No Time To Die: Production Diary

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  • ThunderfingerThunderfinger Das Boot Hill
    edited June 2018 Posts: 45,489
    RC7 wrote: »
    RC7 wrote: »
    I think David Arnold is capable of more than one sound. TND soundtrack sounds nothing like CR soundtrack, at least not to my ear.

    Completely agree. What DA did brilliantly was to work to the vision of the director, which is a rarity these days. He’s old school in a way few EON employees are and he’s absolutely aware he’s not Barry, but he knows how a Bond score should work. A fluid relationship between the title song and score. Multiple motifs, replicated, reworked and dotted about the soundtrack. He just gets it.


    I agree. I’m also quite a fan of the one offs, LALD, TSWLM and FYEO spring to mind in particular. I’m open to a new sound, but likewise DA knows the score (no pun untended) and is capable of not repeating himself. If anything I imagine he’d absolutely smash it after a decade’s absence.
    RC7 wrote: »
    RC7 wrote: »
    I think David Arnold is capable of more than one sound. TND soundtrack sounds nothing like CR soundtrack, at least not to my ear.

    Completely agree. What DA did brilliantly was to work to the vision of the director, which is a rarity these days. He’s old school in a way few EON employees are and he’s absolutely aware he’s not Barry, but he knows how a Bond score should work. A fluid relationship between the title song and score. Multiple motifs, replicated, reworked and dotted about the soundtrack. He just gets it.

    Yes, I agree. I remember in one of his interviews him mentioning how he could no more reinvent the Bond sound anymore than someone could create a new Star Wars theme. Bond will always be linked back to Barry and Arnold understands this. That being said I do enjoy the "one off" composer efforts, so I'll be happy either way. I don't "need" Arnold back personally, but I wouldn't be averse to it either. I think are is still much he could bring to the table.

    I agree. I’m also quite a fan of the one offs, LALD, TSWLM and FYEO spring to mind in particular. I’m open to a new sound, but likewise DA knows the score (no pun untended) and is capable of not repeating himself. If anything I imagine he’d absolutely smash it after a decade’s absence.

    This is true. His score for TND was fresh and interesting. TWINE and DAD not so much, but he reinvented himself for CR and QOS. Maybe he could do it again.
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    I'm sure he could deliver a decent score for B25 if commissioned to do so. The fact that he loves the job and has been sidelined for the better part of a decade should be inspiration and motivation enough.

    I'm not averse to his return. More indifferent.

    A new sound would be welcome as well from my perspective, to set this series up for a bright and interesting future. Someone who could potentially nail it and be commissioned for future films as well.
  • doubleoegodoubleoego #LightWork
    Posts: 11,139
    TripAces wrote: »
    Remington wrote: »
    I think David Arnold is capable of more than one sound. TND soundtrack sounds nothing like CR soundtrack, at least not to my ear.

    Exactly. Last time we got a "new sound", we got Newman. We need Arnold.

    A new sound that earned Newman an Oscar nomination and a Grammy award, btw

    That doesn't mean anything when you consider the fact that for all of Barry's superior brilliance, he won nothing for his contributions to the Bond films.
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    I personally thought Newman's score for SF was excellent. Regarding the Grammy, it's all a matter of timing. They'll give anyone an Oscar these days for a song too, as we have recently seen. The standards aren't what they were.
  • Posts: 12,243
    I really enjoyed Newman's SF score, and even a little bit of his SP one as well. I'm not saying he's the best composer of the Bond series, but I definitely think he gets a bit too much hate around here. Arnold is better though, yes.
  • echoecho 007 in New York
    Posts: 5,921
    FoxRox wrote: »
    I can understand the desire for a new composer, but I say bring in Arnold one last time to close out the Craig era, then we can get a new composer for the next era in addition to all the other new people we will inevitably be getting. Arnold’s music is second only to Barry’s overall for Bond.
    bondjames wrote: »
    I personally thought Newman's score for SF was excellent. Regarding the Grammy, it's all a matter of timing. They'll give anyone an Oscar these days for a song too, as we have recently seen. The standards aren't what they were.

    1977!
  • JamesBondKenyaJamesBondKenya Danny Boyle laughs to himself
    Posts: 2,730
    Creasy47 wrote: »
    TripAces wrote: »
    Remington wrote: »
    I think David Arnold is capable of more than one sound. TND soundtrack sounds nothing like CR soundtrack, at least not to my ear.

    Exactly. Last time we got a "new sound", we got Newman. We need Arnold.

    A new sound that earned Newman an Oscar nomination and a Grammy award, btw
    John Barry never got a single Oscar nom for one of his Bond scores so I’m not quite sure what point you’re trying to make?

    This. People equating Grammy's and Oscar's with the actual quality of the work is absurd. It's that same, awkward logic when I hear people say "the more money a movie makes at the box office, the better the movie is."

