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No Time To Die: Production Diary

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  • TorgeirtrapTorgeirtrap
    edited October 2018 Posts: 17,293
    doubleoego wrote: »
    Murdock wrote: »
    I made both of these in less than five minute. Where's my oscars?

    https://picosong.com/wVyaY/

    https://picosong.com/wVyaL/
    TripAces wrote: »
    =bg= wrote: »
    Newman is like Holiday Inn wallpaper. It's everywhere and never changes. David Arnold, bring back the brass.

    Is that why Newman keeps getting some of the best work, with the best directors, and Arnold hasn’t composed jack crap in 10 years?

    Whoops. Hey look something within the last 10 years. :))
    uyWElWn.png?1

    And the 2012 Olympics!

    Who was it that pointed out Arnold's work with theatre during the last decade? He's done a quite a bit of non-film/TV work, I believe.

    Would love for him to return to Bond though. He really has a genuine interest in Bond music – which I never really felt with Newman. What's up with the reuse of Arnold's rendition of the James Bond theme, for example?
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    CraigMooreOHMSS wrote: »
    bondjames wrote: »
    CraigMooreOHMSS wrote: »
    bondjames wrote: »
    You know it's a slow news week when we're back to the perennial default Arnold - Newman love - hate discussion on this thread.

    It's always entertaining to see the same old nonsense from the anti-Arnold camp, though.
    And if I may say, similarly from the anti-Newman crew too.

    To be fair to the anti-Newman camp, I've never seen anything from them that wasn't a legitimate or understandable complaint about his approach and execution (even if I didn't always agree). Most of the anti-Arnold stuff I've seen has been incredibly lazy criticisms about his "lack of major outputs" in the last ten years or so, or about the man himself rather than his music.

    I am not anti-Newman; I'm rather passive on him. He's done some good stuff, some fairly pedestrian stuff. But I've always found the Arnold criticisms equally as uninspired as the critics here claim him to be. I guess someone who is on a more middle ground will naturally find these criticisms to be a bit overblown though, so I digress.
    I actually like elements of Newman (huge fan of SF's score here) and Arnold's (QoS and CR in particular are first class) work and so sometimes can't appreciate the ingrained passions on either side of this popular discussion. I think Arnold's approach is better suited to Bond in general and action scenes in particular. I prefer Newman's romantic scoring & his mood setting.

    As I've probably noted before, I really would like a fresh sound and approach for B25. I think it's time for someone new to really take things to another level. We have a new and dynamic director, and I'd like the sound to reflect the innovation we are likely to see onscreen.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,034
    Torgeirtrap wrote: »
    doubleoego wrote: »
    Murdock wrote: »
    I made both of these in less than five minute. Where's my oscars?

    https://picosong.com/wVyaY/

    https://picosong.com/wVyaL/
    TripAces wrote: »
    =bg= wrote: »
    Newman is like Holiday Inn wallpaper. It's everywhere and never changes. David Arnold, bring back the brass.

    Is that why Newman keeps getting some of the best work, with the best directors, and Arnold hasn’t composed jack crap in 10 years?

    Whoops. Hey look something within the last 10 years. :))
    uyWElWn.png?1

    And the 2012 Olympics!

    Who was it that pointed out Arnold's work with theatre during the last decade? He's done a quite a bit of non-film/TV work, I believe.

    Would love for him to return to Bond though. He really has a genuine interest in Bond music – which I never really felt with Newman. What's up with the reuse of Arnold's rendition of the James Bond theme, for example?

    I've pointed that out a few times in the last year or so, but I don't believe I'm alone in that.
    bondjames wrote: »
    CraigMooreOHMSS wrote: »
    bondjames wrote: »
    CraigMooreOHMSS wrote: »
    bondjames wrote: »
    You know it's a slow news week when we're back to the perennial default Arnold - Newman love - hate discussion on this thread.

    It's always entertaining to see the same old nonsense from the anti-Arnold camp, though.
    And if I may say, similarly from the anti-Newman crew too.

