Listening to it as if I was Daniel, I realised that the climax needed to be enormous so I spent some time massaging the mix so that, without any perceivable change, it was very much louder at that point. It was agreed that he’d come to the studio on the following Sunday, so on the designated day I got in a few hours before Barbara and Daniel were due to arrive just to make sure it sounded as good as it could.
I suggested that he come to my studio as I knew that, compared to any other location, it was without doubt the best sonic environment in which to hear it.Īt a first listen, Daniel Craig wasn’t sold on “No Time To Die,” so Stephen Lipson recalled inviting the actor into his London studio to get a better listen of the song. I delivered the mix and Barbara, who was more than happy, called me to say that Daniel was coming to London and we needed to play it to him. From the start, quite understandably, he wasn’t all that sure that the song delivered the right emotional climax for his final Bond outing, so satisfying him was key. I finished the mix and everybody was happy but we still had to get Daniel on board. Most important was getting Daniel’s approval. I asked Finneas and Billie to give me a climactic vocal moment which Billie wasn’t too sure about, but when I heard it I knew it would deliver. Stephen Lipson is a UK producer who worked with Billie Eilish and Finneas on “No Time To Die,” and while speaking with Music Week, he shared the process he went through to get Daniel Craig happy with the theme song.
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