1894 replies to this topic

[SecretAgentFan]

Arnold´s Bond sound changed considerably from film to film.

The Shark will disagree.

[THX-007]

Arnold´s Bond sound changed considerably from film to film.

The Shark will disagree.

If you played me a piece of Arnold's Bond music and asked me to tell what film that came from, I would have no idea which film the music belonged to (except "Backseat Driver", its obvious to know what film that's from if you've seen it)

Edited by THX-007, 16 October 2012 - 08:09 AM.

[SecretAgentFan]

Well, do you know Barry´s scores, Martin´s, Kamen´s or Serra´s score better?

It all depends on whether one only is familiar with the scores from watching the movies or from listening to the scores separately as well.

For me, all of Arnold´s scores have a distinct sound that is defined by themes and orchestration.

[Armand Fancypants]

Well, do you know Barry´s scores, Martin´s, Kamen´s or Serra´s score better?

Oh yes. In Barry's case, anyway.

The fact that the guy could devise a secondary, iconic theme for a good chunk of his Bond films that wasn't necessarily even based on the title theme is really quite extroardinary.

[QOS4EVER]

stop with the nonsense about emotional sub-text needed for the score.

Finally! some light heartedness.Bring on more memes !
PS: Sorry Shark I completely agree with junkanoo

Arnold´s Bond sound changed considerably from film to film.

The Shark will disagree.

True the feeling he gave the Brosnan era were more focused on the traditional Bond Theme. While the Craig's theme was different. Again The Shark will disagree

[marktmurphy]

for my money the scores to Octopussy and Moonraker don't begin to touch Goldfinger, Thunderball, YOLT, and OHMSS in terms of quality.

Moonraker is a beautiful score. Also contains ones of the few really nicely long cues that Barry did.

[junkanoo]

It's really not about the action. That you think it is means that someone who's not able to pick up on the idea that Bond's love has betrayed him (like yourself) may miss the emotional resonance of that if a bog standard action theme plays in the background.

No. It really is about the action. In fact, they could have named the track Bond Back in Action var. 58. You must be confusing a Bond film with a melodrama or some deeper psychological drama a la Vertigo. It's not. Bond races off to St. Mark's Square supported by a quick cut shows what the scene is about. The filmmakers make it clear that the time for Bond to come to grips with his feelings is not now. The game is afoot. Action scene supported by action music. It's really that simple.

[SecretAgentFan]

for my money the scores to Octopussy and Moonraker don't begin to touch Goldfinger, Thunderball, YOLT, and OHMSS in terms of quality.

Moonraker is a beautiful score. Also contains ones of the few really nicely long cues that Barry did.

I agree. To my mind, MOONRAKER is one of the best Bond scores ever written - and also one of the best scores ever written.

[QOS4EVER]

It's really not about the action. That you think it is means that someone who's not able to pick up on the idea that Bond's love has betrayed him (like yourself) may miss the emotional resonance of that if a bog standard action theme plays in the background.

No. It really is about the action. In fact, they could have named the track Bond Back in Action var. 58. You must be confusing a Bond film with a melodrama or some deeper psychological drama a la Vertigo. It's not. Bond races off to St. Mark's Square supported by a quick cut shows what the scene is about. The filmmakers make it clear that the time for Bond to come to grips with his feelings is not now. The game is afoot. Action scene supported by action music. It's really that simple.

Indeed !!
A lot of people over here want to convert Bond into some sappy drama meant for stay at home moms to watch. Its Not! Its an action movie and it should always be an action movie, From 1962 till now

[SecretAgentFan]

But an action movie becomes a really good action movie if it conveys emotions. Without feeling for the characters an action movie is just a stunt show.

[junkanoo]

And listen to the cue itself after the buildup, when Bond charges through St. Mark's square. The music's vaguely Italian sounding, with not a hint of mental turmoil.

Well, if a track supported by a large orchestral with a lot of strings sounds Italian to you ... wait ... I know the problem you're got your tracks missed up. Here's your Italian strings.

It's a classic example of scoring the location but not the character. Something Barry deliberately avoided when it came to real drama.

Sorry, I was just listening to the YOLT soundtrack. What you saying about not scoring the location?

Edited by junkanoo, 16 October 2012 - 12:38 PM.

[PPK_19]

Agreed on Moonraker. I especially like the score during the part where Bond is in a speedboat being persued by Jaws, before taking off in his paraglider. Beautiful. Take note, Newman.

