not entirely comfortable
00:07:18was in writing dramatic music.
00:07:20Gently, but gently.
00:07:22He struggled with the idea of a theme
00:07:24for this new character.
00:07:26And there was some time pressure now.
00:07:28And I suddenly remembered something
00:07:30that I'd written for a musical
00:07:32about the East Indian community in Trinidad
00:07:34called A House for Mr. Biswas.
00:07:37The songs had this Indian sound.
00:07:39But instead of a sitar,
00:07:41I thought that should be done on a guitar.
00:07:43It was a song called Bad Sign, Good Sign.
00:07:46And it goes like this.
00:07:47I was born with this unlucky sneeze
00:07:52And what is worse, I came into the world
00:07:56The wrong way round, and so on.
00:07:59This sounded to me, strangely enough,
00:08:01when you think of it like the character of James Bond.
00:08:06It's an idea at that.
00:08:08But the filmmakers themselves felt
00:08:11they needed something a little bit more dynamic.
00:08:13And that's when the connection with John Barry was made.
00:08:16Thank you very much.
00:08:20In modern music today,
00:08:22people are always looking for what they call a new noise.
00:08:25And we have someone who found a very, very enchanting
00:08:28new sort of noise.
00:08:30Ladies and gentlemen,
00:08:31the John Barry Seven.
00:08:40In 1962, he had already had a number of hits on his own.
00:08:44And he was already somewhat experienced film composer.
00:08:47I received a phone call on a Saturday morning
00:08:52from the head of music at United Artists.
00:08:55And he said that these two guys,
00:08:58two weird guys, I always remember them saying,
00:09:00called Saltzman and Broccoli,
00:09:02they've got a score for the movie,
00:09:04and they're very dissatisfied.
00:09:06Like, tomorrow they need at least a main title.
00:09:09I said, oh, my God.
00:09:11But movies was the thing I wanted to do.
00:09:13So I went in and had a meeting with Monty Norman,
00:09:16and he played me some stuff.
00:09:18And I just said, look,
00:09:20if I've got to do this thing in this amount of time,
00:09:22I have to just go with my instincts.
00:09:24His reply, which I will always remember, was,
00:09:27I'm not proud.
00:09:28He certainly wasn't.
00:09:29So I just went home and worked.
00:09:32And then we went in the studio, recorded it.
00:09:35There are certain recordings where you just know
00:09:37there was some kind of magic that day.
00:09:39John Barry took Monty Norman's theme,
00:09:42and he created a radical arrangement
00:09:45into something that was dynamic and exciting,
00:09:48even a little sexy,
00:09:49that had elements of jazz, pop, and rock in them.
00:09:56I was at the premiere, and when John says,
00:09:59Bond, and music begins, James Bond,
00:10:02the reaction was amazing.
00:10:05There was no way that anybody could tell
00:10:10that that would become one of the most famous melodies in cinema.
00:10:18And the rest, as they say, is history.
00:10:21Monty Norman's theme in John's hands
00:10:24became the most recognizable theme in the entire world,
00:10:28and has been for 60 years.
00:10:30Bond songs are sort of chemistry experiments.
00:10:39You don't quite know what they are until you hear it,
00:10:41and you say, yes, that's it.
00:10:43She always runs while others walk.
00:10:49It's an extraordinary task to write one of those.
00:10:55There's sex, there's death, there's duty, there's sacrifice,
00:11:00there's a kiss, there's a murder.
00:11:02And that's all got to be in a three-and-a-half-minute pop song
00:11:15that then intones the name of the film.
00:11:17If any of those ingredients is missing, it's not a Bond song.
00:11:21I think what made the whole Bond franchise different to begin with
00:11:35was adding that element of that amazing theme song.
00:11:39When you knew a new Bond film was coming out, you got excited wondering,
00:11:43what's the song going to be, and who's going to be singing it?
00:11:46The song should be provocative, kind of guilty pleasure for the audience.
00:11:51I shouldn't be here really, but I am, and I'm going to wallow in it.
00:11:55It's the law of the forbidden.
00:11:58There's a seductive quality in all the songs.
00:12:01They're like a sort of perfume in the air, and they promise you things.
00:12:05They promise you inevitably that your heart will be broken, you know,
00:12:09and you can't wait for them to break your heart.
00:12:12It sort of plunges you into the Bond world, the mystery, the intrigue,
00:12:17the adventure, the sensuality.
00:12:20It's haunting because Bond is a loner at the end of the day,
00:12:25and he always ends up on his own.
00:12:27What it does is it gives you an absolute open doorway to the story,
00:12:32and you have to incorporate the story into the song so that they're married.
00:12:39A really good title song will do that.
00:12:41The songs tend to have an emotional backbone for the film,
00:12:45and oftentimes they'll be involved and tethered into the score,
00:12:48as it is with Billie Eilish and No Time to Die.
00:12:51It had to be almost an ode to all of the music from Bond.
00:12:55It couldn't be either or.
00:12:58It had to be a perfect mix to feel like Bond,
00:13:01and also I had to feel like me.
00:13:03The DNA of a Bond song is timeless.
00:13:06There's plenty of incidences of how broad that church is.
00:13:09If you look at Madonna's Die Another Day, Nobody Does It Better,
00:13:13Live and Let Die.
00:13:14They're all completely different, and yet they're all Bond songs.
00:13:17But for me, the blueprint of the Bond song was John Barry and Shirley Bassey,
00:13:23and that was really with Goldfinger.
00:13:25Doctor No obviously had the James Bond theme.
00:13:28Russia With Love had an amazing song,
00:13:30but the song wasn't until the end of the movie.
00:13:32John got to do the score, but not the song from Russia With Love.
00:13:36It was when he came to Goldfinger,
00:13:38having done such a great job with the two previous films,
00:13:41that Harry and Cubby said he could write both the song and the score.
00:13:45Goldfinger was the name of the villain,
00:13:48so it's kind of a weird thing to have to write a song about.
00:13:51So I sat down and wrote this rather strange melody
00:13:55just based on the word Goldfinger.
00:14:00And so he's working on the tune at his London flat,
00:14:04and Barry was great friends and very often lunchtime mates
00:14:08with Terence Stamp and Michael Caine.
