39 replies to this topic

[DominicGreene]

Hello, I'd like to create an official thread on who should be the composer for Bond 23,

So...

Who should be?

I had an idea... what about Ennio Morricone for composer?

He did a Bondish song with Rita Monico called "La regola del gioco (The Rules of the Game)" which I thought sounded pretty Bondish. I know all his other work doesn't sound Bondish, but I think he's one of the best composers ever and could create an amazing soundtrack for Bond,

http://www.youtube.com/watch?v=K7lKFmghZho

If you don't know who Ennio Morricone is, you better go listen to his music because he has some of the best pieces in all my music (in my opinion)

Here is a "Bond spoof" he did music for, but the music is pretty good for a Bond film

http://www.youtube.com/watch?v=ap5jzRGenK4

Oh god damn it, I forgot David Arnold was confirmed.... well.... this is awkward.....

Edited by DominicGreene, 17 May 2011 - 09:51 PM.

[mttvolcano]

A resurrected John Barry I would like lol

[The Shark]

I'm probably the least likely person to suggest this, but I say we've got enough of these already. Despite my endless tirades against David Arnold in the past, I'm all battled out.

You could always repost this (or have the mods move it) in one of these threads:

http://debrief.comma...composer-ideas/

http://debrief.comma...nold-to-return/

http://debrief.comma...see-in-bond-23/

[mattjoes]

He's not really confirmed though, is he? Last I read was that he had yet to be asked back. So, the discussion may have been milked out for all its worth (and The Shark needs to recharge his batteries), but the issue remains relevant.

[Stainless Steel Teeth INC]

Biggest lost opportunity (imo) was Jerry Goldsmith who would have been a great choice.

Probably way too late now but Lalo Schifrin would have been one of my favourite selections.

But out of the current batch, the one composer who would appear to be an ideal fit would be Michael Giacchino.

[TCK]

Patrick Doyle.

[Triton]

I want David Arnold to come back for Bond 23, but he has to create a score as good as the one he wrote for Tomorrow Never Dies. The only other contemporary film composer who might have a chance at writing a decent Bond movie score is John Powell.

[The Shark]

I want David Arnold to come back for Bond 23, but he has to create a score as good as the one he wrote for Tomorrow Never Dies. The only other contemporary film composer who might have a chance at writing a decent Bond movie score is John Powell.

Wouldn't than just further fuel the "Bond aping Bourne" angle?

[Triton]

Wouldn't than just further fuel the "Bond aping Bourne" angle?

Maybe. Alas, after almost 50 years Bond the great innovator has now become the great imitator.

[Triton]

But out of the current batch, the one composer who would appear to be an ideal fit would be Michael Giacchino.

I found some of Giacchino's score for The Incredibles to be a pastiche of John Barry. I don't know what the answer is. I want James Bond music in my new James Bond movie but I also don't want to go into a time machine and go back to the 1960s. Can we have James Bond music and still have something original and contemporary? Or is this goal impossible to achieve?

[Rich Douglas]

Can we have James Bond music and still have something original and contemporary? Or is this goal impossible to achieve?

Yes... we can...

The Golden Bullet - Concept Album

Rich

[Satorious]

After watching Inside Man on telly last night - I'd be tempted to suggest Terence Blanchard.

[ACE]

After watching Inside Man on telly last night - I'd be tempted to suggest Terence Blanchard.

Great choice, Satorious.

I liked the Henry Jackman score to X Men First Class.

George Fenton did some good stuff in the past.

Sam Mendes usual composer, Thomas Newman is especially interesting at this stage.

David Arnold is usually better when when he gets the chance to write the song.

Of course, Rich Douglas should get a chance one day!

[Royal Dalton]

I was thinking about George Fenton doing a Bond film just the other day, funnily enough.

"Shmall world."

Probably be Thomas Newman, though, if Arnold's not doing it.

[blueblood]

It may be obvious, maybe not, but what Hans Zimmer achieved with Inception's score -- very Nolan, a driving, electronic-symphonic structure that largely complement each other, as well as cues that quite literally recall great Bond tracks in short-hand; the ability, then, to capture tone and thematic arc through setting-as-psychology, the exotic scale and insular, hidden pieces that are underscored by that score's ability to balance intimacy with grandeur -- at times made me think of the best of John Barry, but in a positive rather than negative contrast.

That is, Zimmer, unlike Arnold, managed to create something uniquely befitting the specific material while also being unashamed in its intertextuality, conflated with modern assumptions. Which in its own way circles back around to the film's thematic and psychological scope (centrifugal versus/as centripetal forces and, basically, layering).