    To be fair to the anti-Newman camp, I've never seen anything from them that wasn't a legitimate or understandable complaint about his approach and execution (even if I didn't always agree). Most of the anti-Arnold stuff I've seen has been incredibly lazy criticisms about his "lack of major outputs" in the last ten years or so, or about the man himself rather than his music.

    I am not anti-Newman; I'm rather passive on him. He's done some good stuff, some fairly pedestrian stuff. But I've always found the Arnold criticisms equally as uninspired as the critics here claim him to be. I guess someone who is on a more middle ground will naturally find these criticisms to be a bit overblown though, so I digress.
    I actually like elements of Newman (huge fan of SF's score here) and Arnold's (QoS and CR in particular are first class) work and so sometimes can't appreciate the ingrained passions on either side of this popular discussion. I think Arnold's approach is better suited to Bond in general and action scenes in particular. I prefer Newman's romantic scoring & his mood setting.

    As I've probably noted before, I really would like a fresh sound and approach for B25. I think it's time for someone new to really take things to another level. We have a new and dynamic director, and I'd like the sound to reflect the innovation we are likely to see onscreen.

    I think that's a pretty fair synopsis, and I'd be of a similar mindset to you, @bondjames. I'd be happy for Arnold to return in the future, though.
  • peterpeter Toronto
    Posts: 8,506
    David Arnold just "gets" Bond. Never has that been more apparent to me until I saw Casino Royale in Concert.

    There have been posters who have consistently complained that he's pastiche-- including one who's recently just changed his tune.

    I say to them: try and catch one of these shows when it hits your city.

    The subtlety and intelligence that went into his composition was remarkable. DA's score was sly and crafty and sexy and full of themes and character. It's amazing how important this score was to the total execution of the film's story.

    DA is Bond family and should be welcomed with open arms.

    But, if for whatever reason he could not return, this Justin Hurwitz sounds like he would know how to spin a 007 adventure.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,034
    peter wrote: »
    David Arnold just "gets" Bond. Never has that been more apparent to me until I saw Casino Royale in Concert.

    There have been posters who have consistently complained that he's pastiche-- including one who's recently just changed his tune.

    I say to them: try and catch one of these shows when it hits your city.

    The subtlety and intelligence that went into his composition was remarkable. DA's score was sly and crafty and sexy and full of themes and character. It's amazing how important this score was to the total execution of the film's story.

    DA is Bond family and should be welcomed with open arms.

    But, if for whatever reason he could not return, this Justin Hurwitz sounds like he would know how to spin a 007 adventure.

    +1 times infinity.
  • bondjamesbondjames You were expecting someone else?
    edited October 2018 Posts: 23,883
    CraigMooreOHMSS wrote: »
    bondjames wrote: »
    CraigMooreOHMSS wrote: »
    bondjames wrote: »
    CraigMooreOHMSS wrote: »
    bondjames wrote: »
    You know it's a slow news week when we're back to the perennial default Arnold - Newman love - hate discussion on this thread.

    It's always entertaining to see the same old nonsense from the anti-Arnold camp, though.
    And if I may say, similarly from the anti-Newman crew too.

    To be fair to the anti-Newman camp, I've never seen anything from them that wasn't a legitimate or understandable complaint about his approach and execution (even if I didn't always agree). Most of the anti-Arnold stuff I've seen has been incredibly lazy criticisms about his "lack of major outputs" in the last ten years or so, or about the man himself rather than his music.

    I am not anti-Newman; I'm rather passive on him. He's done some good stuff, some fairly pedestrian stuff. But I've always found the Arnold criticisms equally as uninspired as the critics here claim him to be. I guess someone who is on a more middle ground will naturally find these criticisms to be a bit overblown though, so I digress.
    I actually like elements of Newman (huge fan of SF's score here) and Arnold's (QoS and CR in particular are first class) work and so sometimes can't appreciate the ingrained passions on either side of this popular discussion. I think Arnold's approach is better suited to Bond in general and action scenes in particular. I prefer Newman's romantic scoring & his mood setting.

    As I've probably noted before, I really would like a fresh sound and approach for B25. I think it's time for someone new to really take things to another level. We have a new and dynamic director, and I'd like the sound to reflect the innovation we are likely to see onscreen.