00:14:11John and I became very, very, very close friends.
00:14:14He's one of my closest and oldest friends and a marvelous guy.
00:14:19Stamp and Caine had been roommates,
00:14:21and there was some to do whereby apparently there was a little too much female traffic going in and out of his flat,
00:14:28and Caine was tossed out.
00:14:30I came to a situation where I didn't have anywhere to sleep for two weeks,
00:14:35so John said, come and stay with me.
00:14:37So I said, great, thank you John.
00:14:39He had a lovely flat, and I went to sleep.
00:14:42And I was woken up about an hour later by the piano.
00:14:53John was composing.
00:14:56And all night long, he was on the piano.
00:15:02This is my first night there.
00:15:05I thought, my God, I've got to be here two weeks.
00:15:07I'm never going to get any sleep.
00:15:09He's going to be on the piano every night.
00:15:13In the morning I got up, I went down for breakfast,
00:15:19and he was still on the piano.
00:15:21And when I went into the room, I said, do you want a cup of tea?
00:15:24He said, no.
00:15:25He said, I've finished.
00:15:26And I said, what were you composing last night?
00:15:28He said, this.
00:15:29And he played me Goldfinger.
00:15:41So I was the first person in the world ever to hear Goldfinger.
00:15:45And I heard it all night.
00:15:47It wasn't an obvious hit, because it was a strange song.
00:15:51But I felt like if you could get a singer who had conviction,
00:15:56you could sing the telephone book, you know.
00:15:58And Shirley Bassey fit so well in with that whole James Bond style.
00:16:03John Barry had not only known Shirley Bassey,
00:16:06he had actually been on concert tour with her.
00:16:08We stuck up a relationship.
00:16:10And then we did a tour together, and he conducted for me.
00:16:14And it was at the end of the tour, he said to me,
00:16:17I've just written the music for the next Bond film.
00:16:21And I went to his apartment, and he played me the music.
00:16:24I heard that, da-dum, da-da-da-da-dum.
00:16:29And I just got goose pimples, you know.
00:16:32Just, mm.
00:16:33And I said, I don't care what the words are.
00:16:35I'll do it.
00:16:38I always remember when Shirley came into the studio,
00:16:40and she said, what is this song about?
00:16:42I said, Shirley, it's a villain.
00:16:44Don't ask too many questions.
00:16:45Just get in front of the mic and bounce it.
00:16:48Gold finger
00:16:54He's the man, the man with the mind
00:16:58She was terrific.
00:16:59She was at the idea post for a Bond song.
00:17:02A spider's touch
00:17:05John, just let me do it my way.
00:17:08The Bond films, they're so masculine,
00:17:10and because they're little on the violin side and spectacular side,
00:17:14and they're glamorous, you know.
00:17:16I felt a woman singing about Bond was right.
00:17:19But don't go in.
00:17:23During the recording session,
00:17:25John had insisted on take after take and really wanted her to belt it out.
00:17:29John got a bit upset with it because she kept cutting it off too short, running out of breath.
00:17:33To do it over and over again, I mean, it was an all-night session.
00:17:37Towards the end, I mean, I had this restricting bustier on it.
00:17:41She said, just a minute.
00:17:42And then suddenly, her bra came over the top of the thing.
00:17:45She said, now try it. Try it again.
00:17:48So I let it all hang out.
00:17:49I took it and I felt much more comfortable.
00:17:52And I was able to hit the note better anyway.
00:17:55He was born
00:17:58In the early days, it felt like it was a creative explosion
00:18:13of the language of a Bond movie,
00:18:16which hadn't really found its feet, I think, until Goldfinger.
00:18:20Bond music became a universe of its own.
00:18:28Goldfinger, to me, is the most favorite,
00:18:31and it was the first time I was allowed to do everything.
00:18:33The whole Bond formula, it culminated in Goldfinger.
00:18:37Barry sets it up with the song,
00:18:39and then the song becomes the foundation of the score.
00:18:46When we had the big scene at the end, which was the Fort Knox sequence,
00:18:49I used the motif, the da, yada.
00:18:52I just kept repeating it throughout, with the trumpets and the horns.
00:19:02The integration from Goldfinger, Thunderball, You Only Live Twice,
00:19:08they weren't just opening songs and forget it.
00:19:11They ran throughout the whole vein of the movies.
00:19:23Since the time of John Barry, the Bond title song has always been woven
00:19:27into the score of the rest of the film.
00:19:29But No Time To Die is the first time the singer's voice has actually been used as an instrument in the film itself.
00:19:36You always have the main song appear somewhere in the score,
00:19:40but I don't think it was for a few weeks that we kind of discovered that should actually be our love theme.
00:19:46No, I knew. I knew. I know.
00:19:49He didn't tell me for a few weeks.
00:19:51No, I knew there was a moment which was going to slay you when it came back.
00:19:55But it's so funny hearing Hans talk about it, he's always like...
00:19:58Nobody really liked this. They didn't understand the song.
00:20:01But I liked it.
00:20:02I thought it was pretty good. I thought it was okay.
00:20:05People were going, well, hang on a second, but it's not this movie.
00:20:09And I'm going, of course it's not this movie. They haven't seen this movie. Get them on a plane.
00:20:16Literally landed, drove to a studio.
00:20:19With our suitcases, yeah.
00:20:20With our suitcases, so jet-lagged, so tired. So tired.
00:20:24Sat in this little room and watched, you know, whatever there was of the cut.
00:20:30It was great already though. It was already amazing.
00:20:33Then the next couple days was going meeting Hans and working with him.
00:20:38We all sort of hunkered down at Air Studios, which had sort of become the home of Bond over the years now as well.
00:21:01Hans has this way about him that just makes you so comfortable and very at ease.
00:21:06And when you're with him, you're, like, literally fucking crazy that this dude is, like, such a dwarf ball.
00:21:12Legend.
00:21:13And he's...
00:21:14No, but, and he's, like, just the sweetest, you know, goofiest, ridiculous man.
00:21:20I mean, Air is such a beautiful environment. It's such a beautiful acoustic.
