10 replies to this topic

[Trevelyan 006]

Firstly, I'd like to not that Quantum Of Solace is not ranked in my top Bond films. However, I was watching Quantum a few nights ago at a friends house, and just really noticed the soundtrack for the first time. It may have been the late hour, but I feel as though the soundtrack came across really strong, and simply beautiful. It really stood out, and definitely became one of the pluses for me.

Anybody else think it was well done?

[The Shark]

I agree. A big improvement over Arnold's work on CASINO ROYALE.

[00Twelve]

It was doubtlessly Arnold's most versatile work since his first Bond score. He made some very interesting choices in instrumentation and arrangement regarding the Bond theme itself (Inside Man and Bond in Haiti being the top examples) and Field Trip evoked the vintage sounds of Diamonds-era Barry. Night at the Opera is one of my favorite tracks of his, ever. Really nice YOLT vibe on that one.

I do want to volunteer, though, that I thought "Vesper," while short, was easily his best "romantic" cue. Shark, you might disagree, which is more than fine, it's just my opinion.

This brings up a theory I have about Arnold's composition style, actually; I've noticed he seems to play it safe in terms of how he fills scenes so that no matter how long or short the scene is edited, he's able to fill the scene because so much of his scoring is characterized by short chord progressions and motifs lasting no more than 2-3 measures and repeated ad infinitum. This is especially true of his action cues. I think he tends to get flack because he doesn't often take the risk to compose long, complex melodic lines like John Barry nearly always did. Instrumental versions of his films' title songs were the strong backbone of his scores, and Arnold's only real success in replicating that was TND, with K.D. Lang's "Surrender." (Which absolutely should have been that film's title song.) He did utilize portions of the title songs in his other films, but never again to such success. CR was a good comeback, though it was much easier because the title song was composed to be just a few notes away from the Bond theme itself; thus presumably creating the illusion the actual Bond theme evolved out of "You Know My Name," to fit in with the origin story angle.

[larrythefatcat]

If you listen to 'No Good About Goodbye' by Shirley Bassey, you'll realize that it was most likely meant to be the theme song for QoS. I really only say this due to a musical phrase repeated in the song that is in the QoS score, but it's a strong enough connection for me.

David Arnold did write the song, though, and Don Black wrote the lyrics... so those are two other points that make a strong argument for my theory.

[Odd Jobbies]

The simple tracks in QoS are IMO some of the best Bond tracks ever:

The last 20 seconds of 'Time To Get Out' (the end of the PTS as the Aston Martin enters Sienna and drives through a tunnel/sewer). This Harpsichord (i think) section is for me one of the finest Bond cues ever...

'Inside Man'... A great transitional cue, which Arnold can sometimes excel in, such as 'Helicopter Ride' from TND, and 'Welcome to Baku' from TWINE.

'Night At The Opera' owes a lot to Barry's Space March, giving the scene a pleasant note of classic Bond. It also happens to be the films best scene.

Throughout the film Arnold employs Bolivian sounds very well, such as the latter half of 'Camille's Story', but particularly well in the last 60 seconds of 'Pursuit At Port Au Prince' (i think my favourite cue of this movie), as Bond arrives at a small fishing port with an unconscious Camille.

Then, not an all time classic, but a brave departure is 'Somebody Wants To Kill You' (as Camille escapes the motorcyclist). Sounds inspired by the fantastic experimental Swiss band Yello.

The gritty echoes of 'The Dead Don't Care About Vengeance' is perfectly conceived by Arnold to evoke a hardened Bond and compliment this blunt farewell.

I think QoS is the best Bond score since TSWLM & LALD. I think it's good to have some fresh blood with Newman (and makes sense for Mendes to use him), but on the strength of QoS i hope Arnold has another shot sometime.

BTW, i'm afraid i'm quite fond of Another Way To Die, but don't hold it against me

Edited by Odd Jobbies, 04 June 2012 - 10:44 AM.

[thecasinoroyale]

I agree that in someways this eclipses 'Casino Royale' as a soundtrack, and I agree with your notes Odd Jobbies - the transitions are genius, especially 'Inside Man'...and I also agree about the beautiful sound of the finale of 'Time To Get Out'.

It's fantsatic, and nearly every track is just brilliant to picture what is happening on screen and depicting the location. The differenes between the music written for scenes in Italy, South America and even that brief segment in London works so well and reads just like a script, but musically.