    Or people who say the RT score is more so the film is better.
  • TripAcesTripAces Universal Exports
    edited June 2018 Posts: 4,548
    doubleoego wrote: »
    TripAces wrote: »
    Remington wrote: »
    I think David Arnold is capable of more than one sound. TND soundtrack sounds nothing like CR soundtrack, at least not to my ear.

    Exactly. Last time we got a "new sound", we got Newman. We need Arnold.

    A new sound that earned Newman an Oscar nomination and a Grammy award, btw

    That doesn't mean anything when you consider the fact that for all of Barry's superior brilliance, he won nothing for his contributions to the Bond films.

    The comparison here isn't between Barry and Newman; it's between Newman and Arnold. Besides, the voting procedures for both awards (as well as the Golden Globes) have changed a lot over the past five decades.

    There have been notable Oscar slights, for sure. I would say Barry's biggest snub was not for Bond, but for Midnight Cowboy. This doesn't mean that Oscar-nominated scores are trash, either. There is a reason Newman's SF OST received accolades: it was damn good. Taste is subjective; one person's junk food is another's nutrition. But you can get a sense of quality work (in terms of original score) if it's up for a lot of awards and honors. No sense in splitting hairs among them in terms of which is best. But I will forever defend Newman's work in comparison to Arnold's. While Arnold's work had some terrific moments (Night at the Opera, for sure), overall, the breadth and scope of the music for each of his Bond films didn't touch Newman's.


  • Posts: 17,241
    I tried to enjoy the Newman scores (calling it scores is a stretch, as it's more one and a half), but couldn't get anything from them. They took me out of certain scenes in the two films, and I found them incredibly dull and uninspired.

    I rather be less of a music connoisseur for preferring the to the point scores of Arnold, then - as he pushed all the buttons regarding motifs, theme songs, etc. For me, Newman was making a Newman score, rather than a Bond score.
  • edited June 2018 Posts: 4,619
    I firmly believe Newman's "New Digs" is the second best Bond music track ever. (The James Bond theme is nr 1 of course.)
  • TheWizardOfIceTheWizardOfIce 'One of the Internet's more toxic individuals'
    Posts: 9,117
    I firmly believe Newman's "New Digs" is the second best Bond music track ever. (The James Bond theme is nr 1 of course.)
    Yeah mate. Better than OHMSS main theme and ‘He’s Dangerous’. Course it is.

    Jesus Christ you think you’ve heard every possible insanity on here over the years but then someone amazes you with a comment like that. Although that one will take some beating.

    You’ve just set the Bob Beamon record for ridiculous comments - this one is going to stand for decades.

    It’s not even the best track in SF.
  • MurdockMurdock The minus world
    Posts: 16,328
    "New Digs" stinks.
  • Posts: 725
    The Moors is where it's at.
  • MurdockMurdock The minus world
    Posts: 16,328
    Ah yes, the song that removed the need of a loop button for media players. =))
  • edited June 2018 Posts: 12,837
    The Moors is where it's at.

    I genuinely think the SP score was him taking the piss. We know from @JamesPage that him and EON fell out during SF because he didn't want to use the title song at all. So my theory is they didn't want him back after that but Mendes insisted and Newman phoned it in as a massive middle finger to them. Either he phoned it in on purpose to get one over on EON after they clashed, or he just couldn't be bothered at all after that but agreed to turn up and copy/paste the SF score as a favour to Mendes. I refuse to believe that he actually tried and that he thought he was doing a good job. No way did he sit there as he looped The Moors over the finale and thought "yeah, this is a job well done, I'm really proud of this".
  • Posts: 12,243
    I hope we get lots of cool but subtle fan service moments, like Bond’s naval suit. Also hoping they use another snowy/icy location.
  • Major_BoothroydMajor_Boothroyd Republic of Isthmus
    Posts: 2,721
    Yeah - I don't want them referencing events in past bond films but I do want them to incorporate established elements. Naval Uniform, Q giving the gadgets, M in his office giving an 'eyes only' document to Bond, - I'd even like an army on army battle in a lair at the end of it. And after the relative restraint of SF and SP I'd like, at least two killer, memorable action sequences.
  • BMW_with_missilesBMW_with_missiles All the usual refinements.
    Posts: 3,000
    Yeah - I don't want them referencing events in past bond films but I do want them to incorporate established elements. Naval Uniform, Q giving the gadgets, M in his office giving an 'eyes only' document to Bond, - I'd even like an army on army battle in a lair at the end of it. And after the relative restraint of SF and SP I'd like, at least two killer, memorable action sequences.

    I am fully behind all of this!
  • RemingtonRemington I'll do anything for a woman with a knife.
    Posts: 1,532
    Yeah - I don't want them referencing events in past bond films but I do want them to incorporate established elements. Naval Uniform, Q giving the gadgets, M in his office giving an 'eyes only' document to Bond, - I'd even like an army on army battle in a lair at the end of it. And after the relative restraint of SF and SP I'd like, at least two killer, memorable action sequences.

    I am fully behind all of this!