I want David Arnold to come back for Bond 23, but he has to create a score as good as the one he wrote for Tomorrow Never Dies.

Well, it might be the best example of Arnold's Bond work.

If you like it, great.

Me? I think it comes to define its film. Which is highly unfortunate, yet appropriate because of that same material's lack of weight.

There's prideful banality to nearly every frame of Tomorrow Never Dies, and its pretend-postmodern (neoteny as monotony) soundtrack is no exception. It's film score karaoke.

Edited by blueblood, 28 June 2011 - 12:07 PM.

[gkgyver]

I'm tempted to finally pin myself down on Michael Giacchino.

But I have to admit that for me, QoS is Arnold's best Bond score to date, so maybe there is still hope?

[FLEMINGFAN]

Sam Mendes usually uses Thomas Newman, so that may be a possibility. Any change from Arnold would be welcome.

[univex]

Sam Mendes usually uses Thomas Newman, so that may be a possibility. Any change from Arnold would be welcome.

I think anyone can relate to Arnold here, he was a Bond fan way before he had the gig, and he knows the drill, but the Bond sound is becoming uninventive. I can´t help but think of Brosnan whenever I hear Arnold´s familiar notes.

I wish it was Thomas Newman. A new sound does give a new feel to the piece.

Quick question here. What would be the chances of a main theme composed by arnold and a score done by Newman?

Edited by univex, 03 July 2011 - 12:44 AM.

[A Kristatos]

Sam Mendes usually uses Thomas Newman, so that may be a possibility. Any change from Arnold would be welcome.

I think anyone can relate to Arnold here, he was a Bond fan way before he had the gig, and he knows the drill, but the Bond sound is becoming uninventive. I can´t help but think of Brosnan whenever I hear Arnold´s familiar notes.

I wish it was Thomas Newman. A new sound does give a new feel to the piece.

Quick question here. What would be the chances of a main theme composed by arnold and a score done by Newman?

I have posted here many times in the past regarding Arnold, and I basically said that I'm not a huge fan of his. However, his last two outings have been solid to excellent and for continuity sakes maybe he should be brought in for the rest of the Craig era.

I come to this conclusion because he wrote an excellent score for QOS. He developed his own contemporary action theme which contained some overtones of the OHMSS theme. His transitional "locale" cues tailored for each location Bond visits are top notch. And his romantic cues have always been his strong point, especially the lush "Camille's Story" which was as good as anything John Barry came up with.

Having said all of this though, I think most here agree that the reason his QOS soundtrack was so good is because Mark Forster kept a short leash on Arnold by having him score each scene only having seen the script beforehand. Plus Forster spent a lot more time with Arnold putting the whole score together than in the past. This makes me wonder if Arnold is capable of putting out a great score two times in a row, or even a solid score three times in a row. So there is some reservations in me in bringing him back.

I would say if he has the same amount of time that Forster gave him to put together the score, and if Mendes allows Arnold to write and compose the main theme, he might have the makings of another good score. I'm not saying that the QOS score was perfect with the Siena music being very bland, but if he continues the trend he started in QOS by not writing action queues with no distinguishable melody and many random notes, he might produce another great score. But going towards a different composer does not automatically guarrantee a great score either, which is why I am torn between Arnold and someone else. Arnold is capable of getting the job done, but with the same restrictions he dealt with in QOS.

[univex]

Sam Mendes usually uses Thomas Newman, so that may be a possibility. Any change from Arnold would be welcome.

I think anyone can relate to Arnold here, he was a Bond fan way before he had the gig, and he knows the drill, but the Bond sound is becoming uninventive. I can´t help but think of Brosnan whenever I hear Arnold´s familiar notes.

I wish it was Thomas Newman. A new sound does give a new feel to the piece.

Quick question here. What would be the chances of a main theme composed by arnold and a score done by Newman?

... by not writing action queues with no distinguishable melody and many random notes, he might produce another great score

This is what I´m afraid of. And it´s not even jazz Personaly I didn´t fancy the QOS score, not more then say CR. But in one thing we really are in agreement, he´s really great on the big romantic tones, still love the introducing theme on the train in CR, the arrival at the bahamas, the talamone arrival...He always uses his A game in the locations introductions. I stand by my initial idea, bring Newman into the project and keep Arnold for the main theme with some artist, preferably Shirley.

Anyways, great views as always Kristatos

Edited by univex, 04 July 2011 - 10:54 PM.

[SecretAgentFan]

I hope Mendes will not use Thomas Newman because his style seems totally incompatible with Bond.

