1894 replies to this topic

[Shrublands]

Just for the sheer vintage cool factor, I kind of wish the film would close to the credits with the original Monty Norman Orchestra recording. I think that would be a fantastic way to not only tie in Craig to the Bonds of old as he deserves, but to pay homage to the 50 year anniversary. Just throwin' that out there.

What on earth is "the original Monty Norman Orchestra recording"?

[sharpshooter]

What on earth is "the original Monty Norman Orchestra recording"?

I believe 00Twelve is referring to the James Bond Theme from Doctor No.

[00Twelve]

What on earth is "the original Monty Norman Orchestra recording"?

I believe 00Twelve is referring to the James Bond Theme from Doctor No.

Yes, exactly. The original recording of the Bond theme. And pardon, it was the "John Barry Orchestra." Some CD compilations refer to the ensemble that played on the original recording as the "Monty Norman Orchestra" because Monty Norman was the composer for Dr. No and still receives credit for composing the Bond theme.

[Dmitri Mishkin]

I think Thomas Newman will enable the dramatic scenes to play with gravitas and authenticity, but not overembellishing it in a way that David Arnold might. I also predict that Newman will lend a minimalist style to the action music he writes, with some brass fanfare and a lot of rhythmic propulsion. He is an unusual but refreshing change from Mr Arnold... most likely a temporary one though.

[JimmyBond]

I've been thinking it's temporary too. I feel they only strayed from Arnold because he's busy with the Olympics. I suppose we'll see him back for Bond 24. I wouldn't be opposed to them experimenting more with the scores though.

[Shrublands]

I feel they only strayed from Arnold because he's busy with the Olympics.

Arnold himself has said that is not the reason.
Mendes did not want him.

[THX-007]

I'm all for experimenting with different styles. The problem I have with Mr. Arnold is that his music is good and all but nothing really memorable. Its a good mark for a composer when if one is to hear a track without visuals they can name the scene that goes with it. You play a track from either Star Wars (original three) or Indiana Jones (the original three) and there's a good chance I can name the scene it belongs to. But of course that's not the one deciding factor, just a personal preference. If you play me a track from any of Arnold's Bond scores good chance I won't recognize which film it belongs to.
I'm a little bit tired of the brass sound. Yeah its a classic sound but it gets tiring. I think Barry realized this and added synths to OHMSS and a drum machine to TLD to add more variety to the score. People often bash Eric Serra's score for GE and apart for the very out of place "Ladies First", I think the soundtrack is good because it was something new. I love "GE Overture", "The Severnaya Suite", "Our Lady Of Smolensk", "Whispering Statues", "Fatal Weakness", "Run, Shoot, And Jump."
I say let's have another electronic score or a hybrid between electronic and orchestra. Listen to Daft Punk's excellent score to Tron: Legacy, Cliff Martinez's score for Drive, any of Hans Zimmer's recent scores, Health's score for Max Payne 3.

Edited by THX-007, 16 June 2012 - 12:56 PM.

[Leon]

Given the visual look they have given this film, with a strong retro/classic 60's styling and the fact that it's a big 50th anniversary, I'd say they're better off working from a more classic Bond score style but doing it in Newman's style with twists, as opposed to going for some all-out electronica. That would just totally clash with the look of the film and make it feel dissjointed.

I agree with above comments about getting tired of the overblown brass - some nice raw brass sounds are always good, but I think some more classic Bond theme dirty electric guitar parts in the action, combined with Newman's gorgeous, soundscape piano, woodwind and strings melody style and maybe just some touches of electronic sounds.. would be superb.

[The Shark]

Given the visual look they have given this film, with a strong retro/classic 60's styling and the fact that it's a big 50th anniversary, I'd say they're better off working from a more classic Bond score style but doing it in Newman's style with twists, as opposed to going for some all-out electronica. That would just totally clash with the look of the film and make it feel dissjointed.

I think some heavy sequenced synths, progressive house and psy trance elements for the Shanghai sequences could work.

[Royal Dalton]

Yeah, I could see him using syths for Shanghai.

And I wouldn't be surprised if he did some of that American Beauty-style 'plinky-plonky' music for the casino scene, but with a sinister vibe to it.

[The Shark]

And I wouldn't be surprised if he did some of that American Beauty-style 'plinky-plonky' music for the casino scene, but with a sinister vibe to it.

I hope not!

[S K Y F A L L]

Wouldn't it be nice if we got a composer videoblog that answered some of our questions sometime in the near future.

[THX-007]

Given the visual look they have given this film, with a strong retro/classic 60's styling and the fact that it's a big 50th anniversary, I'd say they're better off working from a more classic Bond score style but doing it in Newman's style with twists, as opposed to going for some all-out electronica. That would just totally clash with the look of the film and make it feel dissjointed.

I agree with above comments about getting tired of the overblown brass - some nice raw brass sounds are always good, but I think some more classic Bond theme dirty electric guitar parts in the action, combined with Newman's gorgeous, soundscape piano, woodwind and strings melody style and maybe just some touches of electronic sounds.. would be superb.

