Richard Overall
@OverallRichard
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Animation editor, voice director, writer. ‘Gumball’, ‘Kensuke’s Kingdom’, ‘Ethel & Ernest’. Enjoys 007, old cars, jigsaws, mild bodybuilding . insta: rroverall
London
Joined September 2013
A BBC1 premiere for our lovely film this Sunday. Treat yourself to 80 minutes of Michael Morpurgo goodness. #kensukeskingdom
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Here’s an interview about my editing and voice directing and tea drinking https://t.co/YKmfV9Cq3Q
postperspective.com
Editor Richard Overall specializes in animated films and television series. “The bulk of my work is cutting what is known as an animatic,” he says. “This is like a blueprint for the finished film. My...
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So thrilled to have this new short essay by David Sedaris about the perils of AI narration in @ObserverUK
observer.co.uk
I’m as interested in an artificial voice as I am in an artificial author, which is to say not at all
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My mum just mentioned watching ‘Kavin and Lacey’ tomorrow night. My dad thinks it a detective drama. Confusing times here.
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Bond theme advent #1 On Her Majesty’s Secret Service, by John Barry.
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Both invented new possible directions for Bond songs - rock, and ‘adult contemporary ballad’. Nobody has done them better yet.
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Best song, best film: both exist outside of being Good Bond Films. They can take on any contemporaries of the era. Only this and ‘Live and Let Die’ are still played on the radio without it being part of a Bond feature.
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Huge stunts, with panache and a punchline. The opening of this song is the equivalent of the adjustment of the cuffs or a tie. “That? Skiing off a cliff? Oh it was nothing. Now … (kissing)”.
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The opening piano, in conjunction with Roger’s performance and John Glen’s parachute stunt sequence, started a new chapter in Bond which lasted a decade (and my favourite decade of Bond).
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The production is the peak of that lovely sound they perfected in the late 70s where you could hear every element but it came together in one perfectly balanced whole
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The lyrics hug the tune so well that it feels like one person must have written it on their own - that person being Carly Simon. Her vocal is intimate yet still cheeky and broad enough for Bond. You can hear her smiling as she sings the first line. She knew it was good.
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“Like heaven above me, the spy who loved me is keeping all my secrets safe tonight”
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Not only was ‘nobody does it better’ her idea, but at late notice she had to insert the title into the song, which, like the best lyrics, seems effortless, inevitable, like it has always existed.
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Bone theme advent #2 Nobody Does It Better, performed by Carly Simon, written by Marvin Hamlisch and Carole Bayer Sager Carole Bayer Sager. What a hero - coming up with a new defining phrase for Bond just when everyone thought the best years were over.
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That’s it really. It’s seductive, dramatic, elegant, witty, dirty and climactic. It’s all the pleasures of Bond in one song.
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Don decides it’s just gonna be about how Bassey loves diamonds more than men. Usually I’d prefer it related to the film, but the film is thematically empty and narratively insane, so he chose wisely. Oh it’s also about dick. (The song, and probably the film too, Christ knows)
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The orchestration is at a sweet spot between 60s and 70s, with the loungey sound crashing into a hint of funk with that brilliant electric bass and wah wah guitar
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