11 replies to this topic

[Dmitri Mishkin]

What do you think of David Arnold as a composer in general? I was reading a fascinating article/tribute to Arnold on FilmTracks.com. It tells of his days starting out as a composer, hitting it big with Dean Devlin/Roland Emmerich on ID4, and most recently the "shift" to electronic, "urban" scores (e.g. Changing Lanes).

There are some interesting points perhaps not everyone may be aware of -- I didn't know Arnold had been offered Air Force One, nor Alien Resurrection (let alone Austin Powers!), and he is also apparently involved in the battle against downloading of mp3's (a winless battle, I believe).

My view is that he peaked very early in his career, from 1994-1997, when he scored Independence Day and Tomorrow Never Dies -- two very grand, magnificent orchestral scores with strong themes. Since then, unfortunately, I don't think his work of late has quite reached the same standard. For instance, his score to Changing Lanes was minimalist -- too minimalist and could be more diverse. And I enjoyed lots of parts of Die Another Day (Hovercraft Chase, Cuba) , but somehow the score doesn't seem to hold together that well, and doesn't include one of Arnold's stronger themes. Same with Godzilla -- underwhelming. And he most recently scored 2 Fast 2 Furious, not exactly the most prestigious of movies. In any case, it seems he's now opting for the electronic, urban sound (consistent with his "musical roots") more and more.

Do you think this is right? Should Arnold take this route, or do you think his talents should be directed to large-scale, orchestral scores?

[Kingdom Come]

I'm not a fan of his. I do think his 'slight' love themes for 'his' Bond films are touching and could one day be as powerful as Barry's - but as for the rest of his scores... he comes across as a hack - harsh, but that's how I feel.

It could be to do with him not yet having a style that is 'his own'...

[JackChase007]

Then I just hope that you aren't also the type of Bond fan who criticizes Arnold for not sounding enough like Barry in his music. Otherwise, you'd really be contradicting yourself.

[Icephoenix]

I think his best original work is STARAGTE, my god that was pure magic! He captures the whole movie perfectly, mixing military/eygpt themes, action/thriller, fantastic! I love his Bond scores, I don't want anyone else touching the Bond theme except him, it runs through his veins IMHO.

[Turn]

I loved TND but was underwhelmed with his last two Bond scores. I agree he peaked early, whereas Barry, the only other multiple Bond composer, got better and better as he went on.

I don't dislike Arnold, but I've listened to the TWINE and DAD scores multiple times and am amazed none of his tunes ever linger in my head the way Barry's or even Martin, Hamlisch or Conti do.

[Von Hammerstein]

I prefer Arnold when leans away from the techno-pop and more toward the orchestral, though I don't mind the electronika beat when he pumps the James Bond theme. As Icephoenix stated his Stargate score was wonderous, if he could stick to those kinds of over all scores and then accent it with techno here and there, like in chase/fight scenes, I think his various Bond scores wouldn't blend together as much as they do.

[ray t]

ahh...stargate....i rememeber taking it in with my then fiancee' all those years ago.

but the question is: has he seen his peak?

i dont know. there's a lot of good stuff in DAD...on the beach/hovercraft chase, cuba, intro to iceland, icarus, white out, ice chase. but no solitary defining melody u can hang your hat on....

???

[Kingdom Come]

Jack, I don't want Arnold to sound like Barry at all. Having some1 come in and just try and copy Barry is not on - it is lazy and insulting to Barry's scores. The Bond films should have grown up and started a new sound - like what Serra was originally 'told' to do - but then the producers had cold feet and had several of the cues composed by another composer. The films themselves have a hard enough time to keep the series fresh but this works against Arnold's writing - he's after a too well established formula which has worn itself out.

Hearing the James Bond Theme over a tired action sequence only HIGHLIGHTS the lack of originality, Arnold is helping to underline this lack of originality, which is fatal.

[JackChase007]

KC - I just hope you don't think that I was antagonizing you, and actually accusing you of being one such hypocrite, the kind who accuses Arnold of being unoriginal with what he uses, yet complains that he doesn't sound enough like Barry or use his themes.

[Dmitri Mishkin]

A lot of good points have been raised! Admittedly, I haven't listened to Stargate (I should make a point of doing so), but listening to Icephoenix and Von Hammerstein, it seems its strength was a strong theme and lots of diversity.

Those are two aspects I would like to see Arnold expand upon. I believe he does, truly, have the ability to write beautiful themes. And at times, he has. And yet, in other instances, he's written half themes, or incomplete or perhaps mediocre themes that could be more -- more memorable, more powerful. For instance, I believe his cue "All in a day's work" for TND was an exceptional, triumphant finale for the film (as was that for ID4), especially when Bond drops into the water and saves Wai Lin. At that moment, the orchestra swells and moves from uncertainty to triumph to relief. Great piece. Compare with that in DAD (final scene with Bond and Jinx), or even TWINE. Not close. So where has that fine work of TND been since? Agreed, Arnold can write great "pieces" and has done so in DAD and TND (TWINE not as effectual) but as Ray said it doesn't work without a theme to hang your hat on.

And then there is diversity--it seems Arnold's roots/preference is for electronica (at least, according to FilmTracks). But maybe he's moved a little far in this direction and not offered quite enough variety of styles. Hans Zimmer, by comparison (not necessarily superior as a composer) has reached for other sounds/styles to complement his techno-electronic trademark "sound". Arnold I feel can and should do the same, instead of leaning one way too much, whether it be orchestral or electronic.

Has he seen his peak? I don't know, I hope not -- I think he has talent (not quite a "hack" as KC would put it ) and more potential than we've seen but perhaps not the right movie/vehicle to exhibit it

[Kingdom Come]

Must say I'd dearly love Barry was able to do just 1 more film...

[DB5 Forever]

Although it would be interesting to hear a new Barry score, I don't think it would work.

Barry wouldn't have been able to score Die Another Day.