150 replies to this topic

[Lachesis]

Trevor Jones would certainly be good, too few of his scores about, I'd throw John Murphy (Sunshine) as a wildcard

[PotterBond007]

This may seem a little far-fetched, but how about some video game composers? There are a lot of good game scores out there, like the Halo ones by Martin O'Donnell and Michael Salvatori, or Gears of War by Kevin Riepl, or the Warcraft composers, and even the Medal of Honor ones by Mr. Giacchino. And Tom Salta who scored H.A.W.X Maybe one of those guys will take a turn in the world of film scoring.

[HMBFF]

I don't know if anyone has already sugested, but how about David Holmes? His work for the Ocean's films was amazing! He has a Retro style that I would love to hear in a Bond movie. I think he would be a perfect hoice!

Edited by HMBFF, 14 February 2010 - 12:36 AM.

[PotterBond007]

Here's some more people:

Clint Mansell

Rob Lane

John Ottman

Dennis McCarthy

Harald Closer

[The Shark]

Alexander Desplat would be a decent choice. Christopher Young would be all right.

But please, no John Ottmans.

Personally, I would just hire John Adams.

[Guy Haines]

Alexander Desplat would be a decent choice. Christopher Young would be all right.

But please, no John Ottmans.

Personally, I would just hire John Adams.

I've listened to Giacchino's Star Trek score recently. He would be able to score Bond, I think.

[The Shark]

Alexander Desplat would be a decent choice. Christopher Young would be all right.

But please, no John Ottmans.

Personally, I would just hire John Adams.

I've listened to Giacchino's Star Trek score recently. He would be able to score Bond, I think.

He's good, but suffers from the same problems that Arnold has when it comes to engaging action cues.

[bondrules]

How about Thomas Newman.

Beautifully crafted music on these scores:

The Shawshank Redemption
Meet Joe Black
Road to Perdition
Jarhead
WALL-E

If this gap is long enough, let's get rid of Dench and Arnold. Why not?

[Harmsway]

Personally, I would just hire John Adams.

I doubt he'd do it. However, Jonathan Dove--who has a strong John Adams thing going on in his compositions--probably would.

Other possibles? Osvaldo Golijov or Alexandre Desplat.

[The Shark]

Personally, I would just hire John Adams.

I doubt he'd do it. However, Jonathan Dove--who has a strong John Adams thing going on in his compositions--probably would.

I've listened to some of his work, but it's not the side of Adams I was thinking about. For Bond I would imagine something more along the lines of City Noir.

Other possibles? Osvaldo Golijov or Alexandre Desplat.

I got a feeling we've been before with Golijov, Harms. I'd still say he doesn't sound remotely right for Bond though, too classical almost. Too 18th Century, though I might have just been listening to the wrong Golijov pieces.

As for Desplat, I just dislike his "signature" style. The cutesy Hollywood celestas, glockenspiel, cello, banal piano etc... He can have his moments here and there, but on the whole I'd say he's a continental European counterpart to some of the bland young American composers.

[Harmsway]

I've listened to some of his work, but it's not the side of Adams I was thinking about. For Bond I would imagine something more along the lines of City Noir.

Ah. I've never heard anything of Dove's that would compare. But it's not as though we need composers to have produced Bond music before they actually get the job.

Anyway, I doubt Adams would do it. He's never done a film, and even I AM LOVE was cobbled together out of pre-existing work. If they did get him, it would be a remarkable coup.

Too 18th Century, though I might have just been listening to the wrong Golijov pieces.

You are. Golijov has range. His work for Coppola has sometimes tended towards the classical sound due the nature of the stories being told--sometimes, anyway, since you also find samba-ish and vaguely 20th Century stuff in there--but his composition work, in general, has not. He'd easily adapt to a version of the Bond sound.

As for Desplat, I just dislike his "signature" style. The cutesy Hollywood celestas, glockenspiel, cello, banal piano etc... He can have his moments here and there, but on the whole I'd say he's a continental European counterpart to some of the bland young American composers.

Eh, I'd take him over the Americans. As far as I'm aware, he never produces mush cues as the Americans do, even if he can tend towards the forgettable.

[Aris007]

I'd say Crter Burwell is an interesting choice. His work in "Burn After Reading" was rather good.

[Gogol Pushkin]

I'm not sure if anyone has brought this name up yet, and he isn't a Hollywood name, but I'd be interested in seeing what Murray Gold could do with a Bond theme. For those that don't know Murray Gold is the composer on the current incarnation of Doctor Who and his music for that show is a treat.

[The Shark]

Thanks Harms I'll try to look for the more 20th Century output of Golijov. Strangely, it seems every single single video of his work on youtube is of the "classical" idiom. Maybe it's more down to the uploaders' tastes, selecting out the more easy listening stuff and not the dissonant cues?

New suggestion:

David Shire.

Why you ask?

He's a great and sorely underrated composer, most well known for 70s classics such as The Taking of Pelham 1-2-3 (his masterpiece) and The Conversation. He also recently score Fincher's Zodiac, so he still on the ball.









The music of Bond desperately needs this level of testosterone and sexuality injected back into it.

[Harmsway]

Shire is a great suggestion.

[bondrules]

Harms, what do you think of Thomas Newman? Perhaps you like him but not for Bond?

[Gogol Pushkin]

Harms, what do you think of Thomas Newman? Perhaps you like him but not for Bond?

Personally I think Newman is a great composer. His work on American Beauty, Meet Joe Black and The Shawshank Redemption are all modern classics, but he is better at more personal and emotional movies, I don't know if he would have what it takes to do a big epic score that Bond requires.