[Mr. Blofeld]

Wow, Kristatos, I... totally agree with that.

I was going to say, "Meh, I don't care -- Arnold's capable", but your post completely changed my mind! Well done.

[Conlazmoodalbrocra]

I've never had any major issues with Arnold, so if he returns I'll be happy enough. Thomas Newman sounds intriquing.

[TCK]

An idea I just had. What about, for the fiftieth birthday (according to Dr No), taking Bond music pieces from the twenty-two other films and doing a soundtrack with them, with a new orchestration (or not besides) ? Surely an unconvincing idea, but we would have the opportunity of listening again some wonderful pieces so, wouldn't we ?

Edited by TCK, 05 July 2011 - 09:33 PM.

[Syndicate]

How about any one of them, and not just for bond 23 also beyond.

John Williams
James Horner
Brad Fiedel
Carter Burwell
John Murphy
Bill Conti(how about returning again to do another one. IF he is still around and have NOT passed away or too old)
Marcelo Zarvos

So what do you all think about anyone of them doing the scores.


But IF Michael G. Wilson and his half sister Barbara Broccoli still want David Arnold to do the score, I can live with that.

Edited by Syndicate, 05 July 2011 - 09:52 PM.

[TCK]

Bill Conti(how about returning again to do another one. IF he is still around and have NOT passed away or too old)

Why not, but I don't think his style would go well with Craig's Bond...

[Achile Aubergine]

Without any doubt: Alexandre Desplat, I am sure, would do a great job.

[The Shark]

It may be obvious, maybe not, but what Hans Zimmer achieved with Inception's score -- very Nolan, a driving, electronic-symphonic structure that largely complement each other, as well as cues that quite literally recall great Bond tracks in short-hand; the ability, then, to capture tone and thematic arc through setting-as-psychology, the exotic scale and insular, hidden pieces that are underscored by that score's ability to balance intimacy with grandeur -- at times made me think of the best of John Barry, but in a positive rather than negative contrast.

I think you've underlined what Zimmer at his peak can achieve. That is, to bring out the intellectual structure of a film, and with a broad brush, capture its tone. This is best on show in his finest score to date - THE THIN RED LINE. A score that outside of the film, could be an ambient or prog rock concept album.

That said, I think his M.O. is very different to Barry's, who himself was more inline with Bernard Herrmann. John Barry had a knack for conveying the most, with the slightest material. His music not only had an economy, but could cut right to the heart of a film, in a way that Zimmer never quite has.

It's a matter of mind vs. heart.

Who do I recommend?

Wolchech Kilar
Don Davis
Elliot Goldenthal
Lalo Schifrin
Mark Isham
Bill Conti

[brunoman]

I like to see Henry Jackman Of X-Men First Class to have a crack at it. His score for that movie is epic in my opinion. My favorite track is Frankenstein's Monster. It has a classic Bond sound to it.

Edited by brunoman, 13 July 2011 - 12:52 AM.

[A Kristatos]

Wow, Kristatos, I... totally agree with that.

I was going to say, "Meh, I don't care -- Arnold's capable", but your post completely changed my mind! Well done.

Glad you agree. But again, Arnold needs a director that will put in the time to work with him. If Mendes does, Arnold is capable of another good score. And I think a lot will depend on the tone of the movie which should pick up where QOS left off, with maybe a little less emphasis on the revenge angle this time around.

Funny that some recent posts mentioned Thomas Newman. I just bought "The Adjustment Bureau" dvd and I must say that I truly enjoyed Newman's score for the film, even paying more attention to it than I did when I saw the film at the theater early this year. I think if Mendes does like Newman as has been mentioned earlier, I would have no problem with him using Newman to score Bond 23. He showed me he can write a simple and coherent action queue which was used several times throughout the movie. And his romantic queues where modern but still very reflective of the scenes in the film. So if Mendes does not prefer Arnold, I'll take Newman as my first choice for a new composer.

And I'll be very honest, if I hear one more person mentioning Michael Giacchino for the next Bond movie composer, I am going to puke! I have heard his MI3 score and I was NOT impressed! He is Brosnan era David Arnold part 2 IMO. He like Arnold did for the Bond theme did a great job scoring the original Mission Impossible theme in nearly the same arrangement as the original tv title theme. But Giacchino's action queues were atrocious and consisted of the same rambling incoherent mess that many of Arnold's Brosnan action queues sounded like! I know I have not heard Giacchino's "Incredibles" soundtrack, but I just don't trust this guy to handle a Bond score. Give me Arnold or Newman any day!

Edited by A Kristatos, 11 July 2011 - 03:08 AM.