319 replies to this topic

[Leon]

Although I am somewhat bored of his scores, I do feel like his soundtracks were sometimes suporior to John Barry...

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.

Great points Guy. David Arnold does not have the finesse of John Barry, and he has never been in the same class. He derives his scores heavily from John Barry's as it is. He is John Barry-lite, with a lesser classical understanding of the orchestra. As a musician myself I find his sound often has that clear residue of having all been written on the same midi keyboard. He does a great job with it, I am not just knocking him, but it is evident in the composition and is NOT near as bold, fluent or classy as Barry's pieces generally were.

[DominicGreene]

Although I am somewhat bored of his scores, I do feel like his soundtracks were sometimes suporior to John Barry...

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.

Great points Guy. David Arnold does not have the finesse of John Barry, and he has never been in the same class. He derives his scores heavily from John Barry's as it is. He is John Barry-lite, with a lesser classical understanding of the orchestra. As a musician myself I find his sound often has that clear residue of having all been written on the same midi keyboard. He does a great job with it, I am not just knocking him, but it is evident in the composition and is NOT near as bold, fluent or classy as Barry's pieces generally were.

I agree with you, even though I made the point. Maybe I feel more strongly towards David Arnold because I grew up with him, and his soundtracks really made an impression on me when I went to go see Bond in the theatre for the first time.

[Leon]

I agree with you, even though I made the point. Maybe I feel more strongly towards David Arnold because I grew up with him, and his soundtracks really made an impression on me when I went to go see Bond in the theatre for the first time.

Yea, fair play DG, I mostly grew up with the Arnold scored films also, and even had the TND soundtrack. It certainly wouldn't be a bad thing if Arnold returns once again. I'd be more excited if a new composer came in is all, as it would give a whole new dimension to Skyfall compared with the last two.

[Pussfeller]

Likewise. I grew up with Arnold. And I also grew up with the Backstreet Boys. I'm ready for something new. A new guy is a risk, and a risk is not a bad thing.

[Mr. Blofeld]

A new guy is a risk, and a risk is not a bad thing.

We've taken that risk several times; most of the time, it's worked (George Martin, Marvin Hamlisch, Bill Conti, Michael Kamen), but sometimes... well, it doesn't (Eric Serra).

[The Shark]

A new guy is a risk, and a risk is not a bad thing.

We've taken that risk several times; most of the time, it's worked (George Martin, Marvin Hamlisch, Bill Conti, Michael Kamen), but sometimes... well, it doesn't (Eric Serra).

GOLDENEYE's score worked then, and it does now. The only thing that doesn't is some fans' narrow views on what a Bond score is, and can be.

[DamnCoffee]

Personally, I think it only worked with George Martin. I'm not really a fan of any of the other 'risks' but I'm sure Newman could pull something beautiful out of the bag. I mean, it's the composer of The Green Mile for god sakes!

[Robinson]

GOLDENEYE's score worked then, and it does now. The only thing that doesn't is some fans' narrow views on what a Bond score is, and can be.

The Goldeneye Overture works as well as many of the other cues, especially "Run, Jump and Shoot." I think many were expecting an Eric Serra score that was in the vein of what he did for "The Professional."

If Arnold isn't available, I'd say give it to Terence Blanchard.

[The Shark]

If Arnold isn't available, I'd say give it to Terence Blanchard.

Great choice. His masterpiece is of course MALCOLM X, but I also love his score for INSIDE MAN.

[Skudor]

A new guy is a risk, and a risk is not a bad thing.

We've taken that risk several times; most of the time, it's worked (George Martin, Marvin Hamlisch, Bill Conti, Michael Kamen), but sometimes... well, it doesn't (Eric Serra).

GOLDENEYE's score worked then, and it does now. The only thing that doesn't is some fans' narrow views on what a Bond score is, and can be.

I always had a soft spot for it. Not sure I'd like the same sound for every Bond film, but it's a great part of GoldenEye.

By contrast it seems Arnold's score for TND became old in TWINE and ever since I feel like I'm reminded of TWINE every so often in each of the other films. And that's not a good thing.

So I'd rather have pretty much any other decent film composer than Arnold. He's had a good run, but it's time for new blood.

[Quantumofsolace007]

Danny Elfman



If it's good enough for John Le Carre it's perfect for 007.

[Matt_13]

Yeah Serra's score for GE works really well (though I am glad they used a more traditional rendition of the Bond theme for the tank chase). I've never understood the disdain for it, it's definitely one of the more atmospheric scores we've had in recent years.

