42 replies to this topic

[Mister E]

I haven't seen a specfic thread for this but my suggestion is another video game composer. Look and listen at this preview for Banjo Kazooie Nuts and Bolts, no gameplay but just a look at a huge area. The score was conducted by Grant Kirkhope and fully orchestrated.

http://xbox360.ign.c...rium_tgs08.html

[[dark]]

Kirkhope also worked on the excellent score for GoldenEye.

Personally, I think Quantum of Solace is Arnold's best work yet, so I'd like to see him continue.

If not, though, I'd have to go with Michael Giacchino - one of the most talented composers working today.

[Mister E]

Kirkhope also worked on the excellent score for GoldenEye.

Personally, I think Quantum of Solace is Arnold's best work yet, so I'd like to see him continue.

If not, though, I'd have to go with Michael Giacchino - one of the most talented composers working today.

Yes Kirkhope has done fine work for Rare along with Robin Beanland, another composer I'd very much like to see take on a Bond. As for Arnold's score for QOS really did not do much for me. Giacchino isn't a bad choice but I find most of his work middle of the road like Arnold.

[Harmsway]

Yeah, Giacchino wouldn't be a significant improvement on Arnold; he'd bring a different perspective, which might be nice, but it wouldn't be necessarily anything superior in overall quality. I fear we'd get something like his lackluster MISSION: IMPOSSIBLE III score.

I'd actually hope for a more unique composer than someone in the Arnold/Giacchino. I know fans are less than open to riskier choices (especially after how Serra didn't go over), but I do want to see someone like David Holmes tackle Bond, and bring back some of that jazzy cool to the Bond sound.

[Mister E]

Yeah, Giacchino wouldn't be a significant improvement on Arnold; he'd bring a different perspective, which might be nice, but it wouldn't be necessarily anything superior in overall quality. I fear we'd get something like his lackluster MISSION: IMPOSSIBLE III score.

I'd actually hope for a more unique composer than someone in the Arnold/Giacchino. I know fans are less than open to riskier choices (especially after how Serra didn't go over), but I do want to see someone like David Holmes tackle Bond, and bring back some of that jazzy cool to the Bond sound.

I'd like to see Holmes take on a Bond. I am also open for riskier choices but just not inappropriate.

[Zorin Industries]

No. No computer game composers. I've not heard one track from one Bond game that I would a) want on a Bond film or want to hear again.

My suggestions would be....

David Holmes (HUNGER)

Adrian Johnston (BRIDESHEAD REVISITED, CAPTURING MARY)

Rob Lane (MERLIN, THE LONG FIRM, JOHN ADAMS)

[Mister E]

No. No computer game composers. I've not heard one track from one Bond game that I would a) want on a Bond film or want to hear again.

Did you even listen to that clip I posted ? That was fully orchestrated and was alot more compitent then anything Arnold has ever done. There are extremely talented vid game composers these day and they are better then most film composers.

[Royal Dalton]

Christopher Gunning

Trevor Jones

Richard Robbins

John Scott

Dominik Scherrer

[Zorin Industries]

No. No computer game composers. I've not heard one track from one Bond game that I would a) want on a Bond film or want to hear again.

Did you even listen to that clip I posted ? That was fully orchestrated and was alot more compitent then anything Arnold has ever done. There are extremely talented vid game composers these day and they are better then most film composers.

Just did.

It's well produced granted. But it's well produced but derivative Danny Elfman lite.

I would rather someone score a Bond film that is fully versed in the language of film music than someone who has scored a computer game. They are completely different disciplines, are they not?

Christopher Gunning

Trevor Jones

Richard Robbins

John Scott

Dominik Scherrer

Interesting last choice. Why do you suggest him? (there isn't a wrong answer by the way).

[Mister E]

Just did.

It's well produced granted. But it's well produced but derivative Danny Elfman lite.

I dont think that's fair, it's DE influenced but it's original. Here is a none orchestrated one but alot more dramatic:


http://www.youtube.c...g...t=1&index=1

I would rather someone score a Bond film that is fully versed in the language of film music than someone who has scored a computer game. They are completely different disciplines, are they not?