[PotterBond007]

Marc Streitenfeld, anyone? Honestly, though, I haven't heard anything by him except Robin Hood, and that was good.

Maybe James Horner? Dunno if he's suited for Bond, though. Or Graeme Revell? Maybe. . .

[Lachesis]

Marc Streitenfeld, anyone? Honestly, though, I haven't heard anything by him except Robin Hood, and that was good.

Maybe James Horner? Dunno if he's suited for Bond, though. Or Graeme Revell? Maybe. . .

I have checked anything by Stritenfeld nor seen Robin Hood yet but I'm not a big fan of Horner who seems very tied to the same few cues for similar scenes. Revell would be a very interesting choice though.

Elements of the Inception soundtrack suggest how Hans Zimmer would tackle it, and I am enjoying that atm.

[DominicGreene]

Marc Streitenfeld, anyone? Honestly, though, I haven't heard anything by him except Robin Hood, and that was good.

Maybe James Horner? Dunno if he's suited for Bond, though. Or Graeme Revell? Maybe. . .

I have checked anything by Stritenfeld nor seen Robin Hood yet but I'm not a big fan of Horner who seems very tied to the same few cues for similar scenes. Revell would be a very interesting choice though.

Elements of the Inception soundtrack suggest how Hans Zimmer would tackle it, and I am enjoying that atm.

Hans Zimmer did the score for The Dark Knight and Inception, both that were really good. The greatest possibility of having him on is if Nolan directed a Bond film

[Aris007]

I was watching "Catch Me If You Can" the other day and I found Williams's job quite interesting. That jazzy tunes blew my mind and I'm sure they can fit to a lighter Bond score.

[PotterBond007]

Anyone for Joel McNeeley? He did the Avengers, and Young Indy. Or maybe even Klaus Badelt. He's fairly decent. Or Dennis McCarthy.

Edited by PotterBond007, 30 August 2010 - 03:35 AM.

[Zorin Industries]

I'm not sure if anyone has brought this name up yet, and he isn't a Hollywood name, but I'd be interested in seeing what Murray Gold could do with a Bond theme. For those that don't know Murray Gold is the composer on the current incarnation of Doctor Who and his music for that show is a treat.

Ouch, no. Not Gold. He has got a lot better but his scores are really naive and overblown with scant beauty or passion.

[SecretAgentFan]

As for Desplat, I just dislike his "signature" style. The cutesy Hollywood celestas, glockenspiel, cello, banal piano etc... He can have his moments here and there, but on the whole I'd say he's a continental European counterpart to some of the bland young American composers.

Strongly disagree here. Desplat has a huge variety of scoring styles and could do a Bond film with strong melodies like Barry did.

[The Shark]

As for Desplat, I just dislike his "signature" style. The cutesy Hollywood celestas, glockenspiel, cello, banal piano etc... He can have his moments here and there, but on the whole I'd say he's a continental European counterpart to some of the bland young American composers.

Strongly disagree here. Desplat has a huge variety of scoring styles and could do a Bond film with strong melodies like Barry did.

Barry's strength wasn't in his penchant for strong melodies (any musician can come up with a tune), but his fondness for complex and often ambiguous tonal harmonies, and colourful orchestration. Much like a less tumultuous, British equivalent of Bernard Herrmann.

Personally, I haven't heard Desplat's 'huge variety of scoring styles.' They all sort of blur into one to me.

I'd only trust Desplat if he stopped using Finale, synthesisers and sample libraries to score his films, and went back to pen and paper.

[DamnCoffee]

Murray Gold.

Evidence?



All the variations of 'I am The Doctor' that were used in last nights episode. Now, imagine what he can do with the Bond theme.

[x007AceOfSpades]

I would go with Hans Zimmer (Inception OST is amazing!) and Harry Gregson-WIlliams. Mainly Zimmer because more recently his film scores have been throughly enjoyable for me including the score for Sherlock Holmes. I would also mention Jacob Groth who scored Stieg Larsson's The Millennium Trilogy. His score for the first film, The Girl With The Dragon Tattoo was great maybe he can take a crack at Bond.

[jrcjohnny99]

As for Desplat, I just dislike his "signature" style. The cutesy Hollywood celestas, glockenspiel, cello, banal piano etc... He can have his moments here and there, but on the whole I'd say he's a continental European counterpart to some of the bland young American composers.

Strongly disagree here. Desplat has a huge variety of scoring styles and could do a Bond film with strong melodies like Barry did.

Barry's strength wasn't in his penchant for strong melodies (any musician can come up with a tune), but his fondness for complex and often ambiguous tonal harmonies, and colourful orchestration. Much like a less tumultuous, British equivalent of Bernard Herrmann.

Personally, I haven't heard Desplat's 'huge variety of scoring styles.' They all sort of blur into one to me.

I'd only trust Desplat if he stopped using Finale, synthesisers and sample libraries to score his films, and went back to pen and paper.

I'd definitely throw a vote in for Desplat;
I thought his scores for "The Ghost Writer" and "The Kings Speech" were both pretty good, but I think his score for the latest Potter was one of my faves of the year and possibly my favourite of the series (along with Patrick Doyle's; and I'd have no problem seeing Doyle have a shot at a Bond film)..

[PotterBond007]

I like Murray Gold. He was mentioned eariler. I love his music for Dr. Who! It's fun and always new and different. And do I dare mention Daft Punk? Their score for Tron: Legacy is AWESOME!!

[The Shark]

Elliot Goldenthal.