The hidden teases of the James Bond theme make it even more Bond-like, especially the fantastically espionage track of 'Oil Fields'.

Stand out action sequences are made better by the music I feel, epecially the tracks 'Target Terminated' and my soundtrack stand-out piece, 'Time To Get Out' - fast paced, brassy, orchestral and loud!

I will miss David Arnold on 'Skyfall' after his work on both Craig films, and I hope Newman gets it right to this extent in 'QOS', because it worked and helped the movie along a great deal.

[Vauxhall]

If you listen to 'No Good About Goodbye' by Shirley Bassey, you'll realize that it was most likely meant to be the theme song for QoS. I really only say this due to a musical phrase repeated in the song that is in the QoS score, but it's a strong enough connection for me.

David Arnold did write the song, though, and Don Black wrote the lyrics... so those are two other points that make a strong argument for my theory.

Didn't know about this until today, but very interesting indeed, particularly given the fact that the word "solace" is repeatedly used in the track.

[Odd Jobbies]

If you listen to 'No Good About Goodbye' by Shirley Bassey, you'll realize that it was most likely meant to be the theme song for QoS. I really only say this due to a musical phrase repeated in the song that is in the QoS score, but it's a strong enough connection for me.

David Arnold did write the song, though, and Don Black wrote the lyrics... so those are two other points that make a strong argument for my theory.

Didn't know about this until today, but very interesting indeed, particularly given the fact that the word "solace" is repeatedly used in the track.

A ballad for the opening titles of QoS would've been unsuitable, since the movie starts fast and continues fast - as Foster said, "it's a bullet...' Therefore i think they made the right choice opting for Another Way To Die to start off proceedings - fitting the fast, brutal tone of the film pretty well.

However, No Good About Goodbye would have been the perfect track for the end of QoS, as Bond trudges away into the snow. This may have scuppered they're gun-barrell ending, but i don't think the audience really needed reminding yet agian that now this Vesper business is behind him 'classic bond' can really begin. This device was already employed at the end of CR with the 'Bond....James Bond' line, cue Bond Theme...

I think No Good About Goodbye might have served to wrap up this emotional chapter of Bond's genesis far better, on a note of introspection, saving the 'Classic Bond' beginning for the start of the next movie.

They took a 'safe' option, by reinforcing the franchise format, meaning they must have been concerned that the format was being left too far behind - throwing out the baby with the bath-water (in my opinion they were wrong). In my humble experience format 'box-ticking' is usually an Executive decision - rarely that of the creatives ( the writer/director/editor).

What a shame they weren't brave enough to end on this superb, insightful little song...

[larrythefatcat]

Regarding 'No Good About Goodbye': I've been told by some that the song wasn't written until after the QoS score was completed and Jack White had already been chosen to write a song (due to EON attempting to increase the potential for a hit single). There is also somewhat of a contingent that apparently swears up and down that the track wasn't written as an homage to QoS and, furthermore, that it has nothing at all to do with Bond... I don't buy it.

I think the song is good and works well with Shirley Bassey, but if it had been used for the closing titles I would have preferred a different singer... Shirley Bassey isn't completely right for the tone of that film, even the ending. Maybe Craig's upcoming film(s) might work with the voice of Shirley Bassey at the beginning or the end, but QoS needed something in the vein of 'Another Way to DIe' (no matter how mediocre) just as much as it needed its fantastic score. It's just too bad the editing and script couldn't have ended up being a bit (or a lot) better.

Edited by larrythefatcat, 04 June 2012 - 02:53 PM.

[Messervy]

I really do like QoS soundtrack. As has been mentionned by some before, some tracks clearly have a "Barry vibe" although they still have the Arnold touch that I appreciate. A very great blend.

Inside Man, Night at the Opera, Field Trip, Talamone (and Time to get Out) are splendid Bond tracks.
Although Trip Aces and I'm the Money are great CR tracks, I much prefer the QoS soundtrack over CR. The mood you're put in while listening to it is more profound, more "Bondian" I think.

[scaramunga]

Quantum of Solace is a great score. Probably my favorite of the David Arnold Bond scores. I still like Tomorrow Never Dies a lot too. They have 2 completely different feels in terms of tone I think too.