    I think that's a pretty fair synopsis, and I'd be of a similar mindset to you, @bondjames. I'd be happy for Arnold to return in the future, though.
    What did you think of his work on TWINE & DAD @CraigMooreOHMSS ? I've never been a fan of his scores for those two films, save for the music that accompanies the start of the ski sequence in the earlier film, which is very Barry'esque. There was a tendency to focus on drums in the scores which wasn't quite to my liking. With CR & QoS he seemed to have discovered a new approach which I found far more dynamic. I'm not sure if there's any truth to the rumours that EON asked him to lay off the Bond theme in those last two films he scored, but I think his work benefited from that. It's almost as though this compelled him to up his creativity and find new melodies, which he certainly did, culminating in what I personally think is his best work: namely Night at the Opera from QoS.
  • peterpeter Toronto
    Posts: 8,506
    Quite frankly, as I told another poster: during the PB era, DA’s music was the thing I most enjoyed. This is not to “hate” on Brosnan, but DA’s scores (especially after Serra’s GE), gave me a link to the past history.

    DA, more than anyone (at times), seemed to be the main creative person concerned with linking the past with the present during the PB era.

    His first two DC films were more creative since the films themselves seemed to respect the past and Fleming’s tone more than any other film since TLD.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    edited October 2018 Posts: 8,034
    bondjames wrote: »
    CraigMooreOHMSS wrote: »
    bondjames wrote: »
    CraigMooreOHMSS wrote: »
    bondjames wrote: »
    CraigMooreOHMSS wrote: »
    bondjames wrote: »
    You know it's a slow news week when we're back to the perennial default Arnold - Newman love - hate discussion on this thread.

    It's always entertaining to see the same old nonsense from the anti-Arnold camp, though.
    And if I may say, similarly from the anti-Newman crew too.

    To be fair to the anti-Newman camp, I've never seen anything from them that wasn't a legitimate or understandable complaint about his approach and execution (even if I didn't always agree). Most of the anti-Arnold stuff I've seen has been incredibly lazy criticisms about his "lack of major outputs" in the last ten years or so, or about the man himself rather than his music.

    I am not anti-Newman; I'm rather passive on him. He's done some good stuff, some fairly pedestrian stuff. But I've always found the Arnold criticisms equally as uninspired as the critics here claim him to be. I guess someone who is on a more middle ground will naturally find these criticisms to be a bit overblown though, so I digress.
    I actually like elements of Newman (huge fan of SF's score here) and Arnold's (QoS and CR in particular are first class) work and so sometimes can't appreciate the ingrained passions on either side of this popular discussion. I think Arnold's approach is better suited to Bond in general and action scenes in particular. I prefer Newman's romantic scoring & his mood setting.

    As I've probably noted before, I really would like a fresh sound and approach for B25. I think it's time for someone new to really take things to another level. We have a new and dynamic director, and I'd like the sound to reflect the innovation we are likely to see onscreen.

    I think that's a pretty fair synopsis, and I'd be of a similar mindset to you, @bondjames. I'd be happy for Arnold to return in the future, though.
    What did you think of his work on TWINE & DAD @CraigMooreOHMSS ? I've never been a fan of his scores for those two films, save for the music that accompanies the start of the ski sequence in the earlier film, which is very Barry'esque. There was a tendency to focus on drums in the scores which wasn't quite to my liking. With CR & QoS he seemed to have discovered a new approach which I found far more dynamic. I'm not sure if there's any truth to the rumours that EON asked him to lay off the Bond theme in those last two films he scored, but I think his work benefited from that. It's almost as though this compelled him to up his creativity and find new melodies, which he certainly did, culminating in what I personally think is his best work: namely Night at the Opera from QoS.

    Well, to put it into perspective @bondjames, my four favourite Arnold scores are Independence Day, Godzilla, Casino Royale and Quantum. Four outstanding collections of work that are up there with the best from Horner, Williams, Zimmer etc. Arnold went through a phase of being compared to Williams thanks to his 90s adventure scores, and its telling that he was replaced by Williams for The Patriot after the falling out with Dean Devlin and Emmerich.