00:21:26I just got Billy to just sing as quietly as possible. Not even the song. Just sing it.
00:21:32Could I maybe try it one time without the song in the background? I just... Great.
00:21:49Hummed the whole song. Kind of hummed a bunch of random stuff. Just a few little notes. Did some acapella, you know, verses and choruses. I just did them and forgot about them.
00:22:10I was just gathering ammunition, as it were. I just, I just knew that, you know, this was gonna be good.
00:22:20Dude, being at the premiere.
00:22:23Hi. Hi.
00:22:25And there's, like, 2,000 people in this beautiful theater in London. And the whole cast is there on stage.
00:22:32And then throughout the movie, in the most vulnerable and emotional parts of the film, is my voice.
00:22:39I have to finish this. For us. I know.
00:22:55I'll just be right.
00:22:57Oh god.
00:23:08Billy's actually a ghost. She's a beautiful ghost in the movie.
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00:40:03et j'ai rencontré Billy et Phineas quand ils se sont en train de faire.
00:40:18Elle venait à l'un de nos shows,
00:40:20qui était le meilleur pour elle,
00:40:21parce que c'était la meilleure chose.
00:40:22Je suis heureux de voir ce qu'on a fait.
00:40:24Ils disaient qu'ils veulent voir ce qu'on a fait,
00:40:26mais si on a fait quelque chose terrible...
00:40:28Non, c'est malheureux si ils disaient qu'on a fait le job,
00:40:30mais on a fait le travail.
00:40:32C'est une audition, et c'est pas d'air.
00:40:34C'est le meilleur qu'on a fait.
00:40:36C'est l'a fait, si ils ne sont pas choisir,
00:40:38tu penses, je peux avoir fais un meilleur job.
00:40:40Et je crois que, en notre casse,
00:40:41je suis comme, j'ai aimé la musique.
00:40:43Et si ils ne sont pas choisir,
00:40:45c'est ok, mais c'est le meilleur qu'on a fait.
00:40:48C'est l'a fait.
00:40:49Et puis on a fait 2 mois.
00:40:51On a fait 2 mois.
00:40:53Et puis ils vont aller à London,
00:40:55voir les films et voir avec Hans,
00:40:57c'est awesome.
00:40:59Mais c'est assez fou.
00:41:00C'est pas mal à.
00:41:01Et puis, je suis heureux d'être là, on a plane.
00:41:03Je suis heureux quand on obtient talent.
00:41:06Et le talent est bien.
00:41:08Et ça a été fortement incroyable,
00:41:10quand je faisais ça.
00:41:12Je veux la meilleure song et la meilleure score que nous pouvons.
00:41:15Je suis heureux de travailler avec le talent que nous avons.
00:41:18Quand vous partez dans la musique,
00:41:21vous êtes très aware de l'histoire de ce que vous êtes en train de faire.
00:41:25Vous êtes en charge de la battle,
00:41:27mais juste pour un petit peu.
00:41:29Et puis, vous êtes en train de passer à l'autre côté.
00:41:43Je pense que les plus successfules Bond scores
00:41:46sont ceux qui combinent les éléments de la Bond theme
00:41:51et de ce genre de musique le nouveau histoire.
00:41:59Le nombre de instances de la Bond theme
00:42:08qui sont revisés dans les années,
00:42:11c'est juste extraordinaire.
00:42:13C'est absolument unique dans la histoire de la musique.
00:42:16La musique de film...
00:42:17C'est donc Weinberg.
00:42:20C'est vraiment très dense.
00:42:22C'est une version d'enfant d'enfant d'enfant.
00:42:24S'il entendera Choiré.
00:42:25Quand je écoute l'enfant d'enfant,
00:42:27c'est une version d'enfant d'enfant d'enfant d'enfant.
00:42:28C'est une version d'enfant d'enfant d'enfant.
00:42:29C'est une version d'enfant d'enfant d'enfant.
00:42:31Sous-titrage Société Radio-Canada
00:43:01Classic sound, modern approach.
00:43:08And of course, in No Time to Die,
00:43:10the James Bond theme is brilliantly deconstructed
00:43:13so that there are elements of it throughout the film
00:43:16done by somebody who has more experience
00:43:18with action pictures than anybody, and that's Hans Zimmer.
00:43:21It might be nice to you, to us.
00:43:23It's making a living.
00:43:26Hans Zimmer, one of the things he was very keen to do
00:43:28was to bring in a lot of the old theme.
00:43:30He was like, it's good stuff, we're going to use it.
00:43:32But then he adds Hans Zimmer to it.
00:43:35Zimmer comes to this new project,
00:43:46well-versed in the history of Bond music.
00:43:52I don't think I've ever heard the Bond theme used in such clever and creative ways in any Bond film to date.
00:44:11What people want is that sense of familiarity,
00:44:18but turned, it catches the light in a slightly different way.
00:44:23It occurred to both of us, I think, that the da-da-da-da-da-da-da was just...
00:44:28You couldn't put that into Skyfall.
00:44:30It was just too outgoing.
00:44:31So, the issue is, well, how do you acknowledge Bond without the meter going to 11?
00:44:36I think you lost your nerve.
00:44:38What do you expect? A bloody apology?
00:44:40You know the rules of the game. You've been playing it long enough.
00:44:43Tom was looking all the time for ways to weave the Bond theme in.
00:44:48A good example of that is right at the beginning of Skyfall.
00:44:50Daniel's out-of-focus figure appears at the end of the corridor, there's that brass staff.
00:44:57And you're like, I'm in.
00:44:59He's back, you know, James Bond is back.
00:45:02And that's what's great about the whole idea.
00:45:04There are those moments that the fans do love,
00:45:06and you just know they're gonna love it, because they're just plain fun.
00:45:11We've been trained for 60 years to recognize what the music is doing with the Bond films
00:45:17in a way that is not the case with any other long-running franchise.
00:45:27In Casino Royale, the conception is to save the Bond theme for the very end of the movie.
00:45:34The whole point of Casino Royale was about this man who becomes the James Bond
00:45:39we all have come to know and hopefully love.
00:45:41Yes!
00:45:43So it was very important to us that he earned that theme.
