66 replies to this topic

[The_Mole]

I really didn't know that Serra didn't want to use the theme.

Thanks for your co-operation

[Turn]

I really didn't know that Serra didn't want to use the theme.

Thanks for your co-operation

In an interview in 007 Magazine, he said he thought it was a good piece of music, but old-fashioned sounding. Thus he didn't really want to use it but was told he had to a couple of times because he thought it didn't fit into the modern framework.

His opinion and all, but would you want to go see a Star Wars film without the Star Wars theme somewhere in there? Whether he thinks it's usable now or not shouldn't matter considering the track record the Bond series had compared to the films he was used to doing. It's the difference between using an evergreen and something that could easily date.

[Kronsteen]

Well, Tomorrow Never Dies is an excellent score. Especially White Knight, which is a true homage to John Barry. A great piece of music!

And at the end the great vocal song Surrender is, also a great song from Arnold. It's a pity it couldnt be the first song.

But TWINE and DAD is not very good scores, especially due to the drum beats, which are used WAY WAY WAY toooooooooo MUCH!!!

[Kristatos]

I don`t hate David Arnold, but i think he is over his highpoint for Bond!

He told himself, that he brought all his Ideas he collected for Years into TND, and this Score was Excellent.
My Problems began with TWINE. Because i feel this Score as a Continuation to TND. It is too similar for me.

The Start of DAD was very good. The Korean Sounds and the Diamond-Touch is brilliant. The Cuban is also very good, but that "Antonov" has Parts of "pipeline" of TWINE, i found a little bit boring!

I don`t think that all the Bond Title Songs should have the Bassey-Touch. i like GE, but this was enough for the Brosnan-Era.
Surrender is a good song, but should havn`t been a title song, despite i am not a fan of the Title songs of TND, TWINE and DAD. From these 3 i prefer the TWINE Song, but i hope that they will bring back a Band like in AVTAK and TLD.

[Qwerty]

I don`t hate David Arnold, but i think he is over his highpoint for Bond!

He told himself, that he brought all his Ideas he collected for Years into TND, and this Score was Excellent.
My Problems began with TWINE. Because i feel this Score as a Continuation to TND. It is too similar for me.

The Start of DAD was very good. The Korean Sounds and the Diamond-Touch is brilliant. The Cuban is also very good, but that "Antonov" has Parts of "pipeline" of TWINE, i found a little bit boring!

I think my slight problems, and they'ew not much because I love the excellent work that David Arnold put into all three scores so far, began with Die Another Day. Compared with his hugely impressive scores for the previous two Bond films, this one, while still very good, not on par of the previous two. The action tracks, (Hovercraft Chase, Iced Inc. WhitOut, Antonov) were good, but I there's nothing like the tracks for Tomorrow Never Dies and The World Is Not Enough. Still, very good.

[Solex Agitator]

A nice topic. While I am not a huge fan of Arnold, I have come to accept his stamp. My main beef with Arnold is his lack of melody. He is also not one for the subtle. His scores are all largely driven by percussion and bombast. If he is to continue, I would like to see him explore more melody and mood. The only romantic gestures Arnold makes are quotes from YOLT.

I have an interesting EP from the Shaken and Stirred sessions that includes a couple of different mixes of the david Macalmont DAF theme and a completely different take on the Bond theme by Arnold. It is worth a listen.

With all the hope and speculation about Tarantino directing a Casino Royale remake, it is interesting to speculate what musical direction Tarantino might take as his films are musically rich. Perhaps with a great script even John Barry might reconsider. Here's hoping!

[gkgyver]

I agree with your point that Arnold should tone down the percussion a little bit; nevertheless, I think Arnold CAN create a sense of suspense, like in Laser Fight or A Touch Of Frost. The problem is that he has to compete with the sound effects, especially in DAD. The car chase inside the ice palaceis accompanied by a piece that is very loud and brassy, but you can barely hear it underneath all the splashes and crashes.

And it doesn't really speak for a composer, if he can throw into a single score all the ideas he's collected for years and is basically done with the character of James Bond after about 90 minutes of music.
TND was terrific, TWINE was TND plus Arnold's "leftovers"; DAD is TWINE with a slightly different main theme and a few more techno beats thrown in.