Interesting comment from Newman on the use of themes:
"Itís not like you say, I need an M theme, I need a Severine theme. Sometimes that has to happen, but for me the creative process doesnít quite work that way. You find something and that leads to something else. There are elements of story in some of these cues and some of those lead to M because sheís part of the story. By the end youíre going, does Silva have a theme? Is it more of a motif? Itís probably wrong to think that a character needs a melody associated with him or her, but oftentime it does and in the case of Bond it does more often than not."
> "Itís probably wrong to think that a
> character needs a melody associated with him or her, but oftentime it does
> and in the case of Bond it does more often than not."
This guy doesn't understand James Bond *at all*.
He's squeezing Bond into the confines of the general rules of film scoring while they have always followed their own rules. Sometimes they submit to the sound of the era (mainly Live And Let Die and The Spy Who Loved Me), but the content, the approach always was the same and was always successful.
Also, didn't he say he just watched a few films to "get" the Bond sound? I wonder what films he saw when he comes to the conclusion that Bond score use themes "more often than not". In fact, I can only think of three scores (out of 23) that did not use a very prominent main theme - Goldeneye, License To Kill and Skyfall.
"Coincidentally", none of these scores sound like the composer really understood James Bond. Kamen came closest. Newman did not.