00:45:47The studio were very concerned about it, obviously.
00:45:50The thing that I think maybe worried them slightly was,
00:45:54why are we watching a James Bond film and not hearing the James Bond theme?
00:45:57And they thought that was an intellectual step too far for an audience,
00:46:01that they wouldn't understand why that was.
00:46:03Number one, you have a brand new Bond.
00:46:05Nobody's seen Daniel Craig do this before.
00:46:06So the thought was, maybe we need the Bond theme to remind us of who he is.
00:46:13My sort of counterpoint was, we can't be ahead of where James Bond is in the film.
00:46:21What would be more interesting would be teasing those elements throughout the film.
00:46:27When he puts on the tuxedo for the first time in the bathroom.
00:46:30And he sees himself and he considers himself in the reflection.
00:46:39And in that shot, you're thinking about 20 other movies.
00:46:43You're thinking about all the other times you've seen Bond in a tuxedo.
00:46:47And we're looking at him going like, he's getting closer, he's getting closer.
00:46:52And then at the end, first time he says the line,
00:46:55because there's been an opportunity for him to say the line, the name's Bond, James Bond.
00:46:57What does Bond eat? Your name, sir?
00:46:59James Bond. You'll find the reservation under Beach.
00:47:02Same with, like, ordering the drink.
00:47:04Boca martini. Shaken or stirred?
00:47:06Do I look like I give a damn?
00:47:08So we are done with convention in this film.
00:47:10And then right at the end when Mr. White says, like, who are you?
00:47:14And he says the name's Bond, James Bond.
00:47:16We've been waiting two hours for that.
00:47:20So when Mr. White gets out of his car,
00:47:23I'm not really playing what's happening to Mr. White.
00:47:27It's like we're on the audience's side now, waiting for this to happen.
00:47:31Hello?
00:47:32Mr. White, we need to talk.
00:47:35Who is this?
00:47:38He gets shot in the knee.
00:47:43Because he's coming up the steps.
00:47:45There's even a tambourine in it, that famous rhythm for the Bond thing.
00:47:49And then the trombones start.
00:47:52Boom.
00:47:54And then you see Bond on the, you know, just his feet on the steps as he crawls up towards him.
00:47:59So you know you're kind of careering towards this moment.
00:48:03And we need access to it. We need permission.
00:48:07The name's Bond.
00:48:09James Bond.
00:48:10I mean, I've seen that three or four times in a cinema and everyone went nuts.
00:48:22No one went nuts.
00:48:35I didn't even write it.
00:48:36You know, it's like all I did was position it in such a way that enabled that to happen.
00:48:40The recording of the James Bond theme at the end of Casino RL was the most exciting recording experience I had in any film that I'd done.
00:48:48The band were waiting for that moment and this thing just exploded out of the speakers.
00:48:54He's back and the music's back and the theme is back.
00:48:57We used the David Arnold arrangement and recording at the end of Skyfall.
00:49:13And there was a moment where I thought, well, should I be writing something else?
00:49:16Should there be a different arrangement?
00:49:18But it barked so well.
00:49:19It was so, it was just a great performance.
00:49:21So I was either going to be chasing it and trying to make it as good, in which case, why bother?
00:49:26Or doing something different for the sake of doing something different, and you could argue, why bother?
00:49:36After Arnold had created that version of the Bond theme, it wound up being used again and again because, to cop a phrase, nobody does it better.
00:49:44If you look at the entire history of Bond music, there are so many fascinating tales of incidents that happened during recording sessions.
00:50:05It's such a big opportunity doing the Bond theme.
00:50:09There is definitely a spirituality to how these things happened in the studio.
00:50:12One story is that Nancy Sinatra came to London to record You Only Live Twice.
00:50:19I was really scared going there because I knew this was nitty-gritty, hardcore singing.
00:50:27There was literally 20, 25 photographers and press people in the studio, which is an impossible way to record.
00:50:33If John Barry hadn't been there, I would have just turned around, I think, and run back to the hotel because I was so scared.
00:50:40I think I tried to squeak out two or three takes, I was a wreck.
00:50:46Ultimately, they had to piece the recording together from as many as 25 different takes.
00:50:52And, you know, in some ways, Thunderball is my favorite story because Tom Jones comes in, has to hit this huge note at the end and hold it forever.
00:51:01John Barry said to me, now, the last note, the music's gonna go on for a long time, but hold it as long as you can.
00:51:07And, okay, here we go. Live. As soon as I hit ball, I close my eyes because I can't hold it any longer.
00:51:14The room was spinning. I had to hold on to the sides of the booth to stop myself falling over.
00:51:19John said, that's it. We got it.
00:51:20He did it in one take because he couldn't sing that again. It's become part of Bond's mythology.
00:51:27With Writings on the Wall, me and Jimmy wrote the song in about 20 minutes and then recorded it 20 minutes later.
00:51:33And that was it. We're in the studio and we were actually rerecording a vocal to my song, Lay Me Down.
00:51:39Jimmy just played some chords and it just flowed.
00:51:42After we'd finished writing, we literally went next door to Rack Studio One and recorded it. And that was the take.
00:51:53The vocal is the demo vocal, the first vocal I ever did for the song.
00:51:58You can hear the piano in the back. We're playing just live in the room.
00:52:03It was very special that it was the first take, you know, it's all just in that moment.
00:52:10In that moment.
00:52:27When I heard that all come together, it was a really magical day.
00:52:31Such a big deal, Bond's song. It's the dream gig to get.
00:52:41If you think about it historically, it must be the series that has stayed relevant and timeless for the longest.
00:52:56And at the same time, it's managed to do that by not actually staying timeless, but embracing wherever we were at whatever point in time we were.
00:53:03It's a snapshot. The coolest thing about the Bond franchise to me is that it's set in present day. So it's just got to reflect the world that we live in.
00:53:13If you just went theme song by theme song chronologically throughout the Bond history, you also get a sense of human pop culture at the time.
00:53:21Once you switch from Sean Connery and the big John Barry classics, then you've got the Roger Moore era, which required different themes and the music of the Roger Moore era signals a little step shift.
