No Time To Die
/We are once again on the verge of holiday trailer season, and among the first out of this proverbial gate comes promo for the long-anticipated conclusion to Daniel Craig’s run as James Bond, No Time To Die.
The trailer begins with a simultaneous engine roar and heavy brass note, followed by a teasing flicker of the famous surf guitar riff, originally played by Vic Flick and written by Monty Norman. This embrace of classic Bond musical fare follows a slow re-introduction of the theme throughout the Daniel Craig films, from its first appearance towards the end of 2008’s Casino Royale through to 2015’s Skyfall. The latter of these features the theme from the start, more confidently carrying on what was a Bond tradition from the franchise’s 1962 beginning through to Pierce Brosnan’s last entry, Die Another Day. Considering Royale was itself part of a broader reboot strategy (taking after 1953’s entry of the same name), the embrace of classic musical Bond cues taken with No Time to Die makes sense.
Things move swiftly throughout the trailer. At 0:16 we already see Craig jumping off a bridge, accompanied by the nigh-requisite “booj” sound effect. This smoothly transitions to the MGM studio card and rollicking, churning arco double bass instantly signalling the audioviewer that the game is afoot and plans are set in motion. In the soundtrack, a triple meter faintly outlines the melody and harmony of the Bond theme while the focus turns to expository dialogue. Between chords and phrases, epic percussion ratchet up the tension even further. Notice the foregrounding of the bullet hitting the ground at 0:50–a subtlety in sound design preparing the ear for Nomi’s whisper (played by Lashana Lynch, who starred in Captain Marvel).
At 0:55 the second act of this trailer triptych begins with a new musical cue—this time, with steadily frenetic, not-quite-tremolo strings. Around 1:38, however (after a brief moment to spotlight the iconic ascending and descending chromatic motif), the soundscape takes an introspective turn. The film’s villain, Safin (Rami Malek, perhaps best known for his starring role in 2018’s Bohemian Rhapsody), recounts Bond’s “licence to kill... history of violence... ” in a situationally ironic, acerbic tone. Through this sequence, pitched percussion and menacing bass drone underscore the venom in Safin’s words; the sound effects of the helicopter sound like an intense heartbeat in this context. We get our second “booj” of the trailer at about the two minute mark as Bond makes his retort—“history isn’t kind to men who play God”—effectively alluding to the plot, without giving away much at all.
Bond’s retort presages the third act of this trailer, which bursts on to the screen at 2:06. Strings play the melody of the Bond theme in a jolting, straight rhythm, reinforcing the urgency and drama of the on-screen action montage. The brass at 0:15 inserts a touch of retro flair—a classy accoutrement atop of a decidedly modern musical bed. It then recurs just a few moments later, just as the trailer began. The last scene alludes very strongly to the gun barrel sequence, albeit Bond is clearly in a tunnel here, and classic Bond music cinches the final moment.
Overall, the editors have delivered a classic three-act action trailer sequence, and in the audio edit and musical arrangement they have assiduously balanced an overall modern sensibility. Recent trailer music tropes (such as the booj, epic percussion, and other elements) abound, but the trailer also capitalizes on the classic, instantly-recognizable soundmarks of Bond’s musical history. If the trailer were to hammer on these classic elements, it might come off ineffectual—or, worse, boring. However, thanks to a clear exercise of relative restraint and subtlety, the music in No Time to Die’s trailer integrates these iconic musical cues at just the right junctures.
No Time To Die is due to arrive in theatres April 2020.
— Curtis Perry
