Tomorrow Never Dies Title Sequence
Title sequence created by Daniel Kleinman
'Tomorrow Never Dies' performed by Sheryl Crow, written by Sheryl Crow and David Arnold. 'Surrender' performed by k.d lang, written by David Arnold
Featured in Tomorrow Never Dies (1997)
Daniel Kleinman returns to produce another good title sequence. Very much tied into the themes of the film, this is a techfest of action. Expanding further on the ideas learnt in the Goldeneye title sequence, there are all sorts of visual eye-candy going off at once. Compared to what was being shown less than 10 years earlier, this feels like it's in a completely different era, really showing how the digital age had began.
The titles are nicely introduced when the exhaust of Bond's captured jet smashes the screen, leading into a technological world of ones, zeros, and streams of data. X-ray elements of machinery and women are heavily featured, included the famous silhouettes of female forms. However this time a number of these women are interestingly contained within the bullets of a gun, waking up, ready for action. As the digital narrative unfolds, more female forms emerge from printed circuit boards that start to strut around.
An impressive x-ray shot of a gun being fired is used, starting a chain reaction when the bullet passes through glass and smashes many television screens. The battle between the analogue and digital world continues, until one of the circuit board women jumps into the matrix from a diamond. She gets swallowed, ending this highly original sequence, very suited to the film it features in.
For the Tomorrow Never Dies title theme », a number of artists were initially considered, from Danish band Swan Lee, British rock group Pulp, and an entry from the current composer David Arnold. The original choice was going to be the entry by David Arnold 'Surrender' performed by k.d. lang », however producers eventually decided on American artist Sheryl Crow to sing the title song. Many fans and critics have questioned this choice. While 'Surrender' is played over the end credits, there seems to be the general opinion that this was the much better song with Lang's sultry voice, John Barry's influence, great horn section and really catchy beat and sense of urgency.
However, Sheryl Crow sings the title theme and result is seen as generally disappointing after the success of Tina Turner singing 'Goldeneye' ». Rather than the exciting and upbeat 'Surrender', this is a much more slower, melancholy affair that turns out to be quite lifeless. The chorus injects some interest, but sadly it's quite forgettable, which is a shame as it's not a bad song, just rather dull.
The chart performance of the song fared slightly better, peaking at number 12 in the UK chart in 1997, and reaching number 5 in both the Polish and Finnish markets, however it failed to make any impact at all in the US.
Darling, I'm killed. I'm in a puddle on the floor. Waiting for you to return. Oh, what a thrill. Fascinations galore. How you tease, how you leave me to burn. Its so deadly, my dear, the power of having you near. Until that day. Until the world goes away. Until you say there'll be no more goodbyes. I see it in your eyes. Tomorrow never dies.
Darling you've won, its no fun. Martinis, girls and guns, its murder on our love affair. But you bet your life every night, while your chasing the morning light. You're not the only spy out there. Its so deadly my dear. The power of wanting you near. Until that day. Until the world falls away. Until you say there'll be no more goodbyes. I see it in your eyes. Tomorrow never dies.
[Until that day. Until the world goes away. Until you say there'll be no more goodbyes. I see it in your eyes.
Until that day. Until that day. Until that day.]
[ ] Not heard in the title sequence. §