00:53:34We got into the songwriter performers, you know, like Paul McCartney, who would compose the song and sing themselves. And of course, they would do it in their style.
00:53:44When you were young and your heart was an open book.
00:53:54Broccoli and Saltzman had put around that they wanted a good theme tune. One of the team asked Paul McCartney if he would write a song.
00:54:04I said, OK, send me the book around. They didn't have a script then, I don't think. So he sent me this Ian Fleming book. And I read it and thought it was pretty good. And that afternoon, I wrote the song.
00:54:15It was co-produced with George Martin. And I worked with George, which I hadn't done since the Beatles. George took an acetate of it out to I think it was the Bahamas where they were filming it and he took it to Harry Saltzman.
00:54:28And I thought, well, he's gonna sort of look me over. And at the end of this, he said, by the way, who do you think we should get to sing the song?
00:54:37I said, well, you do have Paul McCartney. Yeah, yeah. What do you think of Thelma Houston?
00:54:44I said, well, I think she's great. But Paul, how about Aretha Franklin? I said, fantastic. But Paul, and I suddenly realized that I had to put it to him as delicately as I could that if he didn't take Paul, he wouldn't get the song.
00:55:02George kind of looked and said, this is the real track, lads. Hope you like it.
00:55:05Say, live and let die. Live and let die. Live and let die. It was rock and roll. You hadn't had a Bond song that sounded like that.
00:55:20That was what blew me off my seat.
00:55:27Oh, I remember dad playing the Paul McCartney song. He had big speakers in the living room. My sister and I just going crazy. Going absolutely crazy.
00:55:38It's a little bit of everything. There's a kind of strange reggae interlude. It's not my favorite part of the song, I have to confess. But nevertheless, it's there.
00:55:48What's it going on? And man's like, no, Paul, what are you thinking?
00:55:55It shouldn't make sense, but it does. And it remains one of the great Bond themes.
00:56:00Don't you agree?
00:56:21Live and let die there, which got to number nine in the summer of 1973.
00:56:25With James Bond's changing, you get a change in the music.
00:56:32Things that bring him along every time into a new era.
00:56:36Once again, John Barry's not available for The Spy Who Loved Me. So what do they do?
00:56:41They get the hottest young composer then working in America, Marvin Hamlet.
00:56:50Just got back from London. Welcome home.
00:56:51Yes, just got back. I like it very much. I worked on a wonderful new picture, which is a new James Bond picture.
00:56:58Hey!
00:56:59I thought that that's the reason they actually hired me, because there's such a similarity between myself, you know, and James Bond.
00:57:07And James Bond.
00:57:08Marvin Hamlet was a character. He was a performer, composer, and he was another musical genius.
00:57:14You know, I remember Marvin Hamlet sitting in our piano we had in the upstairs kitchen, where he banged out Nobody Does It Better and sang it.
00:57:26His voice was very different to Carly Simon.
00:57:30But boy, did you know then that that was an incredible song.
00:57:42It's wonderful to hear it that way. Before you orchestrate it, before you get in a professional singer, you really see the enthusiasm the composer has for it.
00:57:51I was thinking about this film, thinking about how everything is bigger than life on a Bond film. Everything is bigger than life. So I went just the opposite.
00:58:10I suppose he wanted to get away from the John Barry style and make his own style in the film, which I think he succeeded. It's very romantic.
00:58:34This is where we get to see Bond emotionally stripped bare. And it was the song that did that.
00:58:49I was working with my lyricist, Carol Bear Sager, and I said, what do you think could be said about James Bond, you know, after all these years?
00:58:56She came up with the title, which we think is the most modest title of all, called Nobody Does It Better.
00:59:02And I guess from there, we decided if it was that vain, we should have Carly Simon sing it.
00:59:08Nobody does it better
00:59:15Makes me feel sad for the rest
00:59:21You're moving with the times into a pop era.
00:59:25I remember hearing like on, you know, my aunt's car, you know, nobody does it better. And you'd think, wow, that's a James Bond song.
00:59:32Such a smart thing to do because you're drawing in so many more other people.
00:59:35I wasn't looking
00:59:42But somehow you found me
00:59:44I tried to hide from your love
00:59:49But like heaven above me
00:59:55The spy who loved me
00:59:57There's something about it feeling like it's from the woman's perspective, that it's both celebratory and also slyly satirical.
01:00:08Over the years, nobody does it better. It's become synonymous with Bond.
01:00:13Even to this day, when plugging Bond films, you often see nobody does it better.
01:00:17Then you're the best
01:00:34Two, three, three, take one
01:00:36Well, we were nearly 20 years into Bonds and there have been a lot of big hits.
01:00:41If you've got 60 years of Bond songs, not all, however many there are, are going to be number one standards.
01:00:52I still never know sometimes why things just don't come together.
01:00:58That song, it didn't work. Hated it. That's why I've never sung it in my act.
01:01:03I suppose everybody thinks if only ours was as strong as Goldfinger, All Time High was a nice song.
01:01:20Yeah, it's all right, you know. It's not my favorite part.
01:01:24The gentle ones have never been what I gravitate to, but it works in the romantic sense of it.
01:01:28I think they were lacking edge, you know, and it all seemed a bit M.O.R.
01:01:33I mean, I would have said anything to get for In The Door.
01:01:35Yeah, you know.
01:01:38I rolled up to this party and I saw Cubby Broccoli across the room and, you know, I had that, you know, that confidence of youth.
01:01:46I went over to him and I said, you know, when are you going to have a decent theme song again?
01:01:50And he said, you want to do it?
01:01:53I said, hell, yes.
01:01:54It's yours, man. Aren't you?
01:01:59Bond. Simon. Le Bond.
01:02:12Duran Duran, I thought that song modernized Bond. It was hipper than it was getting to be at that point.
01:02:19They were perfect for it, obviously. They were like the embodiment of the 80s and that sophistication, the suits and everything.
01:02:26And it was just like, yeah, of course.
01:02:29They were big, big Bond fans. I mean, Jon telling you everything about every Bond movie imaginable.
01:02:35I was just getting the whole Bond experience. I fell in love with the cars, the clothes, the girls.
01:02:39But over time, you realized how impactful the music was. Jon Barry was the guy that gave pathos to Bond.