You have to compliment the action just like a film, there is no real difference.

[Zorin Industries]

Just did.

It's well produced granted. But it's well produced but derivative Danny Elfman lite.

I dont think that's fair, it's DE influenced but it's original. Here is a none orchestrated one but alot more dramatic:


http://www.youtube.c...g...t=1&index=1

I would rather someone score a Bond film that is fully versed in the language of film music than someone who has scored a computer game. They are completely different disciplines, are they not?

You have to compliment the action just like a film, there is no real difference.

There is actually a vast difference.

And that clip - which is a solid piece of fun music, don't get me wrong - is VERY Danny Elfman - more so than it should really be if he didn't compose it.

[Mister E]

There is actually a vast difference.

No not really. As a composer you still look at the action and you have see what is right and wrong. They sit down work with piano just like a film composer. Take this next example and tell me how there is any difference then what a film composer would do:

http://www.youtube.c...feature=related

[Zorin Industries]

There is actually a vast difference.

No not really. As a composer you still look at the action and you have see what is right and wrong. They sit down work with piano just like a film composer. Take this next example and tell me how there is any difference then what a film composer would do:

http://www.youtube.c...feature=related

But there would be no sequence in a film that is all the combined elements of the story cut like a computer game intro like your clip.

There is a different tempo, sensibility, criteria, agenda, rhythmic construction and eloquence to a film score compared to a computer game equivalent.

[Mister E]

There is actually a vast difference.

No not really. As a composer you still look at the action and you have see what is right and wrong. They sit down work with piano just like a film composer. Take this next example and tell me how there is any difference then what a film composer would do:

http://www.youtube.c...feature=related

But there would be no sequence in a film that is all the combined elements of the story cut like a computer game intro like your clip.

There is a different tempo, sensibility, criteria, agenda, rhythmic construction and eloquence to a film score compared to a computer game equivalent.

That was an intro just like a composer making an intro to a TV show. Again, no difference because you are still composing for the action at hand.

[Zorin Industries]

There is actually a vast difference.

No not really. As a composer you still look at the action and you have see what is right and wrong. They sit down work with piano just like a film composer. Take this next example and tell me how there is any difference then what a film composer would do:

http://www.youtube.c...feature=related

But there would be no sequence in a film that is all the combined elements of the story cut like a computer game intro like your clip.

There is a different tempo, sensibility, criteria, agenda, rhythmic construction and eloquence to a film score compared to a computer game equivalent.

That was an intro just like a composer making an intro to a TV show. Again, no difference because you are still composing for the action at hand.

That music for that game montage was not composed for that montage - i.e. the composer has not allied his work to that sequence as seen in the final cut. He blatantly composed a suite that was slapped on afterwards.

And we are not talking about the intro to a TV show here. We are talking about film composing - which is a completely different discipline to game composing.

[Mister E]

That music for that game montage was not composed for that montage - i.e. the composer has not allied his work to that sequence as seen in the final cut. He blatantly composed a suite that was slapped on afterwards.

Slapped on ? That's a hilarous exagerration.

And we are not talking about the intro to a TV show here. We are talking about film composing - which is a completely different discipline to game composing.

I still don't know why you keep saying this. You have make the action sync up in the music. Like in CONKER'S BAD FUR DAY in the SPOOKY level for example. The closer you get to a zombie the music becomes more suspensful and when you are attacked, it's alarming. That isn't any different then a film composer scoring someone being in danger and then attacked.

[Zorin Industries]

That music for that game montage was not composed for that montage - i.e. the composer has not allied his work to that sequence as seen in the final cut. He blatantly composed a suite that was slapped on afterwards.

Slapped on ? That's a hilarous exagerration.

And we are not talking about the intro to a TV show here. We are talking about film composing - which is a completely different discipline to game composing.

I still don't know why you keep saying this. You have make the action sync up in the music.

I'm going to leave this particular discussion. I can't really defend the logic that suggests "CONKER'S BAD FUR DAY in the SPOOKY level" is akin to scoring a Bond or indeed any other sort of film as "the closer you get to a zombie the music becomes more suspensful and when you are attacked, it's alarming".