    Yes!
  • JamesBondKenyaJamesBondKenya Danny Boyle laughs to himself
    Posts: 2,730
    I firmly believe Newman's "New Digs" is the second best Bond music track ever. (The James Bond theme is nr 1 of course.)
    Yeah mate. Better than OHMSS main theme and ‘He’s Dangerous’. Course it is.

    Jesus Christ you think you’ve heard every possible insanity on here over the years but then someone amazes you with a comment like that. Although that one will take some beating.

    You’ve just set the Bob Beamon record for ridiculous comments - this one is going to stand for decades.

    It’s not even the best track in SF.

    HAHAHA, new digs is a great track but it’s not better than any of the aforementioned or any of the Arnold/ Barry stuff in general
  • Posts: 12,243
    I like Kite in a Hurricane and Krows Klinik from SP. SF I really like Jellyfish, She’s Mine, Deep Water.
  • MurdockMurdock The minus world
    Posts: 16,328
    Los Muertos Vivos Estan was great. Why couldn't the rest of Newman's music live up to that?
  • Mendes4LyfeMendes4Lyfe The long road ahead
    edited June 2018 Posts: 7,971
    The Moors is where it's at.

    That's my jam! :)>-
  • MajorDSmytheMajorDSmythe "I tolerate this century, but I don't enjoy it."Moderator
    edited June 2018 Posts: 13,882
    TripAces wrote: »
    Remington wrote: »
    I think David Arnold is capable of more than one sound. TND soundtrack sounds nothing like CR soundtrack, at least not to my ear.

    Exactly. Last time we got a "new sound", we got Newman. We need Arnold.

    A new sound that earned Newman an Oscar nomination and a Grammy award, btw

    All that, and he forgot the Bond theme. Bond theme or Grammy? I would prefer to hear the Bond theme.
  • TheWizardOfIceTheWizardOfIce 'One of the Internet's more toxic individuals'
    Posts: 9,117
    TripAces wrote: »
    Remington wrote: »
    I think David Arnold is capable of more than one sound. TND soundtrack sounds nothing like CR soundtrack, at least not to my ear.

    Exactly. Last time we got a "new sound", we got Newman. We need Arnold.

    A new sound that earned Newman an Oscar nomination and a Grammy award, btw

    All that, and he forgot the Bond theme. Bond theme or Grammy? I would prefer to hear the Bond theme.
    Hmmm not sure about that one... New Digs or Grammy however and obviously they can shove their Grammy.
  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    New Digs has to be my least favourite track of Skyfall's score. Severine, She's Mine, Brave New World, Komodo Dragon, Breadcrumbs, Driving To Skyfall, The Chimera, Tennyson and Grand Bazaar are all much better.
    The Moors is where it's at.

    I genuinely think the SP score was him taking the piss. We know from @JamesPage that him and EON fell out during SF because he didn't want to use the title song at all. So my theory is they didn't want him back after that but Mendes insisted and Newman phoned it in as a massive middle finger to them. Either he phoned it in on purpose to get one over on EON after they clashed, or he just couldn't be bothered at all after that but agreed to turn up and copy/paste the SF score as a favour to Mendes. I refuse to believe that he actually tried and that he thought he was doing a good job. No way did he sit there as he looped The Moors over the finale and thought "yeah, this is a job well done, I'm really proud of this".

    This has been brought up many times, but the decision to reuse the Skyfall tracks in SPECTRE did not come from Newman.

    That said, I agree he made few efforts trying to get the Bond sound right. The score needed more tracks like Los Muertos Vivos Estan and less like Snow Plane (which I enjoy, but could have been much more Bondian).
  • edited June 2018 Posts: 17,241
    My favourite of Newman's tracks in the two films he's done, is Shanghai Drive - because it's short…

    … to be serious though, it's probably the least typical Bond sounding track of the score, but it was alright for that specific scene, which is more than I can say for several of the other tracks.
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    Strangely perhaps to some, for me most of the tracks on SF work wonderfully and enhance the respective scenes. I particularly like Grand Bazaar, Istanbul, The Chimera, Shanghai Drive, and New Digs, which was partially responsible for me discovering this very forum. I also dig The Moors in this film too. All the tracks feel as though they just 'belong'. I must confess that I don't have the CD and have no intention of purchasing it, so I'm not sure how the tracks sound on their own.

    All I know is they work very well with the accompanying images on screen. For some reason the tracks which repeat don't work nearly as well in SP, and I'm assuming that's because they weren't originally devised for that film. The newer tracks fall flat to me as well. Sadly, as with many things in that last effort, it just doesn't come together as originally intended.

    Anyway, this is all moot, because it's very unlikely that Newman will return for B25.
  • Posts: 9,737
    I get Arnold I am happy I get Newman again I will be pissed I get someone new well depending on who it is will shape my mood
  • Posts: 787
    Bring back Conti, I say. The young people love the disco music these days. There's your billion at the box office!
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