The Bremont Kingsman Special Edition collection comprises three references: a rose gold chronograph with World time zone function ($20,285), a steel chronograph with World time zone function ($6,495) and a DLC coated steel chronograph with a 2nd time zone function ($6,650).
According to Bremont, “The agents from the super-secret British spy organisation, including Nick English, Co-Founder Bremont, who makes a cameo appearance as one of the Kingsmen, can be seen exclusively wearing these custom made Bremont timepieces.
The Kingsman agents in the film each wear a beautifully crafted rose gold chronograph World Timer on an alligator strap, whilst the trainee recruits sport a black stealth-like chronograph on a NATO band.
The watches all have a 43 mm by 16 mm case with an internally rotating bi-directional bezel operated by crown at 8H with Bremont Roto-ClickA® technology. However, while the gold and steel models have a module that allows both a 24H UTC hand (2nd time zone) and World Time Zone function, and accompanying World Time bezel insert.
Kingsman: The Secret Service, is due to be released February 2015, from 20th Century Fox, and stars Colin Firth, Samuel L. Based upon the acclaimed comic book and directed by Matthew Vaughn (Kick Ass, X-Men First Class), KINGSMAN: THE SECRET SERVICE tells the story of a super-secret spy organization that recruits an unrefined but promising street kid into the agency’s ultra-competitive training program just as a global threat emerges from a twisted tech genius.
Composers Henry Jackman (CAPTAIN AMERICA: THE WINTER SOLDIER) and Matthew Margeson score the spy action adventure comedy. Matthew Margeson is part of Hans Zimmer’s exclusive Remote Control team, and is known for his powerful arrangements and his ability to make audiences fall in love with the music instead of the movie. Jackman and Margeson’s score for KINGSMAN delivers nail biting action sequences while emphasizing the heart of the film which lie in the relationship between Firth and Egerton.
Matthew Margeson: We wanted to make it our own thing, but we definitely needed to remind ourselves it is a spy genre film. I think one of Matthew Vaughn’s producers went to school with Henry, so that was the initial introduction.
When it came time to do a sequel to that movie, he really enjoyed what Henry did and his contribution to the pie, so he called Henry to do the score. WAMG: From what you’re describing, it sounds like Matthew Vaughn really takes a vested interest in the scores for his films.
WAMG: There are some great percussion cues throughout, especially in the “explosive heads” scenes. WAMG: Who chose the songs that show up throughout, such as “Free Bird” and “Money for Nothing”? With “Free Bird,” that was one of those things that was placed in there very early on and it stuck. MM: We had to pick and choose our moments for that because once you use a choir, there’s immediately an epicness about it. MM: As far as thematic material, his vibe was one of the most difficult times we had to really nail down.
MM: I would love to tell you that I have some inside information – I know we’ve always joked about it, but a lot of it depends on how the film does. MM: When I first got involved with it, I was a little skeptical and when I sat down to watch the film I said, what do I need to do to work on this project! I can promise you, it’s got some really great laughs and some awesome creepy moments too and you have Boy Scouts and Zombies, so it’s a good recipe. MM: After many meetings, they decided they had great success in releasing this kind of movie at Halloween.
I’m pretty sure there will be an R rating, so it does have some good action and some good chases, while at the same time, again like KINGSMAN, you’re laughing with the film. The KINGSMAN: THE SECRET SERVICE soundtrack will be released on La La Land Records, February 17, 2015. With plenty of gadgets, explosions and great casting choices this could be the action-thriller we’ve been waiting for. Kingsman: The Secret Service Movie Trailer for 2015 a€“ Official Kingsman movie trailer 2014 which leaded by Colin Firth, Michael Caine, Taron Egerton, Samual L. The movie also features Adele, Elton John, Lady GagaA as herself, and the famous football player in England David Beckham.

