Comments on: Oscar Nominees 2013: Thomas Newman’s Score for Skyfall

By: daniel miller

daniel miller — Wed, 16 Nov 2016 16:37:30 +0000

Phenomenal site!! Really enjoying going through your analysis and learning quite a bit. Please keep up the fantastic work.

On the musical graphic below the text –

“The Bond sound, however, is worked into the “Skyfall” song in a more fundamental way. After the add-9 chord, we hear a repeated three-chord progression in C minor: i-VI-iv(7).”

– I think you may mean an A natural in the final chord, making the F7.

Thanks again for this insightful site!
Regards –
dan miller

By: Film Score Junkie

Film Score Junkie — Thu, 02 Jul 2015 05:10:57 +0000

In reply to TomC. Ah, very cool. Sure, I think that's entirely plausible. Good catch, Tom!

By: TomC

TomC — Thu, 02 Jul 2015 01:07:58 +0000

In reply to Mark Richards. I also found the cue 'Voluntary Retirement' really interesting during the film. The movement of a third from the AbM (bypassing the Abdim/Gb as a passing chord) to the EM has maybe a parallel to the same chord movement in the main title from Goldfinger? An appropriation of existing Bond musical material?

By: Justin

Justin — Tue, 05 Mar 2013 16:29:56 +0000

I’d have to say the Zimmer nod in Track 7 is intentional. Sam Mendes said that Nolan’s Batman trilogy was a heavy influence on Skyfall and the 007 does borrow a rather high number of plot points and devices from that superhero series. It *could* be a temp track thing but it is more than likely just one more bit of cross-pollination given that very little about the film is original unto its self.

By: Mark Richards

Mark Richards — Thu, 28 Feb 2013 00:09:51 +0000

@jackjack – Yes, you’re right, the Zimmer reference could be a case of being forced to adhere to a temp track. If so, then I suppose someone else (probably the director) wanted to pay homage instead. It might not have been Newman’s idea. Good point!

And yes, I share the same feeling that it spoils some of the movie’s atmosphere in this case. I laughed too!

By: jackjack

jackjack — Wed, 27 Feb 2013 15:26:42 +0000

I really admire your passionate and intricate attitude towards film scores. I please to forgive me my erroneous and untrained english. I can not speak about technical details of this score, but I would like to say something about Zimmer’s influences.

In my perspective all the references to the Zimmer’s Batman are not an intentional homage, it’s just a pathetic result of a “temp-track thinking”. I’m sure that such a inventive composer as Thomas Newman, is truly embarassed that those “rip-offs” are part of his score. I remember while watching the movie, just when “She’s mine” plays, I was thinking: “What exactly movie is that?! The Dark Knight or what?” then I burst out laughing… this is how the producers destroy a movie experience.

By: Mark Richards

Mark Richards — Tue, 19 Feb 2013 17:04:17 +0000

Thanks, Frank! Yes, this was a striking passage – you can hear it at the opening of the soundtrack cue “Voluntary Retirement”. There are two phrases, both repeated, and all the chords are third-related. The first phrase goes AbM – Abdim/Gb – EM, but when it’s repeated, the second chord becomes Abdim/F, lending the phrase a tinge of tragedy with the diminished seventh chord. The second phrase is only two chords, again third-related: C#M – EM, the repetition being the same this time. Interesting that third-related chords like these continue to have fresh sound even in the twenty-first century.

By: Frank Lehman

Frank Lehman — Mon, 18 Feb 2013 22:04:57 +0000

Wonderful analysis (and I love your blog!). I’m curious if you have any thoughts on the quiet, brass-chorale style theme in Skyfall that I vaguely recall accompanying scenes of contemplation or mourning. Had a nice chromatic zing to it, typically Tom Newman-esque to my ears.

Keep up the great work!

-Frank