"It really is more a lifestyle choice than a job." But he does not want to go through it again. "It feels almost, even though we've just finished shooting it, like one big experience, and it was a fantastic life-changing thing," he said. Speaking to the BBC's Jonathan Agnew on Radio 5's Test Match Special on the weekend, Mendes said the two films took a total of five years to make. Mendes, who also directed 2012's Skyfall, says he is finished with 007 – probably. Despite rumours that he had signed on for one more film, he told the magazine: "I really don't know. The 47-year-old hinted that Spectre will be "Skyfall times ten" and a "celebration of all that's Bond", but he was less certain about continuing on in the role. It's not just that he has to kill the bad guy, there has to be a reason for it." He's f****** these beautiful women but then they leave and it's … sad."ĭescribing his incarnation of Bond, one that has gained countless plaudits from critics, Craig explained: "He has to be affected by what happens to him. As the newspaper remarks: "Bond has traditionally romanced younger women – in Skyfall, Bérénice Marlohe was 11 years his junior."Ĭraig also opened up in the interview about how he views 007. In what The Guardian describes as "an unlikely twist" the leading woman in the new film Spectre will be Monica Bellucci, an actress three years Craig's senior. But he is, and so what does that mean? It means you cast great actresses and make the parts as good as you can for the women in the movies." The actor, who has been the face of Bond for nearly a decade, will star in the next 007 film Spectre, due out next month.Īhead of the release, he told Esquire magazine: "Hopefully, my Bond is not as sexist and misogynistic as. Guns N' Roses gave it a second lease of life in 1991 with their own "even more over-the-top cover", says the magazine.ĭaniel Craig has claimed that his version of James Bond is "not as sexist and misogynistic" as his predecessors'. Rolling Stone named Live and Let Die the greatest James Bond theme song three years ago. But it was Goldfinger that became one of the star's signature songs and stood the test of time like few other Bond themes, says Wales Online. Shirley Bassey holds the record for singing the most James Bond themes, including Diamonds Are Forever in 1971 and Moonraker in 1979. It topped the iTunes chart within hours of its release in October 2012, although only reached number two in the UK's official singles chart. But can it compete with these?Īdele's Skyfall became the first Bond theme song to win a Golden Globe and Academy Award. Spectre producers Michael G Wilson and Barbara Broccoli said it would "surely be considered one of the greatest Bond songs of all time". He has co-written it with Grammy-winner Jimmy Napes, who also helped write Smith's Stay With Me and I'm Not The Only One. "I hope you all enjoy the song as much as I enjoyed making it." "I am so excited to be a part of this iconic British legacy and join an incredible line-up of some of my biggest musical inspirations," he said. The British singer said it was one of the highlights of his career. His contribution, Writing's On The Wall, will be unveiled on 25 September, ahead of the new 007 movie Spectre, which is due to be released in the UK on 26 October. Sam Smith has confirmed that he will soon join the long list of artists who have lent their voice to a James Bond theme song. At this point, both Yorke and Greenwood have become interested in writing program music if narrative limitations can yield something like "Spectre," a concept album might be Radiohead's best possible next act.Best Bond songs: how will Sam Smith's Spectre song compare? Instead, "Spectre" turns out to be one of the finest Radiohead songs in some years, much more than a one-off curiosity. If it wasn't for Yorke's delicate, forlorn vocal-just a few angelic falsetto notes, gradually bent out of shape, embellishing a typically vague, pointillistic lyric-the song might risk sounding like a rote retread of previous work. It possesses all the melodrama of a good Bond song but only a hint of the kitsch. Phil Selway's jazzy drum figures allow "Spectre" to come into its own-a welcome "Pyramid Song" sequel. The vamp is an open forum for the decaying orchestral swoops that are the stamp of a Jonny Greenwood soundtrack. There's a jerky, Yorke-ian piano chord pattern. But the marks it hits are unexpected-it pulls back hastily from anthemic orchestral breaks-so in some sense, it's exactly what one would expect from a slow-burning Radiohead theme for a modern, self-serious Bond flick. Radiohead's discarded anthem has some of this soupiness.
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