01:02:49I must have written over a hundred songs with Jon Barry, but I've never written anything with him in the same room.
01:02:55He wasn't very good at collaboration in the traditional sense.
01:02:59Yeah, I mean, Jon was amazing, you know, I thought. I mean, he was a dick, but he was an amazing guy.
01:03:05Sometimes the collaborations that we had him get involved with were challenging for him.
01:03:17They just used to, I said, well, how do you guys work?
01:03:21They said, oh, we'll meet you at this rehearsal room at 11 o'clock, one morning we went in there.
01:03:26And then they used to sit around, play a bit here, play a bit there, throw out ideas.
01:03:32It was a totally alien way of working.
01:03:35He was a tricky guy, but he knew what he wanted.
01:03:39He didn't know how to get it politely.
01:03:41But the song was number one.
01:03:44Until we dance into the fire
01:03:49That fatal kiss is always me
01:03:53The piece of music we made was a Duran Duran piece of music.
01:03:56You know, with that beat, that boom, da, da, boom, boom, da.
01:04:04There's a lot of energy in Albon theme that is still a bit of a rarity.
01:04:08I think I wrote them as long as I could find something slightly new to do.
01:04:15You had to keep within the bounds and I think I exhausted the bounds.
01:04:21And that's when I thought I better, I better cut out of the situation.
01:04:26In 1987, Variety did a special issue commemorating 25 years of James Bond.
01:04:32And John Barry took out a full page ad to congratulate his old pal Cubby Broccoli
01:04:38And to say thank you for the opportunity that it had presented.
01:04:42And it was kind of a nice way to go out.
01:04:44Yeah, he always would be the man who created the sound of Bond.
01:04:49But I can entirely see why there came a point where he just went,
01:04:54Not anymore.
01:04:56And had an exquisite later career.
01:04:59We've all got a list of people we think should have done a Bond song.
01:05:12And never did.
01:05:13Although, never say never.
01:05:15Why hasn't Beyonce done one?
01:05:16She could do a fantastic one.
01:05:18Prince or, uh, I mean Whitney Houston would have killed it.
01:05:21Lana Del Rey.
01:05:22She should be the next Bond girl.
01:05:24Stormzy.
01:05:25I think Laura Mvula.
01:05:26Or Rihanna Bond song.
01:05:27Rihanna Bond song would be awesome.
01:05:28Why didn't Queen ever get a Bond song?
01:05:31Rami had to say Queen.
01:05:32It's just in his contract.
01:05:33He has to promote Queen almost always.
01:05:35I think his contract's up in a year.
01:05:38Missed opportunity?
01:05:39Perhaps.
01:05:40There is a long list of people that have written and recorded songs.
01:05:43That, for some reason, never found favor.
01:05:46Blondie.
01:05:47Ace of Base.
01:05:48Alice Cooper.
01:05:49Pulp.
01:05:50Saint Etienne.
01:05:51Radiohead.
01:05:52With Spectre, we were talking to Radiohead.
01:05:54And obviously Sam and Daniel were huge fans.
01:05:57This song is called Spectre.
01:06:00CHEERING AND APPLAUSE
01:06:03Not to be confused with the James Bond film.
01:06:06CHEERING AND APPLAUSE
01:06:11Radiohead came in, all five of them actually, to talk about it.
01:06:14I was slightly starstruck.
01:06:16And they did write something.
01:06:22Which sadly we couldn't use because they'd already actually, they'd never released it, but it had been played, I think on a live album.
01:06:29And that wasn't the brief.
01:06:30I mean, it needs to be a completely original song.
01:06:32Otherwise, for example, it's not eligible for Academy Awards.
01:06:36But also we felt it deserves to be a song.
01:06:38You want to feel like it's written just for the movie.
01:06:41So we had to then say, well, we can't use this, even though it was great.
01:06:44And we went off and explored other possibilities, one of whom was Sam.
01:06:49Then Tom York said, we've written another song.
01:06:53I was like, oh no!
01:06:56Do you know how you told me?
01:06:58And he played it and it was absolutely beautiful and very melancholy.
01:07:02I loved it. I mean, I still love it. I mean, I still play it because I love Radiohead so much.
01:07:23It probably would have worked brilliantly, but it was kind of a beat too late by that time.
01:07:28We have to do the graphics for the main title and the images have to match the words.
01:07:34Even the fact that we had a conversation with Radiohead is for me, like, you know, it was a dream come true.
01:07:40Spectres, come for me.
01:07:57I love that Radiohead song.
01:07:59But, you know, you just get lucky sometimes and then you get unlucky sometimes too.
01:08:04It's just, it's not a barometer of whether you're better than anyone else.
01:08:07It's just whether you get that lucky call.
01:08:11Please.
01:08:13We think about all of these things that might have been, and maybe most of all,
01:08:18what if Amy Winehouse had been able to do the song for Quantum of Solace?
01:08:22Barbara, Michael and I, we all sat down and discussed different performing artists and we all thought Amy would be a great choice.
01:08:33She had the smoky Soho British roots.
01:08:38There was a danger to Amy Winehouse that would have tried very well with Bond.
01:08:42Amy would have done a brilliant one, especially given her influence across British music since, you know.
01:08:46There's definitely influence from her within Adele's delivery, I think.
01:08:52We had a meeting and she was extraordinary.
01:08:57She was a combination of effervescence and fragility.
01:09:03And we sat at the table.
01:09:06She wanted to know the emotional theme of the film.
01:09:10And she asked for a notebook and she was writing.
01:09:13During the whole time I was talking, taking notes.
01:09:19And Quantum of Solace was about him having his heart broken and him realizing that revenge doesn't fill the void.
01:09:30And when she left, she left the paper behind.
01:09:34And, um, she had just written Blake.
01:09:41Blake, Blake, Blake, Blake, Blake, Blake, Blake, Blake.
01:09:49She clearly wasn't in a place where she could do her work.
01:09:54She was exceptional, exceptional talent and seemed like a really sweet, lovely person.
01:10:07I'll never forget it.
01:10:08I'll never forget her.