    I do like his work on the three Brosnan flicks, for sure. There are numerous highlights on each, and Tomorrow Never Dies especially is an absolute blast to listen to in its full film order presentation. The World Is Not Enough too, has some great moments, including the PTS cue which never fails to get my Bond juices flowing. Die Another Day benefited big time from its extended release, as there were a number of excellent cues on there as well. Unfortunately it was hampered by the use of electronics (as you mentioned above), and it's a pity we have never received the film mixes of some of those cues which had Dodd's powerful orchestrations at the forefront.

    However, the four scores mentioned in the first paragraph are in a different league. They're pure class.

    Edit: And as a point of comparison, my favourite Newman scores are Shawshank, Road To Perdition, WALL-E, and of course Skyfall.
  • bondbat007bondbat007
    Posts: 1,407
    Is there a reason David Arnold hasn't seemed to work on film as much in the past decade? There was a time he was definitely working a few films a year at least but he's been pretty MIA lately. Is it his choice?
  • bondjamesbondjames You were expecting someone else?
    edited October 2018 Posts: 23,883
    CraigMooreOHMSS wrote: »
    bondjames wrote: »
    CraigMooreOHMSS wrote: »
    bondjames wrote: »
    CraigMooreOHMSS wrote: »
    bondjames wrote: »
    CraigMooreOHMSS wrote: »
    bondjames wrote: »
    You know it's a slow news week when we're back to the perennial default Arnold - Newman love - hate discussion on this thread.

    It's always entertaining to see the same old nonsense from the anti-Arnold camp, though.
    And if I may say, similarly from the anti-Newman crew too.

    To be fair to the anti-Newman camp, I've never seen anything from them that wasn't a legitimate or understandable complaint about his approach and execution (even if I didn't always agree). Most of the anti-Arnold stuff I've seen has been incredibly lazy criticisms about his "lack of major outputs" in the last ten years or so, or about the man himself rather than his music.

    I am not anti-Newman; I'm rather passive on him. He's done some good stuff, some fairly pedestrian stuff. But I've always found the Arnold criticisms equally as uninspired as the critics here claim him to be. I guess someone who is on a more middle ground will naturally find these criticisms to be a bit overblown though, so I digress.
    I actually like elements of Newman (huge fan of SF's score here) and Arnold's (QoS and CR in particular are first class) work and so sometimes can't appreciate the ingrained passions on either side of this popular discussion. I think Arnold's approach is better suited to Bond in general and action scenes in particular. I prefer Newman's romantic scoring & his mood setting.

    As I've probably noted before, I really would like a fresh sound and approach for B25. I think it's time for someone new to really take things to another level. We have a new and dynamic director, and I'd like the sound to reflect the innovation we are likely to see onscreen.

    I think that's a pretty fair synopsis, and I'd be of a similar mindset to you, @bondjames. I'd be happy for Arnold to return in the future, though.
    What did you think of his work on TWINE & DAD @CraigMooreOHMSS ? I've never been a fan of his scores for those two films, save for the music that accompanies the start of the ski sequence in the earlier film, which is very Barry'esque. There was a tendency to focus on drums in the scores which wasn't quite to my liking. With CR & QoS he seemed to have discovered a new approach which I found far more dynamic. I'm not sure if there's any truth to the rumours that EON asked him to lay off the Bond theme in those last two films he scored, but I think his work benefited from that. It's almost as though this compelled him to up his creativity and find new melodies, which he certainly did, culminating in what I personally think is his best work: namely Night at the Opera from QoS.

    Well, to put it into perspective @bondjames, my four favourite Arnold scores are Independence Day, Godzilla, Casino Royale and Quantum. Four outstanding collections of work that are up there with the best from Horner, Williams, Zimmer etc. Arnold went through a phase of being compared to Williams thanks to his 90s adventure scores, and its telling that he was replaced by Williams for The Patriot after the falling out with Dean Devlin and Emmerich.

