319 replies to this topic

[Chief of SIS]

That's a pretty narrow field. Through down none of the above just because I think there is so much more out there to explore.

[The Shark]

The only other composer listed as a choice is Alexendre Desplat? The guy is one of the most boring Hollywood composers working today, and predictably, always gets an Oscar nnd.

[DamnCoffee]

Well, Arnold, Newman and Desplat have appeared to be the most talked about choices in the thread, so they seemed the most popular.

[Matt_13]

Harkers joining the team! Excellent stuff

[Leon]

Well, I went with Newman on the poll, simply because I feel it's a cop-out having and voting for "some other one". I am not sure how well he'd handle the dynamics that Bond needs in the music though. Newman is a very skilled composer, but he has a very identifyable, subtle style, and would need to experiement away from this a little more than usual with a Bond film. I couldn't see every scored scene basically just being a soft, emotional wash of soundscape drones led by wet, reverbed piano.

I am just tired of Arnold though. Sure he's good, but eh, if any Bond film needs a change it's this one. Craig's 007 would benefit from more intricate and classy musical storytelling and finding a more individual identity. Arnold helped transition audiences from Brosnan, but now it's time for something else. I'd be more excited by a change, and I would expect Newman to be able to work with Bond, rather than just impose his signature sound on it.

[michallo_w]

How about Hanz Zimmer? He proved that he is great composer, can work with many styles like for example Sherlock Holmes, Inception or Batman movies.

[Jim]

Well, Arnold, Newman and Desplat have appeared to be the most talked about choices in the thread, so they seemed the most popular.

There's always Robert Mugabe.

[Harmsway]

The poll choices are exceedingly narrow. If it's just between Arnold, Desplat, and Newman, Newman wins *easily*, but it's not down to just those few. There are plenty of interesting composers out there.

[PotterBond007]

I have a thread similar to this about future Bond composers over on Bond 24 forums. (Some of you know this). As for right now, I'd like Arnold to return for another. I enjoy his music for Bond, and would like to have another. And also, I wish people would stop hating on Murray Gold. I LOVE Dr. Who, and I think Gold's music is "Fantastic!" (To quote the 9th Doc.) I think it would be neat to have him on Bond at some point.

[Captain Tightpants]

The poll choices are exceedingly narrow. If it's just between Arnold, Desplat, and Newman, Newman wins *easily*, but it's not down to just those few. There are plenty of interesting composers out there.

At the same time, some composers might be extremely appealing, but have no connection to the role. For example, I've only heard Arnold and Newman mentioned as contenders for the role. I haven't heard anything about Desplat.

[Gt Munn]

The only other composer listed as a choice is Alexendre Desplat? The guy is one of the most boring Hollywood composers working today, and predictably, always gets an Oscar nnd.

Boring? Did you listen to the Ghost Writer?
This isn't a Bond track representation in itself, but does show the mastery Desplat wields.

Too each their own though! I'm personally hoping for Arnold to stay on. I'd like to see him approach a Bond score in yet another direction.

Edited by Gt Munn, 14 November 2011 - 04:18 AM.

[Gt Munn]

How about Hanz Zimmer? He proved that he is great composer, can work with many styles like for example Sherlock Holmes, Inception or Batman movies.

I believe he is the worst possible choice. I believe these scores show what a back-seat composer he truly is. At least for the parts that he actually, himself, wrote.

[DominicGreene]

I, in all honesty, would be sad to hear David Arnold leaving. Although I am somewhat bored of his scores, I do feel like his soundtracks were sometimes suporior to John Barry. I think all of QoS and some scores of Casino Royale are some of the best in the entire series. The way he used the cues from "You Know my Name" in tracks such as The Switch, with that damn sexy riff played as Bonds following Vesper, or blaring it as we get a beautiful shot of Aston Montenegro. Also, let's not forget Vespers theme, a theme more emotional than John Barry has ever produced. The QoS soundtrack was so beautiful, it evokes so many emotions, like Night at the Opera, and inside man, so damn cool it could litterally be the alternative Bond theme. Let's not forget Time to get Out, Oil Fields and Dinner Jackets... God damn it, Mendes better bring him back

[Captain Tightpants]

The only other composer listed as a choice is Alexendre Desplat? The guy is one of the most boring Hollywood composers working today, and predictably, always gets an Oscar nnd.

Shark, I see you're shooting down Arnold and Desplat and Zimmer and probably half a dozen other composers that I could care to name. But if they're all so wrong for Bond, who would you suggest actually does the score? Pardon the observation, but I don't think I've ever actually seen you put forward someone who you think would be an appropriate choice.

[zencat]

It would be okay with me if Arnold didn't do Skyfall. I think he's a fine artist and was a gift to the Brosnan era, but I've never thought his music works all that well in the Craig era. True he brings that traditional "Bond sound", but I not sure these movies need that sound anymore. Strip it away and let these movies be entirely NEW. But I'm sure there are many who feel just the opposite, including probably the producers -- that without the "Bond sound" it's not Bond. I don't know. I'm ready to go without.