Let's just agree to disagree.

[SecretAgentFan]

ALEXANDRE DESPLAT


Seriously. That guy is great with melody and rhythm. AND listening to his scores you will get the Barry vibe without it being too obvious.

[Mister E]

That music for that game montage was not composed for that montage - i.e. the composer has not allied his work to that sequence as seen in the final cut. He blatantly composed a suite that was slapped on afterwards.

Slapped on ? That's a hilarous exagerration.

And we are not talking about the intro to a TV show here. We are talking about film composing - which is a completely different discipline to game composing.

I still don't know why you keep saying this. You have make the action sync up in the music.

I'm going to leave this particular discussion. I can't really defend the logic that suggests "CONKER'S BAD FUR DAY in the SPOOKY level" is akin to scoring a Bond or indeed any other sort of film as "the closer you get to a zombie the music becomes more suspensful and when you are attacked, it's alarming".

Let's just agree to disagree.

You know you kind of come off as arrogant and I don't like the way you are talking down to me. Anway if I could find I clip I'd show it to you. I honestly don't know how else to illustrate my example to you. My point is, the music is setting the atmosphere just like a film and the music of the characters is again cooporating with the action. There is no difference between scoring movies and video games, period.

[Zorin Industries]

That music for that game montage was not composed for that montage - i.e. the composer has not allied his work to that sequence as seen in the final cut. He blatantly composed a suite that was slapped on afterwards.

Slapped on ? That's a hilarous exagerration.

And we are not talking about the intro to a TV show here. We are talking about film composing - which is a completely different discipline to game composing.

I still don't know why you keep saying this. You have make the action sync up in the music.

I'm going to leave this particular discussion. I can't really defend the logic that suggests "CONKER'S BAD FUR DAY in the SPOOKY level" is akin to scoring a Bond or indeed any other sort of film as "the closer you get to a zombie the music becomes more suspensful and when you are attacked, it's alarming".

Let's just agree to disagree.

You know you kind of come off as arrogant and I don't like the way you are talking down to me. Anway if I could find I clip I'd show it to you. I honestly don't know how else to illustrate my example to you. My point is, the music is setting the atmosphere just like a film and the music of the characters is again cooporating with the action. There is no difference between scoring movies and video games, period.

No arrogance here. Just a difference in opinion and gameplay experience perhaps.

Honestly, it's not worth falling out over. Not for me anyway.

[Mister E]

That music for that game montage was not composed for that montage - i.e. the composer has not allied his work to that sequence as seen in the final cut. He blatantly composed a suite that was slapped on afterwards.

Slapped on ? That's a hilarous exagerration.

And we are not talking about the intro to a TV show here. We are talking about film composing - which is a completely different discipline to game composing.

I still don't know why you keep saying this. You have make the action sync up in the music.

I'm going to leave this particular discussion. I can't really defend the logic that suggests "CONKER'S BAD FUR DAY in the SPOOKY level" is akin to scoring a Bond or indeed any other sort of film as "the closer you get to a zombie the music becomes more suspensful and when you are attacked, it's alarming".

Let's just agree to disagree.

You know you kind of come off as arrogant and I don't like the way you are talking down to me. Anway if I could find I clip I'd show it to you. I honestly don't know how else to illustrate my example to you. My point is, the music is setting the atmosphere just like a film and the music of the characters is again cooporating with the action. There is no difference between scoring movies and video games, period.

No arrogance here. Just a difference in opinion and gameplay experience perhaps.

Honestly, it's not worth falling out over. Not for me anyway.

Well you came off as arrogant the way you are mocking me by using my quote. Anyway, just forget. Sometimes, I don't even know why I stay on this board.

[Harmsway]

My suggestions would be....

David Holmes (HUNGER)

Adrian Johnston (BRIDESHEAD REVISITED, CAPTURING MARY)

Rob Lane (MERLIN, THE LONG FIRM, JOHN ADAMS)

I've only heard the first (and love the suggestion). I might have to check out the other two.

