35 replies to this topic

[JackChase007]

Good call - I definately would be very interested in Williams' take on the Bond theme...

[Blox]

I agree with Jerry Goldsmith who said that the best choice for scoring a Bond is John Barry.

Barry, whose work from picture to picture reflects what the producers request of him, would provide some more melodic and thematic substance than we've gotten in the recent scores. All of the synth and doses of Normans Bond ditty won't make up for the lack of a series of memorable melodies in a score imo. In fairness to Barry and Arnold, some of the heat needs to be laid at the feet of the brass who seems to feel that severing the relationship between a pop star's main title song and the body of the score somehow helps the picture along.

[kevrichardson]

After "TND" , "TWINE" , "DAD" it's safe to say that David Arnold is secure as the Bond film Composer for as long as he what it . The most we can hope for is that he use John Barry for some compositions in Bond 21 . May be he ,Arnold will use the underrated 007 theme .

[Blox]

Kevin, we don't know what will happen with staffing for 21. If "success" was the only litmus test, Dalton would have made GE, and Campbell directed TND. Change does happen in this series. # 20 was heavy on characterizations and relationships. Given this trend, I do not necessarily think Arnold is the best choice for 21. As for Arnold borrowing Barry's 007 theme for 21, etc -- I think Arnold is talented enough to let go of Barry and write his own 007 theme. It was very distracting to hear repeated refrains of Barry's "James Bond is Back" staccato intro to the FRWL main title popping up in Arnold's score to TND. It's like Lazenby aping Connery's Scottish brogue in OHMSS. It wasn't necessary and only detracted from the perfomance.

[Honey Rider]

P

[Solex Agitator]

How about Craig Armstrong? He is a Brit. His recent score for THE QUIET AMERICAN is moody, melodic, full of atmosphere, and modern. He is GREAT with string arrangements.