[SecretAgentFan]

The only other composer listed as a choice is Alexendre Desplat? The guy is one of the most boring Hollywood composers working today, and predictably, always gets an Oscar nnd.

Shark, I see you're shooting down Arnold and Desplat and Zimmer and probably half a dozen other composers that I could care to name. But if they're all so wrong for Bond, who would you suggest actually does the score? Pardon the observation, but I don't think I've ever actually seen you put forward someone who you think would be an appropriate choice.

He did: Elliot Goldenthal. Pretty bold choice!

[Gt Munn]

The only other composer listed as a choice is Alexendre Desplat? The guy is one of the most boring Hollywood composers working today, and predictably, always gets an Oscar nnd.

Shark, I see you're shooting down Arnold and Desplat and Zimmer and probably half a dozen other composers that I could care to name. But if they're all so wrong for Bond, who would you suggest actually does the score? Pardon the observation, but I don't think I've ever actually seen you put forward someone who you think would be an appropriate choice.

He did: Elliot Goldenthal. Pretty bold choice!

Goldenthal can do melodic themes and a big jazz sound, but that is a BOLD choice.

[The Shark]

The only other composer listed as a choice is Alexendre Desplat? The guy is one of the most boring Hollywood composers working today, and predictably, always gets an Oscar nnd.

Boring? Did you listen to the Ghost Writer?direction.

I did. I like the Main Title, but I found the rest pretty unremarkable. Polanski should have gone back to Wojciech Kilar (THE NINTH GATE). He'd do a splendid Bond score.

Goldenthal can do melodic themes and a big jazz sound, but that is a BOLD choice.

I know, but essentially I want an edge brought back to Bond. Sadly since his fall in 2005 and double edema (he had to relearn how to talk), Goldentahal's lost all interest in scoring action movies. Bond is pretty much out of the question. Shame, because I dug his score for S.W.A.T.

[The Shark]

I, in all honesty, would be sad to hear David Arnold leaving. Although I am somewhat bored of his scores, I do feel like his soundtracks were sometimes suporior to John Barry. I think all of QoS and some scores of Casino Royale are some of the best in the entire series. The way he used the cues from "You Know my Name" in tracks such as The Switch, with that damn sexy riff played as Bonds following Vesper, or blaring it as we get a beautiful shot of Aston Montenegro. Also, let's not forget Vespers theme, a theme more emotional than John Barry has ever produced. The QoS soundtrack was so beautiful, it evokes so many emotions, like Night at the Opera, and inside man, so damn cool it could litterally be the alternative Bond theme. Let's not forget Time to get Out, Oil Fields and Dinner Jackets... God damn it, Mendes better bring him back

Dear Lord.

[mattjoes]

Polanski should have gone back to Wojciech Kilar (THE NINTH GATE). He'd do a splendid Bond score.

He would be a fantastic choice.

[Chief of SIS]

I, in all honesty, would be sad to hear David Arnold leaving. Although I am somewhat bored of his scores, I do feel like his soundtracks were sometimes suporior to John Barry. I think all of QoS and some scores of Casino Royale are some of the best in the entire series. The way he used the cues from "You Know my Name" in tracks such as The Switch, with that damn sexy riff played as Bonds following Vesper, or blaring it as we get a beautiful shot of Aston Montenegro. Also, let's not forget Vespers theme, a theme more emotional than John Barry has ever produced. The QoS soundtrack was so beautiful, it evokes so many emotions, like Night at the Opera, and inside man, so damn cool it could litterally be the alternative Bond theme. Let's not forget Time to get Out, Oil Fields and Dinner Jackets... God damn it, Mendes better bring him back

Dear Lord.

Really? I mean really? The music side of things has never been my strong suite though I have always had opinions, but still, you'll be the first person I know to describe "night at the opera" as emotionally evoking. Though I do think "the switch"and "time to get out" are strong pieces by arnold, there is still two hours for him to fill in the movies. Unfortunately, those two hours are bland as can be. Though Barry may have no emotional value to you, at least he was never boring like Arnold.

[occhile007]

Can you add more to the poll? I mean I know it will be split, but still would be interesting.

My votes:

1. David Arnold
2. Michael Giacchino (Star Trek, Mission Impossible, The Incredibles)
3. John Debney (Predators)
4. Eric Serra (The only reason I put that on there was because it would be frickin hilarious if they went in that direction again.)
5. an unknown artist who known of us knows. (Sometimes going out of the box is the best way; and it adds a fresh spin.)

[The Shark]

3. John Debney (Predators)

What was special about this score? It was a practically an ad verbatim retread of Silvestri's original, with a few minor changes thrown in.

[Mercator]

Polanski should have gone back to Wojciech Kilar (THE NINTH GATE). He'd do a splendid Bond score.

He would be a fantastic choice.