01:10:12The loss of Amy Winehouse leaves a kind of lingering shadow that the Jack White song really couldn't escape.
01:10:21He's a long time Bond fan.
01:10:26So he comes in and does Another Way to Die, which is a duet with Alicia Keys.
01:10:31First time that there's a duet in the history of Bond songs.
01:10:35The best thing about it being the only duet strictly for pub quizzes in Britain.
01:10:40That's, that's its number one appeal.
01:10:42It was really rockless.
01:10:56That's what I like about it.
01:10:57Very much in your face.
01:10:58Very bold.
01:10:59Yeah, I thought that was open.
01:11:01I wanna walk it back.
01:11:03I'm dropping the water.
01:11:04I'm looking at...
01:11:05You know, something that I've always wanted to do.
01:11:07And here we are in a moment where it might happen.
01:11:09And I thought this is also a great time for me to put things in that they would never have approved of.
01:11:15They had a year to think about it.
01:11:19The guitar solo alone, you would never expect a guitar solo like that to be part of any major Hollywood production, let alone a James Bond song.
01:11:27I'm a huge fan of both of them.
01:11:33I just really appreciated that Bond was daring enough to bring these two people together, whether it was going to work for everybody or not.
01:11:42It's great when they choose people who are like, I'm gonna try to break this a little bit, which is super important, especially with Bond.
01:11:48I mean, it's the number one most divisive thing I have ever been a part of.
01:11:52I remember telling the engineer in the room, like, there's gonna be people who don't like this song.
01:11:55I know that.
01:11:58But it doesn't matter how good the song is.
01:12:01You get so much shit.
01:12:03It's funny, because when it happened to us, we got so much pushback.
01:12:07I mean, it was almost, I would say, embarrassing.
01:12:09It felt embarrassing how awful people were about the song.
01:12:13You're joining into this plethora of a billion fans that a portion of them cannot be satisfied.
01:12:19But the only time I met Prince, he said, I really like that James Bond song you did.
01:12:23And I said, wow, really, thank you.
01:12:25That's incredible.
01:12:26And I'm really glad to hear you say that, because there's a lot of people who dislike it.
01:12:29I remember him exactly the way he said it.
01:12:31He goes, I thought it was real strong.
01:12:35That's the thing.
01:12:36When you're in there, you say it's better to go down in flames than to try to play it safe.
01:12:40I wanted to have it be dangerous and be strange and live in its own little world, but also be part of the family.
01:12:45It's the strange cousin who came to visit, you know?
01:12:52Bond is really big on legacy.
01:12:55The films have got a 60-year history to draw on now.
01:12:59Just as the films nod to the past, the music has to acknowledge it, too.
01:13:03No other film series has that shorthand, because no other film series has that history.
01:13:09The fun of making a Bond film is you can't tap into the history of Bond, and that's the joyful.
01:13:14If it's the cars, the sound, the songs, the score, whatever it is, one has to do that.
01:13:18Modern composers, modern filmmakers, are very keen to nod back to that and to reference those songs,
01:13:24because Bond is all about the 60-year history.
01:13:29Both Hans and I really wanted to kind of take it back to what John Barry did.
01:13:33No Time to Die was very much akin to On Her Majesty's Secret Service.
01:13:38That was the first Bond that ever tackled his emotional life, really, and his love life and loss.
01:13:43I love you.
01:13:46I know I'll never find another girl like you.
01:13:52Will you marry me?
01:13:56Honor Majesty's Secret Service has this wonderful love theme called We Have All the Time in the World,
01:14:02which is a line from the end of the movie.
01:14:04I said to Cubby Broccoli, you know, I'm trying to think who can bring some kind of irony to that title.
01:14:11And I said, I think it's Louis Armstrong.
01:14:13So Cubby was very, very for it.
01:14:21And Armstrong had just come out of hospital.
01:14:23He'd been in the hospital for about a year.
01:14:25And we came to New York and recorded.
01:14:29And to finally walk in the studio with him, you know, it was like, oh, my God, you know.
01:14:34He was an absolute dream to work with.
01:14:37You're talking about a musical legend.
01:14:39A man who has, you know, brought so much to music.
01:14:43Here's a tune, folks, that I happen to sing in the soundtracks of one of James Bond's pictures that just opened in New York.
01:14:57We have all the time.
01:15:04And what was almost broke my heart at the end is when we were all through, he thanked me.
01:15:23I was very moved and I felt rather stupid.
01:15:28But it was such a nice thing of him to do.
01:15:30I get kind of teary-eyed when I think about it because it was the last thing he did.
01:15:35Out of all the songs, I like that probably with the best.
01:15:38It was the least Bondian of all the songs that we wrote.
01:15:41We have all the time in the world is not just the love theme, but it underscores the tragic finale.
01:15:54There's no hope, you see. We have all the time in the world.
01:15:59James Bond has just gotten married and his new wife has just been murdered by Blofeld.
01:16:04It is a shocking ending to the movie, but an emotionally rich one.
01:16:10There's gravitas in that song, and there's history in that song, and there's history to Bond.
01:16:18It's timeless with some nostalgia and some heartbreak in it.
01:16:23It just seems such an appropriate way of telling you the history of the franchise and where it's going.
01:16:32Can you go faster?
01:16:34We don't need to go faster.
01:16:37We have all the time in the world.
01:16:39Daniel Craig says the line, and then we are immediately catapulted back into another era of Bond.
01:16:56Louis Armstrong, he recorded that and he was very close to death himself, and therefore the music has a lot of emotion attached to it.
01:17:01That's gold dust for any composer to twist it and turn it and to sort of incorporate it into the soundtrack.
01:17:08We hear we have all the time in the world, which is a kind of frightening premonition that things may not work out as we hope.
01:17:16I wanted it from the very beginning, that song.
01:17:19Knowing where we were headed with the script, it felt so right for this to end everything.
01:17:24It does have hope, that song. As sad as it is, it has hope in it.
01:17:28It's so important to keep Bond fresh, to keep Bond current, but also to keep referring to the old Bond themes.
01:17:41And so in No Time to Die, you have the Billie Eilish theme, which becomes the love theme of the movie.