Agreed that Skyfall should have the classic brass but also something else to add freshness to it. Going back to the late John Berry a perfect example of his work is both ski chases in OHMSS. Those synth beats and the horns drive the chase and makes both scenes exciting. Then we go to the opening car chase with Arnold's score. You already too distracted and lost in what's going on in the scene and Arnold's music isn't doing anything to grab your attention.
I earlier brought Hans Zimmer and Zimmer is one composer who can incorporate electronic sounds into scores without it sounded cheesy or "hip."

[SecretAgentFan]

I earlier brought Hans Zimmer and Zimmer is one composer who can incorporate electronic sounds into scores without it sounded cheesy or "hip."

Wasn´t Zimmer the one who made electronic sounds within scores "hip"?

And these days "cheesy"...

[triviachamp]

So is the complaint going to be that Thomas Newman's score sucks for not sounding like John Barry or sounding too much like John Barry?

[THX-007]

So is the complaint going to be that Thomas Newman's score sucks for not sounding like John Barry or sounding too much like John Barry?

We'll have to wait and see. Personally I'm glad another composer is given the chance to hopefully add something new musically to the Bond franchise. I was just making the point that hasn't been much innovation in the Bond soundtracks.
I don't care if it sounds like John Barry or it doesn't sound John Barry, I care whether it sounds good and its memorable.

[triviachamp]

I don't care if it sounds like John Barry or it doesn't sound John Barry, I care whether it sounds good and its memorable.

Agreed!

[deth]

I earlier brought Hans Zimmer and Zimmer is one composer who can incorporate electronic sounds into scores without it sounded cheesy or "hip."

Wasn´t Zimmer the one who made electronic sounds within scores "hip"?

And these days "cheesy"...

yep... that's the guy! He and his army of Media Ventures clones...

[S.P.E.C.T.R.E]

Good 2 have a new Bond composer w/ such high credentials. Lookin 4ward 2 a good 'Bond' score.

[DominicGreene]

I can imagine Newman doing a score like this while Bond's entering Turkey. The mandolin incorporates something we haven't heard before, and it sounds a classical folk European feel. Just the beginning and end, the chorus isn't very good.

Edited by DominicGreene, 25 June 2012 - 12:49 AM.

[DamnCoffee]

That's brilliant! It reminds me of 'Camille's Story' from 2:00 onwards. Imagine that in the Quantum of Solace desert crossing scene.

[Chief of SIS]

Oh man, you're right. It would have made they walking portion so much more tolerable.

[201050]

So is the complaint going to be that Thomas Newman's score sucks for not sounding like John Barry or sounding too much like John Barry?

If I were a betting man, I'd say you're right on the money.

If anyone has any doubts about his selection, give Road To Perdition or The Adjustment Bureau a listen. Newman is more than qualified to score a Bond film. Personally, I'm really looking forward to hearing what he does. I'm a huge fan of his work. Arnold, on the other hand, I can take or leave. He's done a few really nice pieces for the series, but the scores overall are fairly generic.

[junkanoo]

So is the complaint going to be that Thomas Newman's score sucks for not sounding like John Barry or sounding too much like John Barry?

Oh, that's a given. It's worse though. Some will not be truly happy unless John Barry came back to us in the prime of his life ready for another Bond assignment. That's just the way it is.

Then there are the Arnold haters. If Newman does great they will feel elated. If not, they will be even a more miserable bunch then they are now.

Then there are the electronic music haters. They are already totally screwed as Thomas Newman uses a LOT of electronic music cues in his scores.

I'm a fan of Thomas Newman's scores such as the terrific IN THE BEDROOM and MEET JOE BLACK. I don't see action/suspense films as his 'sweet spot' but the truly great ones can deliver against the grain, so to speak. That said, since Sam Mendes seems an odd choice for director and Newman has a strong relationship with Newman ... I would be lying if I didn't see this all as a potential house of cards. I will be overjoyed if my concerns are completely unwarranted.

[Mr.Bond220]

Looking forward to hearing what Newman comes up with. I dig Arnold's scores but always looking for new takes on the series.

[gkgyver]

A Remote Control Bond score? Uuuugh!

The reason Zimmer's electronics don't sound "hip" is that he uses them for 15 years now.
Having that hack pollute a Bond film would be blasphemy.

[PeteNeon]

Does anyone know if this track is from a different Thomas Newman score? Someone in the comments says it is legit, but it doesn't sound very Bond.

[The Shark]

Just some no-name composer doing a bad impression of Thomas Newman.

[AgenttiNollaNollaSeitsemän]

I smell cattle droppings. I'd guess that they're recording the score at the moment.

[MattofSteel]

Newman mentioned he was heading to London in June to focus on the score. Does anyone know offhand the general timeline Arnold's used for the last few films? I got the impression June was an awfully late start, unless he's been doing a bunch of preliminary writing ahead of time.