[SecretAgentFan]

Ah, coming back to Newman, thank you!

And really, the more I listen to the samples...

Fantastic score to look forward to!

[Vauxhall]

Ahead of their special "James Bond Celebration" on Friday night at 8pm, Classic FM has uploaded a preview feature on David Arnold and Thomas Newman in conversation on the subject of scoring 007 movies: http://www.classicfm...tion-music-007/

[SecretAgentFan]

Ahead of their special "James Bond Celebration" on Friday night at 8pm, Classic FM has uploaded a preview feature on David Arnold and Thomas Newman in conversation on the subject of scoring 007 movies: http://www.classicfm...tion-music-007/

Great! Thanks for posting that!

Somehow, Newman comes across as extremely sympathetic, a nice, funny, and intelligent guy. Who´d figure...

[MattofSteel]

Arnold´s Bond sound changed considerably from film to film.

The Shark will disagree.

It did indeed. The Craig Bond sound is harder, more mature. It retains many of the same Barry familiarities, but it's distinctively different.

If you played me a piece of Arnold's Bond music and asked me to tell what film that came from, I would have no idea which film the music belonged to (except "Backseat Driver", its obvious to know what film that's from if you've seen it)

I feel the exact opposite. I can identify every Arnold cue by film (and probably name) quite easily. There's certainly not the overall variance of sound John masterfully managed over 11 - 13? - films, but they're still fairly distinct.

for my money the scores to Octopussy and Moonraker don't begin to touch Goldfinger, Thunderball, YOLT, and OHMSS in terms of quality.

Moonraker is a beautiful score. Also contains ones of the few really nicely long cues that Barry did.

I should qualify my remarks. Yes,Moonraker is beautiful. It's a wonderful film score. The "Landing at the Pyramid/Pet Python" track is one of the best Barry's ever written. I'm just saying - all John's scores (well, mostly all) are beautiful and within that range of awesomeness, the other four earlier ones I mentioned are what I consider to be...well, masterworks.

[marktmurphy]

It's really not about the action. That you think it is means that someone who's not able to pick up on the idea that Bond's love has betrayed him (like yourself) may miss the emotional resonance of that if a bog standard action theme plays in the background.

No. It really is about the action. In fact, they could have named the track Bond Back in Action var. 58. You must be confusing a Bond film with a melodrama or some deeper psychological drama a la Vertigo. It's not. Bond races off to St. Mark's Square supported by a quick cut shows what the scene is about. The filmmakers make it clear that the time for Bond to come to grips with his feelings is not now. The game is afoot. Action scene supported by action music. It's really that simple.

It's not, no. How could it could be? Look at the content of that scene. Bond's quit his career to be with this woman; exposed himself totally to her. And then he learns she's turned on him. There and then. You don't think he's supposed to be feeling anything? He's not bursting into tears but that's not his style: he is visibly shaken, though. This film isn't Moonraker- it's about Bond as a character. That's why Craig is acting throughout that scene. She's not just another bad guy that he's tailing; how could she be? I'm astounded that you can miss the point of that movie so much.

Do you think the romantic music played in love scenes is 'melodrama' too?

[MattofSteel]

Somehow, Newman comes across as extremely sympathetic, a nice, funny, and intelligent guy. Who´d figure...

He does indeed. I've had that impression listening to him before, seems like he'd be terrific to work with. Probably part of the reason Mendes uses him so regularly. Not to slight David - also seems like a rightfully hilarious and personable chap.

[PPK_19]

Somehow, Newman comes across as extremely sympathetic, a nice, funny, and intelligent guy. Who´d figure...

He does indeed. I've had that impression listening to him before, seems like he'd be terrific to work with. Probably part of the reason Mendes uses him so regularly. Not to slight David - also seems like a rightfully hilarious and personable chap.

Not to mention insane- i follow him on Twitter and every tweet Arnold posts is hilarious but not from someone of a sound mind! Musicians eh...

Edited by PPK_19, 16 October 2012 - 02:58 PM.

[Vauxhall]

Sony Classical has officially announced the soundtrack's release - presumably these details are for the US release. http://www.prnewswir...-174354131.html

In their words: "Composer Thomas Newman's uniquely expressive musical style fits perfectly with the humor and slickness of a Bond movie. His expressive range goes from thunderous and dramatic for the many action sequences to broodingly atmospheric for scenes in which the dark side of the story, marked by mistrust and fear of betrayal, is at the forefront. With its big orchestral effects, this music is equal to the spectacular events that the movie portrays."

