Won’t pretend I’m not a bit disappointed. I feel like the only thing making this is the orchestra. What is it with artists these days denying us the emotional outpouring that comes from a strong chorus? Has the very concept become cheesy? At the moment (and this might change as I listen more) I tend to agree with @odd_jobbies that it never really takes off. Mind, I remember thinking the same after listening to Skyfall. In retrospect and by comparison, that one did at least have a chorus, but it didn’t quite live up to what it was promising. Anyway. It’s not a disaster, I’m sure this’ll work better with the titles and I’m sure I’ll enjoy the film. So no big deal.
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New interview with Eilish about the song - first iteration written in 3 days after getting presumably the pre-titles/Matera part of the script
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I suspect it fits rather good into the theme of the film itself. I wonder if a more aggressive, catchier upbeat tune would fit as good - probably not.
Well that’s 144 times longer than TWOTW took to write.
But still, seems like a pretty fast turnaround. This bash it out quick approach seems to be becoming a badge of honour for bond themes.
IMO quite bland and forgettable like Sam Smith’s theme
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Great songs can be and were written fast - so I don’t mind that.
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Indeed they have been, just not this (or the last) time imho.
I think it’s ok — farrrr better than TWOTW (which smiths falsetto made unbearable).
This one seems very suitable for the story, but good bond themes transcend ‘suitable for the story’.
It starts very well, but runs out of ideas. I don’t see this one getting any repeat play by the summer - it’s just not a keeper.
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And as Eilish says in the interview - that’s just the first iteration after getting the brief and part of the script from Barbara - then there was a lot of work to get to the version that dropped.
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Newly introduced to Billie Eilish due to her and her brother writing and performing the Bond song, I had subsequently played much of her output. And loved it.
Soulful and edgy.
However, this track, for me, plays too much on ballads of before and less on the edginess of Billie herself, I believe.
It also has an element of Sam Smith’s Writing is on the Wall which I found distracting.
All in all, (with the all too important word) ‘currently’, it seems to miss the point of Billie’s involvement altogether. Albeit beautifully done.
An update in one week!
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This…
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But it conveys a basic theme of the film pretty well, I think, judging from this new trailer featuring the song.
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Yeah I think it basically conveys the theme well enough, but all of these songs and credit sequences have been getting more and more tied directly to the plot of the film since Skyfall so I’m not surprised it continues in that direction.
It does lack a bit of crwumbal, but it makes up with daring paradise.
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This is a good observation. When you compare the recent songs to FRWL or GOLDFINGER for example, the plot seems only hazily present in the lyrics of those days. FRWL‘s sound like a very young guy inside a too deep romance. And GOLDFINGER‘s turn the character into a ladykiller.
Haha. Yes that’s the missing ingredient!
Forgot to add: the lyrics are great.
Giving it a second listen, and I’m liking it. I can really hear the Zimmer in the orchestration. Now we wait for the true test, its integration into the opening credits.
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I quite like it. The overal theme is great and I think it will play very well in accompanying the film itself.
As for the song, and apart from the fact that I really don’t like her voice (I hate those drawling voices which seem to be the fashion since a few years), I mainly have 2 issues:
- the lyrics are way too personal (I loved you / I was betrayed / I won’t get fooled again); it’s like it was written for a drama film.
- the rythm, although I really do like the theme, is too “slow” for an adventure movie. Not “Bondian” enough (think LALD, TLD, CR). Even SF had a quicker pace.
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This is perhaps the closest to a drama a Bond film can get, outside OHMSS/CR. Will be interesting to compare this against the usual template.
WotW did the same thing arguably to a more cringe worthy extreme with
How do I live?
How do I breathe?
When you’re not here I’m suffocating
I want to feel love
Run through my blood
Tell me is this where I give it all up?
For you I have to risk it all