    I do like his work on the three Brosnan flicks, for sure. There are numerous highlights on each, and Tomorrow Never Dies especially is an absolute blast to listen to in its full film order presentation. The World Is Not Enough too, has some great moments, including the PTS cue which never fails to get my Bond juices flowing. Die Another Day benefited big time from its extended release, as there were a number of excellent cues on there as well. Unfortunately it was hampered by the use of electronics (as you mentioned above), and it's a pity we have never received the film mixes of some of those cues which had Dodd's powerful orchestrations at the forefront.

    However, the four scores mentioned in the first paragraph are in a different league. They're pure class.
    Thanks for explaining your perspective in detail @CraigMooreOHMSS. I can't say that the scores for Independence Day or Godzilla are among my favourites, but I definitely enjoyed them both, especially the former - which has a memorable theme.

    In fact, I only realized after the fact that they were Arnold scores, because I noticed similarities in his approach to scoring the action and how he did Bond.

    In the end, even though not my first choice, I can accept him returning for B25 to close out this era. A few members have commented that time away from the job may inspire him to bring his best work yet.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,034
    bondjames wrote: »
    CraigMooreOHMSS wrote: »
    bondjames wrote: »
    CraigMooreOHMSS wrote: »
    bondjames wrote: »
    CraigMooreOHMSS wrote: »
    bondjames wrote: »
    CraigMooreOHMSS wrote: »
    bondjames wrote: »
    You know it's a slow news week when we're back to the perennial default Arnold - Newman love - hate discussion on this thread.

    It's always entertaining to see the same old nonsense from the anti-Arnold camp, though.
    And if I may say, similarly from the anti-Newman crew too.

    To be fair to the anti-Newman camp, I've never seen anything from them that wasn't a legitimate or understandable complaint about his approach and execution (even if I didn't always agree). Most of the anti-Arnold stuff I've seen has been incredibly lazy criticisms about his "lack of major outputs" in the last ten years or so, or about the man himself rather than his music.

    I am not anti-Newman; I'm rather passive on him. He's done some good stuff, some fairly pedestrian stuff. But I've always found the Arnold criticisms equally as uninspired as the critics here claim him to be. I guess someone who is on a more middle ground will naturally find these criticisms to be a bit overblown though, so I digress.
    I actually like elements of Newman (huge fan of SF's score here) and Arnold's (QoS and CR in particular are first class) work and so sometimes can't appreciate the ingrained passions on either side of this popular discussion. I think Arnold's approach is better suited to Bond in general and action scenes in particular. I prefer Newman's romantic scoring & his mood setting.

    As I've probably noted before, I really would like a fresh sound and approach for B25. I think it's time for someone new to really take things to another level. We have a new and dynamic director, and I'd like the sound to reflect the innovation we are likely to see onscreen.

    I think that's a pretty fair synopsis, and I'd be of a similar mindset to you, @bondjames. I'd be happy for Arnold to return in the future, though.
    What did you think of his work on TWINE & DAD @CraigMooreOHMSS ? I've never been a fan of his scores for those two films, save for the music that accompanies the start of the ski sequence in the earlier film, which is very Barry'esque. There was a tendency to focus on drums in the scores which wasn't quite to my liking. With CR & QoS he seemed to have discovered a new approach which I found far more dynamic. I'm not sure if there's any truth to the rumours that EON asked him to lay off the Bond theme in those last two films he scored, but I think his work benefited from that. It's almost as though this compelled him to up his creativity and find new melodies, which he certainly did, culminating in what I personally think is his best work: namely Night at the Opera from QoS.

    Well, to put it into perspective @bondjames, my four favourite Arnold scores are Independence Day, Godzilla, Casino Royale and Quantum. Four outstanding collections of work that are up there with the best from Horner, Williams, Zimmer etc. Arnold went through a phase of being compared to Williams thanks to his 90s adventure scores, and its telling that he was replaced by Williams for The Patriot after the falling out with Dean Devlin and Emmerich.

