A View to a Kill is the soundtrack for the film of the same name, the 14th instalment in the James Bond film series. Theme song The theme song "A View to a Kill", was written by John Barry and Duran Duran, and was recorded in London with a 60-piece orchestra. "A View to a Kill" is the most successful Bond theme to date. In 1986 Barry and Duran Duran were nominated for the Golden Globe Award for Best Original Song. Duran Duran was chosen to do the song after bassist John Taylor (a lifelong Bond fan) approached producer Cubby Broccoli at a party, and somewhat drunkenly asked "When are you going to get someone decent to do one of your theme songs?" The single was released in May 1985, and on July 13 it hit number one on the U.S. Billboard Hot 100 chart, and remains the only Bond theme to do so. On May 25, it made it to number two in the UK Singles Chart, also a record for Bond themes until "Writing's on the Wall" by Sam Smith made it to number one in 2015. The b-side was an instrumental piece orchestrated by John Barry, titled "A View To A Kill (That Fatal Kiss)". The song was the last track that the original five members of Duran Duran recorded together until 2001. The video for the single was directed by the duo Godley & Creme, with shots of the band at the Eiffel Tower intercut with scenes from the movie, so that it appears that Roger Moore and Grace Jones are participating in the same storyline. The singer ends the video with a parody of James Bond, introducing himself as "Bon. Simon Le Bon." Other music During the opening teaser, a cover version of the 1965 Beach Boys song "California Girls", performed by Gidea Park (a tribute band), is used during a chase in which Bond snowboards; it has been suggested that this teaser sequence helped initiate interest in snowboarding. The film features Vivaldi's The Four Seasons, which is performed during the reception that Bond attends undercover at Zorin's stud in France. In the remastered CD edition, the third track is incorrectly labeled "May Day Jumpers" on the back of the case. Leitmotifs Composer John Barry utilises four leitmotifs on the soundtrack, that recur in two or more of the tracks listed. One is pinned to