[marktmurphy]

Somehow, Newman comes across as extremely sympathetic, a nice, funny, and intelligent guy. Who´d figure...

He does indeed. I've had that impression listening to him before, seems like he'd be terrific to work with. Probably part of the reason Mendes uses him so regularly. Not to slight David - also seems like a rightfully hilarious and personable chap.

David Arnold comes across as a lovely and funny bloke.

[The Shark]

And listen to the cue itself after the buildup, when Bond charges through St. Mark's square. The music's vaguely Italian sounding, with not a hint of mental turmoil.

Well, if a track supported by a large orchestral with a lot of strings sounds Italian to you ... wait ... I know the problem you're got your tracks missed up. Here's your Italian strings.

Listen to some 19th Century Italian Opera (Puccini, Rossini, Bellini, Donizetti, Mascagni, Cherubini, Verdi etc.) and you'll hear what I mean.

It's a classic example of scoring the location but not the character. Something Barry deliberately avoided when it came to real drama.

Sorry, I was just listening to the YOLT soundtrack. What you saying about not scoring the location?

Read that last sentence again. I said real drama, which aside from the one moment with the death of Aki, is utterly absent from YOLT. Imagine if Tracey's death In OHMSS had been accompanied by an agitated and propulsive string ostinato, techno pulse, and an quasi-Iberian feel to the harmony (think Manuel de Falla, Maurice Ravel, Emmanuel Charbrier's España or Miklós Rózsa's score for EL CID), followed by the Arnoldian harmonic minor brass tone pyramid crescendoing to the the gunshot, followed by saccharine, overwrought strings for Bond holding the corpse.

That would be the CASINO ROYALE treatment.

[The Shark]

It's really not about the action. That you think it is means that someone who's not able to pick up on the idea that Bond's love has betrayed him (like yourself) may miss the emotional resonance of that if a bog standard action theme plays in the background.

No. It really is about the action. In fact, they could have named the track Bond Back in Action var. 58. You must be confusing a Bond film with a melodrama or some deeper psychological drama a la Vertigo. It's not.

You're underplaying what Barry did. The movies rarely deserved it, but he gave them an extra dimension through his music. I'm sure David Arnold would agree with that, as he's said much the same over the years.

http://www.youtube.com/watch?v=1grplq9UmoY&feature=relmfu

Listen to Barbara Broccoli at 1:14. Wise words.

[SecretAgentFan]

Why didn´t the movies deserve Barry´s treatment?

C´mon, don´t be a snob.

And sometimes, my friend, I get the feeling you have a personal beef with Arnold...

[The Shark]

Why didn´t the movies deserve Barry´s treatment?

I said rarely. Obviously there are few exceptions like OHMSS, but for the most part it's not exactly Chekhov. The filmmakers and producers knew it (or at least they used to), as did Ian Fleming.

[MattofSteel]

If they're so terrible and undeserving of Wagnerian masterpiece scores, then why are we all here?

[The Shark]

Because they're ing awesome.

[iexpectu2die]

So Skyfall's 'Music' blog contains only David Arnold's Bond theme, even as Newman talks about his own score. I'm feeling a tad uneasy about Newman's soundtrack. It sounds like they've used Arnold's 'My Name Is Bond' track multiple times throughout Skyfall, several reviews have suggested that the score is 'weak' or 'forgettable' and the samples themselves don't sound particularly interesting to me.

[MattofSteel]

So Skyfall's 'Music' blog contains only David Arnold's Bond theme, even as Newman talks about his own score. I'm feeling a tad uneasy about Newman's soundtrack. It sounds like they've used Arnold's 'My Name Is Bond' track multiple times throughout Skyfall, several reviews have suggested that the score is 'weak' or 'forgettable' and the samples themselves don't sound particularly interesting to me.

Skyfall's 'music' blog....exists?

[iexpectu2die]

So Skyfall's 'Music' blog contains only David Arnold's Bond theme, even as Newman talks about his own score. I'm feeling a tad uneasy about Newman's soundtrack. It sounds like they've used Arnold's 'My Name Is Bond' track multiple times throughout Skyfall, several reviews have suggested that the score is 'weak' or 'forgettable' and the samples themselves don't sound particularly interesting to me.

Skyfall's 'music' blog....exists?

Check the main page.