    I do like his work on the three Brosnan flicks, for sure. There are numerous highlights on each, and Tomorrow Never Dies especially is an absolute blast to listen to in its full film order presentation. The World Is Not Enough too, has some great moments, including the PTS cue which never fails to get my Bond juices flowing. Die Another Day benefited big time from its extended release, as there were a number of excellent cues on there as well. Unfortunately it was hampered by the use of electronics (as you mentioned above), and it's a pity we have never received the film mixes of some of those cues which had Dodd's powerful orchestrations at the forefront.

    However, the four scores mentioned in the first paragraph are in a different league. They're pure class.
    Thanks for explaining your perspective in detail @CraigMooreOHMSS. I can't say that the scores for Independence Day or Godzilla are among my favourites, but I definitely enjoyed them both, especially the former - which has a memorable theme.

    In fact, I only realized after the fact that they were Arnold scores, because I noticed similarities in his approach to scoring the action and how he did Bond.

    In the end, even though not my first choice, I can accept him returning for B25 to close out this era. A few members have commented that time away from the job may inspire him to bring his best work yet.

    I respect that @bondjames

    I'd like to think that way as well. I'd be eager to hear what he'd do with a Bond film now. I'd also be eager to hear someone new. Both options are appealing to me for different reasons and thankfully, we know both are viable options in the future, and that's very reassuring to me.

    Funnily enough, Arnold and Michael Giacchino are very good friends. I'd love to see a collaboration between those two in the future. That'd be fun.
  • RichardTheBruceRichardTheBruce I'm motivated by my Duty.
    Posts: 13,034
    You're Canadian? You work in Canadian intelligence? It's all right. I know you do.

    Harry Saltzman - Sherbrooke, Quebec
    Lois Maxwell - Kitchener, Ontario
    Joseph Wiseman - Montreal, Quebec
    Cec Linder - Timmins, Ontario
    Shane Rimmer - Toronto, Ontario
    Burt Metcalfe - Saskatchewan
    Roger Spottiswoode - Ottawa, Ontario
    K.D. Lang - Consort, Alberta
    Paul Haggis - London, Ontario
    Stana Katic - Hamilton, Ontario

    1441033765173.jpgb809a04776e29f3723cda45d915a2189--season--stana-katic.jpg

  • M_BaljeM_Balje Amsterdam, Netherlands
    edited October 2018 Posts: 4,444
    Dennis Gassner, production designer from QOS till Spectre is born in Vancouver.

    https://m.imdb.com/name/nm0309357/

    The news about Stefan Zürcher, possible means he returns as Location Manager. But he also working at QOS as assistent of Marc Forster with Austria scene. And working on Spectre and Twine with snow or ski scenes.

    Canada is another country with red/white colors in there flag. The connection with Japan and Austria.
  • TripAcesTripAces Universal Exports
    Posts: 4,554
    bondbat007 wrote: »
    Is there a reason David Arnold hasn't seemed to work on film as much in the past decade? There was a time he was definitely working a few films a year at least but he's been pretty MIA lately. Is it his choice?

    He’s not getting hired. And the reason he isn’t getting hired is because he isn’t very good.
  • JamesBondKenyaJamesBondKenya Danny Boyle laughs to himself
    Posts: 2,730
    TripAces wrote: »
    =bg= wrote: »
    Newman is like Holiday Inn wallpaper. It's everywhere and never changes. David Arnold, bring back the brass.

    Is that why Newman keeps getting some of the best work, with the best directors, and Arnold hasn’t composed jack crap in 10 years?

    You are a fool. Martin Campbell has made arguebly the best bond film yet it’s not like he makes a bunch of films. In fact he isn’t a very successful Hollywood director. It doesn’t matter how manny Oscars some one has or if they get a lot of work, all that matters is if they work well with the bond production. Now hats subjective, you may like Newman and dislike Arnold and that’s fair, but don’t brinf up nonsense arguments like muh Arnold doesn’t get work therefore he is inferior.
  • MurdockMurdock The minus world
    Posts: 16,331
    TripAces wrote: »
    bondbat007 wrote: »
    Is there a reason David Arnold hasn't seemed to work on film as much in the past decade? There was a time he was definitely working a few films a year at least but he's been pretty MIA lately. Is it his choice?

