With hair down and gold sequined black dress shimmering, Adele did her trademark stand-and-sway and this-big hand gestures as a full chorus and massive backing band (complete with a 15-plus orchestra) brought the layered, building track home.

In the last interview before his passing in 1991, longtime Bond titles director Maurice Binder observed that Bond sequences were the likely precursors to the modern day music video, in that they blended experimental filmmaking and pop culture into a format perfectly suited for pop music. From the '60s onwards, the Bond theme song, and its title sequence by proxy, have become synonymous with rock n' roll's biggest (or sometimes, trendiest) acts, and in doing so lent credibility to the MTV-led music video explosion of the early-to-mid-'80s.

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In only a few years' time, music videos had Bond title sequences beat at their own game, with the popularity of the format attracting first-string talent, new ideas and technologies. Fierce competition between record labels, increasingly eccentric musical acts and unprecedented album sales afforded directors heavy creative license and control over their product. Acknowledging the format's reach, Bond's production company EoN joined the circus, commissioning videos for their theme songs independent of the film's title sequence, often loaded with scenes from the film itself, thus doubling as trailers.

It was on Binder's final Bond film, License to Kill (1989) that EoN commissioned Daniel Kleinman to direct the video for Gladys Knight's theme song of the same name. A veteran music video director with over a hundred videos under his belt, Kleinman's experimental techniques and affection for technology seemed a perfect match for the job, and while he never met Binder while working on the video, his influence was very apparent, employing several telltale 007 title sequence tropes including window mattes, scale-independent compositions and sultry femme fatales.

While the content and construction of the Skyfall titles are novel, darkening the tone significantly from past sequences and employing a Z-oriented digital camera without brakes, it is nevertheless an apt continuation of the Bond title tradition, apparent both in the patience of its delivery and use of familiar visual tropes and typography. Kleinman even reintroduces the female form, missing for the first time ever in his previous sequence, Casino Royale. Adele's Academy Award / Golden Globe / BRIT Award-winning theme song channels early Bond crooners like Shirley Bassey and Nancy Sinatra, giving the sequence a dreamlike quality, acting both as a counterpoint to the abrasive subject matter and a complement to its murky underwater tones.

The starting point for me is always the script; I am usually brought into the process before the film has started shooting or at least in very early stages of production. I read the script and get a sense of the main themes of the movie, perhaps start to have a few ideas, brainstorm with myself a bit, write lists, get excited, look for reference, and start sketching. Next I meet with the producers and the director of the film to get a clear idea of the vibe of the film and be aware of any input or requirements for the title sequence. Then, I explain how I see the tone of the titles perhaps with rough sketches and reference. I rarely see a cut of the film until quite late in the process but I do see some individual scenes particularly the ones that lead into and out of the title sequence. There is a back and forth process.

The titles set up a lot of the events and images that appear later in the film, instilling a sense of dja vu in the viewer. How conscious were you of this and how much did you want to exploit this effect?

The dja vu effect is a happy consequence of me trying to put elements into the titles that are relevant to the story of the film, that suggest a narrative and foretell scenes and action that are yet to occur without giving too much away. I think it sets a mood but is impressionistic rather than literal. I don't want to defuse surprises or story elements that come later in the film. Also, as the audience hasn't yet seen the film some images won't mean that much, but by being suggestive rather than concrete, they stick in the mind, giving a clue as to what is to come without spoiling it.

Personally I love them, they are a lingua franca for Bond, a worldwide recognisable icon symbolising adventure, glamour, and the exotic. They were a device introduced by Maurice Binder and I'd happily keep using them as shorthand for 007's world. However, they are not always appropriate! I prefer making the idea of the titles work and then working in the classic images and themes of Bond but not forcing them if they don't fit. Also each sequence doesn't have to be the same; it just needs to be true to the spirit and heritage of Bond. Like the barrel, I'm sure the silhouettes will return whether I do more sequences or not.

As a child I loved the opening to The Man From Uncle. The way Napoleon Solo stands behind the bulletproof glass being shot at perhaps subliminally influenced my mirror scene in Skyfall. Get Smart was a good one. Man with the Golden Arm was a great visual. Oddly, I've never really taken a great deal of notice of title sequences. I didn't set out to do them and I don't do any other than Bond, which I do for fun. I'm really an advertising director and therefore shoot a lot of disparate types of things. I suppose I don't think of myself as a title sequence director.

Further, an article in Variety that was published after the release of SPECTRE had an interview with Newman where he stated that every musical decision made had to be cleared with Mendes. I would almost blame Mendes as much (if not possibly more so) than Newman for what is, in my opinion, two mostly forgettable scores. Originally, I thought that Newman lacked the ability to properly score a Bond film. However, his first cue on the SPECTRE soundtrack album (as Bond is walking across the rooftops in Mexico City) shows that he can properly do it, but that perhaps he was restricted from doing so.

I think David Arnold did a pretty good job for Casino Royale and Quantom of Solace, and the music worked really well in the films, but I find the soundtracks quite bland outside of the films- perhaps a matter of taste more than anything else.

Thomas Newman has made two excellent soundtracks: Road to Perdition and Shawshank Redemption. There he develops beautiful melodies. The rest of his soundtracks: filled air, Skyfall is a perfect example of it.

The action continues into the opening minute of Square Escape, with brass flaring up within the first few seconds and the Bond theme sounding through in a confident yet also rather worried rendition. The orchestra then starts to build behind the theme until a loudly panicked-sounding crescendo is reached, and the action then comes to a particularly mournful end as slow, sorrowful strings quietly fade away. Someone Was Here then opens rather ominously, with high-pitched, almost horror-like strings and the occasional note of tense brass occupying the foreground until a loud flurry of additional, reassuring strings then practically bursts in, with a quiet yet optimistic Bond theme following swiftly afterward. The motif then slowly regains confidence through the back half of the cue, with some very Barry-esque brass playing dramatically before the track then ends. Slow, pensive woodwinds then briefly take over in the rather short Not What I Expected before tension then starts to creep back into the music in What Have You Done; slow, ominous strings and some rather menacing vocals take centre stage for much of this track, with the Bond theme only pushing through the tension right in the final few seconds of the piece on a particularly emphatic electric guitar.

Newman was the best composer for the Craig era and brought some unique instruments. The Quartermaster track in Skyfall is one of the best pieces of music ever produced for a Bond film. So unique and powerful with instruments unheard of in a Bond film.

NTTD is one of the best Bond albums for many a film, and bringing back the OHMSS music is just beautiful, but the final track Final Ascent after having seem the film still brings a lump to the throat. Some truly fantastic music on this album, not often I will get a Bond soundtrack that I am happy to put the CD in the car and play it while driving. some great thumping music scores on the album

The release arrives as a seven-and-a-half-minute edit of the full 12-minute song that was penned solely by Kai Hansen, the co-founding Helloween guitarist and singer who left the band in 1988 and made his return in 2017, alongside classic singer Michael Kiske. The video description reads, "The epic track describes an alien landing on earth and a dramatic chase while Michael Kiske, Andi Deris and Kai Hansen duel each other in a breathtaking manner and create a vocal broadband adventure."

For Helloween fans of any era, this is momentous occasion that sets expectations for the forthcoming 12-song set remarkably high. "Skyfall" is the second track to be released in the reunion era, coming four years after the German power metal pioneers tested the songwriting waters with the "Pumpkins United" single. 589ccfa754

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