01:17:49You have the James Bond theme, which is brilliantly deconstructed, so that there are elements of it throughout the film.
01:17:55And then you have the overall score itself, done by Todd Zimmer and his co-writer Steve Mazzaro, and by the time we reach the end of the movie, he combines them into a kind of seamless whole.
01:18:09It really, really brings the whole world to Bond together.
01:18:12What we've been talking about is that there's an overall Bond language, which was established by John Barry.
01:18:18We always use that as our touchstone. But on this film, especially towards the end, it gets deep.
01:18:25It allows you to leave the John Barry world behind, and you do your own thing, and start setting up what is happening to this character now.
01:18:40And really become his inner voice.
01:18:43We've been making music together for a really long time, and I can't think of any better occupation than doing what we do.
01:18:53We actually make people quite happy sometimes with this noise we make.
01:18:57And you guys make the best noise in the world, and you know that. You really do.
01:19:02You really do. And this one's special. This one we know is special. This is Bond. James Bond.
01:19:11So cute.
01:19:14Working with Hans on the score and trying to figure out how to crack it, trying to go from that very tricky step of saying,
01:19:21yeah, sure, that's a great feeling in terms of a standalone piece of music, but then how does that marry with picture?
01:19:26It would come down to sometimes Hans just jumping on his little keyboard, and he'd go, well, how about this? And he would, like, hammer out something.
01:19:31And that's a very unusual thing in a Bond movie, where you get to build an emotion over however many minutes.
01:19:38You know? And you're going, hang on a second. Is this really going to go where? Maybe I think this is going to go. I can't be going there, you know?
01:19:45The music just takes you there. It had a profound effect on the end of the film.
01:19:51It was a very, very tough cue. It's leading up to Bond's sacrifice.
01:19:56Hans building that score with Steve and everyone. It was a master class.
01:20:02And it's always amazing to watch a master do his thing.
01:20:05I had said something to him on the way out, because I'd given a bunch of notes, and, you know, when you're in post production, you're just kind of being shipped around to different departments.
01:20:10I was about to leave to go to my next stop, essentially. And I said, you know, I just feel like there's something about this that needs to sound like a requiem.
01:20:18And I was like, he's like, okay. And I was, like, starting to hit the door. And I, like, basically had my hand on the handle of the door. And he's like, you mean like this?
01:20:24And he just hammers out these chords, and I'm like, yes, yes, like that. Keep going. Wait, what was that? Keep going.
01:20:33As we morph slowly into nearly a requiem, but, you know, you still got the romantics of chords in there. You still have the elegance of Bond hidden in there.
01:20:46There's a mystery within a mystery within a mystery. And he just sat there, and he just, like, played, I don't know, like 30, 45 seconds of something.
01:20:54And I'm like, what was that? He's like, I don't know. He's like, someone was recording that, right?
01:20:58I think everybody knows what that means, right? It's really just three chords. But then they let you go anywhere you want, you know?
01:21:08If you think about it, somewhere in there is complete tragedy. You know, it was important that there's a sort of finality to the whole thing.
01:21:18Bond has that kind of...
01:21:22Which is not very emotional, but when you turn it on its head a little bit, and kind of go to that chord, it's so much more powerful and so much more emotive.
01:21:34You made me do this, you see?
01:21:39So we incorporated the Bond theme and Billy's song into the score.
01:21:50And then there's a line that we wrote where it's just this...
01:21:56Which appears throughout the film as a basic motif.
01:21:59And we've superimposed that over the Bond theme, which keeps growing and growing and growing.
01:22:05Would you put Madeline on, please?
01:22:07Once Bond gets to the point where he tells Madeline that he's not coming back, is when we start to fragment Billy and Phineas' tune.
01:22:16Have you left?
01:22:18No.
01:22:20Um...
01:22:22I'm not gonna make it.
01:22:24What?
01:22:26What?
01:22:30Oh.
01:22:31Are you promising?
01:22:32Madeline.
01:22:38Just as a little, a little taste.
01:22:41Hearing the orchestra play the melodies of the song, just alone, was astounding.
01:22:46I mean, just, you know, da-da-da-da-da-da.
01:22:49In, like, these beautiful moments, and Phineas were like, oh, my God!
01:22:54Sitting there. It was crazy.
01:22:56And so it really all ties everything together.
01:22:59It was really important to us to honor Bond's past and John Barry's style while looking to the future.
01:23:05We just need more time.
01:23:08If we only had more time.
01:23:10You have all the time in the world.
01:23:18The whole last section of this film, without the music, it doesn't soar.
01:23:23You know, that's what the music brings to this. It makes it do. It makes it fly.
01:23:26That closing scene, and the music, really connects with you emotionally, in your gut, in your memory.
01:23:39And reminds you of all the Bonds that you've seen before.
01:23:43All the many different iterations of Bonds, and the sense of that coming to an end.
01:23:48So I'm getting chills actually just remembering it.
01:23:49Somehow, Bond music became a universe of its own.
01:23:55When you listen to those songs, you're reminded of how groundbreaking it was.
01:24:00You struggle to argue with the success that these things have had around the world.
01:24:06Music has this ability to connect to our unconscious and bring on emotions that we are not aware of or understand, but we feel them.
01:24:15And that's what John Barry and David Arnold and Tom Newman and Hans Zimmer are masters of.
01:24:27When you talk about the music of Bond, you're automatically diving into a history lesson.
01:24:32Bond, in his own way, has more to do with our culture than people will ever probably admit.
01:24:38Because he's been with us for 60 years now. It's truly astonishing.
01:24:45The way that you hold me, whenever you hold me, there's some kind of magic inside you.
01:25:09That keeps me from running, but just keep it coming.
01:25:16How'd you learn to do the things you do?
01:25:24Nobody does it better.
01:25:29Makes me feel sad for the rest.
01:25:38Nobody does it half as good as you.
01:25:46Baby, baby, darling, you're the best.
01:25:56Baby, you're the best.
01:26:04Baby, you're the best.
01:26:10Baby, you're the best.
01:26:42...
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Recommandations
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À suivre
1:16:09
1:20
12:56
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15:59
13:23
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19:48
26:24
12:52
2:28:07
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25:12