    He’s not getting hired. And the reason he isn’t getting hired is because he isn’t very good.

    Good joke.
    czcaIMC.gif
  • ClarkDevlinClarkDevlin Martinis, Girls and Guns
    Posts: 15,423
    Murdock wrote: »
    TripAces wrote: »
    bondbat007 wrote: »
    Is there a reason David Arnold hasn't seemed to work on film as much in the past decade? There was a time he was definitely working a few films a year at least but he's been pretty MIA lately. Is it his choice?

    He’s not getting hired. And the reason he isn’t getting hired is because he isn’t very good.
    Good joke.
    czcaIMC.gif
    Quite!
  • boldfingerboldfinger
    Posts: 5,767
    TripAces wrote: »
    =bg= wrote: »
    Newman is like Holiday Inn wallpaper. It's everywhere and never changes. David Arnold, bring back the brass.

    Is that why Newman keeps getting some of the best work, with the best directors, and Arnold hasn’t composed jack crap in 10 years?
    Albeit more in tv than in Cinema, Arnold has been busy continuously.





    =bg= wrote: »
    newman's scores are safe, snore-worthy and predictable. At least Arnold can crank up the brass. Listen to his TND work- Backseat Driver? Good grief that one is smokin'. And let's have a song like KD Langs, please. First time I heard that one I nearly passed out. The prototypical Bond theme sound..right there. And they switched titles around. Lang's huge "Tomorrow Never Dies" became "Surrender" and Crowe's bland "Until The Day" became "Tomorrow never Dies". Then they shoved KD to the back in favor of that vanilla Sheryl tune.
    Did you know that Duran Duran´s Nick Rhodes and their Long-time guitarist Warren Cucurullo wrote a song for TND? After that didn´t happen, they re-worked it into Last Day on Earth from Duran Duran´s Album Pop Trash. Check out the interesting 5/8 Rhythm:



  • boldfingerboldfinger
    Posts: 5,767
    CraigMooreOHMSS wrote: »
    Most of the anti-Arnold stuff I've seen has been incredibly lazy criticisms about his "lack of major outputs" in the last ten years or so, or about the man himself rather than his music.
    Ten years or so ago Arnold received some rather justified criticism for somewhat emulating Barry´s Sound, but on Closer listening being so much more limited. Those Points still stand today, as much as I enjoy Arnold´s Music. But those Folks seem to have gone on and not be interested in it anymore. The same goes for those guys who elaborately knew to Analyse Newman´s SF score on a music Theory Level. All of those vanished and left room for the Clowns.

  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,034
    boldfinger wrote: »
    CraigMooreOHMSS wrote: »
    Most of the anti-Arnold stuff I've seen has been incredibly lazy criticisms about his "lack of major outputs" in the last ten years or so, or about the man himself rather than his music.
    Ten years or so ago Arnold received some rather justified criticism for somewhat emulating Barry´s Sound, but on Closer listening being so much more limited. Those Points still stand today, as much as I enjoy Arnold´s Music. But those Folks seem to have gone on and not be interested in it anymore. The same goes for those guys who elaborately knew to Analyse Newman´s SF score on a music Theory Level. All of those vanished and left room for the Clowns.

    Quite. Though I have no issue anyone attempting to emulate the Barry sound, as the praise thrown towards Hurwitz' merely a page ago was also partly due to its "Barry-esqueness".
    TripAces wrote: »
    bondbat007 wrote: »
    Is there a reason David Arnold hasn't seemed to work on film as much in the past decade? There was a time he was definitely working a few films a year at least but he's been pretty MIA lately. Is it his choice?

    He’s not getting hired. And the reason he isn’t getting hired is because he isn’t very good.

    Case in point, re: laziness.
  • TuxedoTuxedo Europe
    Posts: 252
    boldfinger wrote: »
    TripAces wrote: »
    =bg= wrote: »
    Newman is like Holiday Inn wallpaper. It's everywhere and never changes. David Arnold, bring back the brass.

    Is that why Newman keeps getting some of the best work, with the best directors, and Arnold hasn’t composed jack crap in 10 years?
    Albeit more in tv than in Cinema, Arnold has been busy continuously.