I have agreements with this.
And Desplate would have good music too.
And Daft Punk - they did good musics for Tron 2. Very morderne. Very Bond

[DominicGreene]

I, in all honesty, would be sad to hear David Arnold leaving. Although I am somewhat bored of his scores, I do feel like his soundtracks were sometimes suporior to John Barry. I think all of QoS and some scores of Casino Royale are some of the best in the entire series. The way he used the cues from "You Know my Name" in tracks such as The Switch, with that damn sexy riff played as Bonds following Vesper, or blaring it as we get a beautiful shot of Aston Montenegro. Also, let's not forget Vespers theme, a theme more emotional than John Barry has ever produced. The QoS soundtrack was so beautiful, it evokes so many emotions, like Night at the Opera, and inside man, so damn cool it could litterally be the alternative Bond theme. Let's not forget Time to get Out, Oil Fields and Dinner Jackets... God damn it, Mendes better bring him back

Dear Lord.

Really? I mean really? The music side of things has never been my strong suite though I have always had opinions, but still, you'll be the first person I know to describe "night at the opera" as emotionally evoking. Though I do think "the switch"and "time to get out" are strong pieces by arnold, there is still two hours for him to fill in the movies. Unfortunately, those two hours are bland as can be. Though Barry may have no emotional value to you, at least he was never boring like Arnold.

I didn't say "Night at the Opera" specifically was emotionally evoking, but the whole soundtrack. Emotional evoking doesn't necessary need to make you cry, just I felt a more evoked feeling listening to the Quantum of Solace soundtrack, rather than listening to The Living Daylights soundtrack for example. I do agree with you that John Barry never got boring, I love John Barry soundtracks; he is my favorite composer.

[Miles Miservy]

I wouldn't be upset if Arnold returned; he knows what he's doing.

If it ain't broke, don't fix it. What David Arnold has brought to the 007 series has, quite obviously, helped to shape it into what it has become. John Barry had been an integral part of the entire feel and sound of Bond right up until TLD. can't imagine what that would be like if he'd stepped away after only a few soundtracks.

[DominicGreene]

I must admit, Thomas Newman has really beautiful soundtracks, I think he would be great for Bond.

[The Shark]

I wouldn't be upset if Arnold returned; he knows what he's doing.

If it ain't broke, don't fix it. What David Arnold has brought to the 007 series has, quite obviously, helped to shape it into what it has become. John Barry had been an integral part of the entire feel and sound of Bond right up until TLD. can't imagine what that would be like if he'd stepped away after only a few soundtracks.

The hey difference is, John Barry gave us a collection of highly individual scores set to a high standard. On the other hand, David Arnold has churned out 5 largely average and interchangeable scores with occasional shots of brilliance.

It ain't broke, but it ain't in top order either. It's somewhere in between.

[Leon]

I wouldn't be upset if Arnold returned; he knows what he's doing.

If it ain't broke, don't fix it.

I hate that expression. It states that unless anything is totally unworkable it's worth keeping. That's wrong. It's always more desirable to change things up, experiement and enjoy variety. That's the only way anything really great happens, not by just sticking to anything that's mediocre.

While I wouldn't be upset if Arnold returned AGAIN with another samey yet workable score, i'd rather see this Daniel Craig film be taken in as new and fresh a direction as possible.

[Guy Haines]

I, in all honesty, would be sad to hear David Arnold leaving. Although I am somewhat bored of his scores, I do feel like his soundtracks were sometimes suporior to John Barry. I think all of QoS and some scores of Casino Royale are some of the best in the entire series. The way he used the cues from "You Know my Name" in tracks such as The Switch, with that damn sexy riff played as Bonds following Vesper, or blaring it as we get a beautiful shot of Aston Montenegro. Also, let's not forget Vespers theme, a theme more emotional than John Barry has ever produced. The QoS soundtrack was so beautiful, it evokes so many emotions, like Night at the Opera, and inside man, so damn cool it could litterally be the alternative Bond theme. Let's not forget Time to get Out, Oil Fields and Dinner Jackets... God damn it, Mendes better bring him back

I've never been completely against David Arnold - he's certainly kept the "Bond style" going even if I don't think he's quite got the hang of action cues - but I doubt that even he would consider his Bond scores to be superior to John Barry at his best (He called Barry "the guvnor", which suggests a certain reverence.) Barry set the standard for others to follow, and, imho, I don't think they have quite matched the classic 60s scores. Indeed, I don't think Barry's later scores quite matched his earlier Bond work, but that is just my personal view.

As for an emotional Bond theme, I can't help thinking of "We Have All The Time In the World". Not just the Louis Armstrong vocal version, but the orchestral played when Bond proposes marriage, and again at the end of OHMSS as Bond becomes a widower only an hour or so after becoming a husband. I do like "Vesper's theme" and the way it is used in CR and QoS, but Barry's emotive and tragic love theme for OHMSS gets the nod from me.