[Quantumofsolace007]

Trevor rabin.

for 2 reasons

1. He did a kick job scoring get smart

2. I'm a huge yesfan so well DUH he was their guitarist from 1982-1995

[JADSTERSDAD]

David Arnold.

If he likes The Killers, give him The Killers. Plus a song a la 'Only Myself to Blame' with lyrics by Don Black. A decent gunbarrel, a little more James Bond Theme in the body of the film, more Quantum theme......perfect!

[mister-white]

Here's the problem with the QoS score: There's no Bond theme present until the gun barrel (which is my favourite arrangement I've heard in a long time). I thought Bond had "earned" the theme at the end of CR, and therefore should have been all over the place on QoS. Maybe it was a Forster move, but I think Arnold has to take the fall on this one.

As for replacements, Michael Giacchino is simply the man for the job. Did you hear the scores for The Incredibles, Ratatouille, M:i:III or Speed Racer? His work goes all over where the Bond scores should be going. Plus, for the Bond theme, just look at the example Mr. Giacchino did with the Mission: Impossible theme, he placed references to it all over the film, in the front and end titles (where it should be), at the climax of the film's best action sequence, plus he even threw it in somewhere where no one would even notice (At one point in the film, I'm not gonna spoil it here, but the M:I theme is played one note at a time). So, Michael Giacchino it has to be.

[Harmsway]

Here's the problem with the QoS score: There's no Bond theme present until the gun barrel (which is my favourite arrangement I've heard in a long time). I thought Bond had "earned" the theme at the end of CR, and therefore should have been all over the place on QoS. Maybe it was a Forster move, but I think Arnold has to take the fall on this one.

There are plenty of subtle arrangements of the Bond theme throughout the score. It's in a lot of the cues, just not in a very loud, striking way. But the real reason that I don't think we hear a really straight, traditional take on the Bond theme in the score is that it wouldn't suit the film. I can't think of a film sequence where it would have felt appropriate.

Furthermore, some of the earlier Bond themes hardly used the Bond theme. See GOLDFINGER.

As for replacements, Michael Giacchino is simply the man for the job. Did you hear the scores for The Incredibles, Ratatouille, M:i:III or Speed Racer?

Yes. Which is why I'm not keen on him.

[Mister E]

Here's the problem with the QoS score: There's no Bond theme present until the gun barrel (which is my favourite arrangement I've heard in a long time). I thought Bond had "earned" the theme at the end of CR, and therefore should have been all over the place on QoS. Maybe it was a Forster move, but I think Arnold has to take the fall on this one.

That certainly was not the problem. The Bond theme is almost in every part of the score. Arnold just has nothing to give another then generic. The best track on the QOS soundtrack was BOND IN BRAZIL, it had a nice beat but it was very predicatable.

[DaveBond21]

Yeah, Giacchino wouldn't be a significant improvement on Arnold; he'd bring a different perspective, which might be nice, but it wouldn't be necessarily anything superior in overall quality. I fear we'd get something like his lackluster MISSION: IMPOSSIBLE III score.

I'd actually hope for a more unique composer than someone in the Arnold/Giacchino. I know fans are less than open to riskier choices (especially after how Serra didn't go over), but I do want to see someone like David Holmes tackle Bond, and bring back some of that jazzy cool to the Bond sound.

What did you think of Arnold's score for this one, Harmsway?

[Harmsway]

What did you think of Arnold's score for this one, Harmsway?

I have a lot of really great things to say about it. It had plenty of good cues and was ultimately my favorite of the Arnold Bond scores. So I won't be at all crushed if he's sticking around for BOND 23 (as he likely will), even if I think the franchise could find someone better.

[Mister E]

What did you think of Arnold's score for this one, Harmsway?

I have a lot of really great things to say about it. It had plenty of good cues and was ultimately my favorite of the Arnold Bond scores. So I won't be at all crushed if he's sticking around for BOND 23 (as he likely will), even if I think the franchise could find someone better.

I agree that it is his best but personally, I am not impressed.