[The Shark]

Danny Elfman



If it's good enough for John Le Carre it's perfect for 007.

Yep, but only for the trailer.

Here's Alberto Iglesias's score:

[Quantumofsolace007]

Danny Elfman



If it's good enough for John Le Carre it's perfect for 007.

Yep, but only for the trailer.

Here's Alberto Iglesias's score:

So would u be ok with Elfman or Iglesias?

[The Shark]

Iglesias yes. Elfman's got too much baggage for Bond.

[Tybre]

I still wouldn't mind Arnold returning at least to close out the Craig era, but at the same time I kind of feel like it's time for a change-up. I'm a bit e at thinking up a replacement right now though. Still like the prospect of Gregson-Williams, but kind of depends which HGW is turning up. If it's something like his MGS scores it'd be boss. Only other two I can think of the moment who I'd like to see on Bond...one I think could theoretically prove to be great but could also be a terrible fit, and the other just feels kind of obvious and safe. I dunno.

End of the day I am not the one being paid to make these decisions (thank heavens). I'm sure whoever's doing Skyfall they'll be the right man for the job.

[Quantumofsolace007]

Iglesias yes. Elfman's got too much baggage for Bond.

so Elfman for the trailer and Iglesias to do the rest are we all agreed

[talos7]

Terence Blanchard is a Great suggestion. When I saw Inside man, I felt he could do a Bond score. I went to Amazon and listed to bits from the entire sountrack. I like Arnold work, particularly CR, but Blanchard's work on IM is more "Bondian" than much of Arnold's. http://www.amazon.co..._pr_product_top

Edited by talos7, 16 November 2011 - 02:57 PM.

[The Shark]

Damn right. Blanchard's brings more a lot more of the Barry spirit. I think a lot of that's due to his strong jazz background.

[Royal Dalton]

Love that Inside Man track (Dalton's World, indeed!). Very Barryesque.

I should think it's pretty much a dead cert that it'll be Newman, though, if Arnold's got the chop.

[Lionheart]

David Arnold on his Twitter 1hr ago:
"For clarity ...At present I have no news on my involvement with sky fall."

:-(

[The Shark]

[Col. Sun]

David Arnold on his Twitter 1hr ago:
"For clarity ...At present I have no news on my involvement with sky fall."

:-(

The signs are pointing to a new composer. David Arnold would know by now, I'm certain of it.

[SecretAgentFan]

If I were him I would be pretty pissed. If EON/Mendes were interested in him working on SKYFALL they probably would have already said so.

But maybe they are holding out and wait for Mendes´ choice to deliver. And if that one does end in another Serra-type score they might bring Arnold back at the eleventh hour to take over.

[Dustin]

Don't know about that. Such links aren't meant to last forever. I'd say a bit of fresh air in the score can't really be that bad. Who knows, we might even want him back some day?

[lechero]

Yeah, even if he isn't scoring Skyfall, there's always a chance he'll come back in a couple of years (or even Bond 24). If he can deliver something with the quality of his QoS-score, I'd gladly welcome him back.

[Matt_13]

Hmm...Looks like for now he's out. I'd be lying if I said I wasn't a bit disappointed. Interested to see who's up though.

[MattofSteel]

He specifically did not say either way. If he 100% wasn't doing it, he would have said, "I'm not doing it." It's likely an issue of workload at the moment, given his Olympic-related duties. Both sides waiting to see what kind of availability he has.

EON's invited him back 5 consecutive times for a reason. He has the closest thing to tenure one can expect, and Mendes has given us absolutely zero indication he wants to replace him with a different choice.

It still seems, at best, a coin flip.

[The Shark]

Indeed. He's part of the family now, so if he's goes it'll be a pretty major decision.

[Dustin]

He specifically did not say either way. If he 100% wasn't doing it, he would have said, "I'm not doing it." It's likely an issue of workload at the moment, given his Olympic-related duties. Both sides waiting to see what kind of availability he has.

EON's invited him back 5 consecutive times for a reason. He has the closest thing to tenure one can expect, and Mendes has given us absolutely zero indication he wants to replace him with a different choice.

Can't really follow that reasoning. If EON want Arnold back they should make sure of it by contacting him early on. If Arnold doesn't hear from EON it's probably because they don't plan with him on board.

Or course, should Arnold not be on Skyfall it's certainly a break in the routine. But Barry too had to drop out for various reasons so it's not as if Arnold not doing Skyfall would necessarily mean all bridges are burned. I think a little change on the score-front could be quite refreshing.

Edited by Dustin, 24 November 2011 - 06:16 PM.