Zoals er in de film zelf al wordt gezegd heeft het wat weg van het ‘Pretty Woman verhaal’ – wat overigens weer de zelfspot van de regisseur weergeeft. De jonge acteur heeft wat weg van de eveneens opkomende acteur Jack O’Connell en slaat met zijn rol als Eggsy absoluut de spijker op zijn kop. Om een reactie te kunnen plaatsen dient u JavaScript in te schakelen en Cookies toe te staan, vernieuw vervolgens deze pagina.
Additionally the Kingsman Stainless Steel model is worn by Merlin (Mark Strong) who is the trainer of these potential super spies for the top secret Kingsman organisation.
They share the same domed anti-reflective sapphire crystal upfront, and a flat sapphire on the back. The DLC model omits the World Time function and accordingly, features a different, 0-60 bezel, instead. This is the second collaboration between Jackman and Margeson, who had worked previously on KICK ASS 2. Margeson composed Position Music Orchestral Series Volume 5, and has provided additional music to the scores of KICK ASS, THE EXPENDABLES, and X-MEN: FIRST CLASS. There were four composers on the first KICK-ASS – Marius De Vries, John Murphy, Ilan Eshkeri and Henry Jackman. On KICK-ASS, one of the cues on the score at the end, in the fight between Hit-Girl and Frank, Matthew was still a little unhappy with this cue. The other extreme being someone who shoots the film and edits it, and hands it over to you and says, “here, do your thing.” What I love about working with Matthew is he’s invested in the whole entire process in post. When we go to the final mix for his films, a lot of the times if you’re doing action or chase cues, with massive explosions and bullets flying across the screen, I know music is not going to win that fight.
I hate to use this cliche, but that’s part of the wink in the score and something Matthew wanted us to keep in mind the whole time we were writing. It was an opportunity to work with the visual because everything is synced up with the explosions, so we were able to get involved with the visual effects department. I usually get involved to see if there’s an underscore cue that goes into the song or for technical consideration to make sure what key it’s in and tempo – that kind of thing. We had a tune for him that we wrote very early on, but we had to rewrite it a few times to crack the encasement of it and how it’s presented. He said, “he’s a tech mogul with plans of taking over the world.” Playing out his evil scheme is with his cell phones, so Henry and I started thinking about telephones. I can proudly say it hasn’t been done before and we managed to come up with one kind of sound that you’ve never heard before in a film. I’m such a huge Sondheim fan and being from that world many years ago, it was really nice to get the opportunity to dive into some of those scores and to work with Rob Marshall who’s on the top of that game as far as musical theater and those movies go. It’s a good time of year for that film and after everyone Trick-or-Treats, they’re going to want something to do. We’re on the very tail end of it and we’re recording with the orchestra at the beginning of March.
Colin Firth makes the perfect British secret agent, using his multifunction umbrella to shield him from the rain and any bullets that might come his way.
Het verhaal gaat over een arme Engelse jongen die een kans heeft op een nieuwe toekomst vol actie.
Jackson ziet eruit als een mislukte 50-jarige te midden van zijn midlifecrisis: een hipsterlook, een irritant slisje en nutteloze toevoegingen. En ook de rol van Harry Hart had door niemand anders gespeeld moeten worden dan Colin Firth. Ita€™s Merlina€™s job to whip into shape central character Eggsy (Taron Egerton), a law-breaking teen whoa€™s recruited by the Kingsman agents to help bring down megalomaniac Valentine (Samuel L. All have a COSC certified modified ETA chronograph movement inside, and Bremont skeletonized and decorated rotors.
The duo supplied the soundtrack for the star-studded KINGSMAN with Oscar winners Colin Firth and Michael Caine, Oscar nominee Samuel L.

There are a couple of cues where Henry was brought in, for whatever reason, and there were four of them on the project.
All the other composers were recording with the orchestra – they were past writing and were all on the stage recording for a week straight. Henry worked with him throughout the film and that was my first introduction to working with Matthew Vaughn, even though it was in an indirect way. He said he couldn’t prepare to write an hour and twenty minutes worth of music for this score by himself, but suggested co-composers on the film with the young lad who wrote the “Frank fight” on the first KICK-ASS and Matthew took a little bit of a leap of faith. Because MARV films, the production company, in one of the five majors, Matthew will sit there and throw different things up there.
Ultimately it was just getting the multi-track from the original and doing our own deconstruction of it, because that scene is quite long.
Valentine is basically a little boy, a cartoon character – his hat is sideways and he’s funky dressed. It was a way to remind the viewer that Valentine is from that kind of world of cell phones and tech and how we can sprinkle that throughout the score, especially in his areas. Some of it has been shipped off to orchestration, getting it on paper and we’ll be recording in two or three weeks. Hoewel hij een nette Engelsman speelt, en hem dit op het lijf geschreven is, schuilt daaronder een vechtersbaas die nergens voor terugdeinst.
It let me take a big part of the responsibility off of Henry’s plate and we put our heads together and got it done together, while splitting the workload.
We’re in Los Angeles and he’s in London, where we’ll skype or face chat, and we’ll have these daily meetings with him and he’s very clear in steering us on what he wants.
But on a Matthew Vaughn movie, when I say there’s a huge explosion there and I’m not going to win, he’ll be the first to say, “I’m in charge of what’s going to win and make the music louder.” We never have a problem with not being able to hear any of the music in a Vaughn film. Part of the way we accomplished in this one are those moments that are so over-the-top, that you’re laughing with them.
Henry and I felt we had to play against that and make his music extremely serious – almost Wagnerian.
Back in the 80’s and before, when you would call someone, and you couldn’t get on touch with them, you’d get a busy signal.
I was in the pit band and directing small orchestras for regional theater, and then ironically, I was working at a small video rental store in my hometown, so I was able to sit there all day and watch films. Bizar is misschien zelfs een understatement: exploderende hoofden onder het genot van vrolijke muziek en vechtscenes waar absoluut een zieke geest voor nodig is zorgen voor een vermakelijk gestoorde wending. We tried to recreate that – recorded some dial tones and busy signals and putting them through the effects chamber. Hoewel hij misschien een lachwekkende rol speelt en ‘de baas’, lijkt deze rol toch zeker beneden zijn maat. Al met al is Kingsman een film waarbij je je ogen uitkijkt, eentje die je blijft verbazen over de gedachtegang van de maker en die vol zit met prachtige special effects: absoluut bioscoopwaardig. You’re always enjoying yourself and you can’t put the popcorn in your mouth fast enough, because you’re trying to keep up with the pace of the film. The John Williams and Alan Silvestri scores really stick with you when you’re that age while you’re watching Indiana Jones and Back to the Future.
Just doing all sorts of experiments with them in the lab here and eventually we came up with this weird, twisted reverse tone. I think all those random thought processes, and being involved in directing musical theater, led me to drive out to LA and to see how I could get involved in film music.

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