    =bg= wrote: »
    newman's scores are safe, snore-worthy and predictable. At least Arnold can crank up the brass. Listen to his TND work- Backseat Driver? Good grief that one is smokin'. And let's have a song like KD Langs, please. First time I heard that one I nearly passed out. The prototypical Bond theme sound..right there. And they switched titles around. Lang's huge "Tomorrow Never Dies" became "Surrender" and Crowe's bland "Until The Day" became "Tomorrow never Dies". Then they shoved KD to the back in favor of that vanilla Sheryl tune.
    Did you know that Duran Duran´s Nick Rhodes and their Long-time guitarist Warren Cucurullo wrote a song for TND? After that didn´t happen, they re-worked it into Last Day on Earth from Duran Duran´s Album Pop Trash. Check out the interesting 5/8 Rhythm:



    I like the Duran Duran tune!
  • SaintMarkSaintMark
    Posts: 7,653
    So no news today again.
  • boldfingerboldfinger
    Posts: 5,767
    CraigMooreOHMSS wrote: »
    boldfinger wrote: »
    CraigMooreOHMSS wrote: »
    Most of the anti-Arnold stuff I've seen has been incredibly lazy criticisms about his "lack of major outputs" in the last ten years or so, or about the man himself rather than his music.
    Ten years or so ago Arnold received some rather justified criticism for somewhat emulating Barry´s Sound, but on Closer listening being so much more limited. Those Points still stand today, as much as I enjoy Arnold´s Music. But those Folks seem to have gone on and not be interested in it anymore. The same goes for those guys who elaborately knew to Analyse Newman´s SF score on a music Theory Level. All of those vanished and left room for the Clowns.

    Quite. Though I have no issue anyone attempting to emulate the Barry sound, as the praise thrown towards Hurwitz' merely a page ago was also partly due to its "Barry-esqueness".
    The Point was not that he emulates Barry´s Sound, but that he was supposedly not sufficient enough in doing so. For instance, Barry is known for creating unique atmospheres for each Scene, every cue of his can be identified as belonging to a certain Scene almost, for sure most cues can be easily identified to belong to a certain movie. Arnold´s cues are Pretty much interchangeable in the sense that for instance Music from TWINE would also not Sound out of place in DAD or TND. I don´t have any Problem with that, but back then some People had, and I can understand them. Arnold is bland, but he is also immense fun!

  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,034
    boldfinger wrote: »
    CraigMooreOHMSS wrote: »
    boldfinger wrote: »
    CraigMooreOHMSS wrote: »
    Most of the anti-Arnold stuff I've seen has been incredibly lazy criticisms about his "lack of major outputs" in the last ten years or so, or about the man himself rather than his music.
    Ten years or so ago Arnold received some rather justified criticism for somewhat emulating Barry´s Sound, but on Closer listening being so much more limited. Those Points still stand today, as much as I enjoy Arnold´s Music. But those Folks seem to have gone on and not be interested in it anymore. The same goes for those guys who elaborately knew to Analyse Newman´s SF score on a music Theory Level. All of those vanished and left room for the Clowns.

    Quite. Though I have no issue anyone attempting to emulate the Barry sound, as the praise thrown towards Hurwitz' merely a page ago was also partly due to its "Barry-esqueness".
    The Point was not that he emulates Barry´s Sound, but that he was supposedly not sufficient enough in doing so. For instance, Barry is known for creating unique atmospheres for each Scene, every cue of his can be identified as belonging to a certain Scene almost, for sure most cues can be easily identified to belong to a certain movie. Arnold´s cues are Pretty much interchangeable in the sense that for instance Music from TWINE would also not Sound out of place in DAD or TND. I don´t have any Problem with that, but back then some People had, and I can understand them. Arnold is bland, but he is also immense fun!

    I of course don't agree with the bland statement, and I would even question the interchangeable thing, but I at least understand where you're coming from there so I respect that explanation and those you reference in holding that opinion.

    Certainly much better than "he hasn't worked on anything big in the last ten years so therefore he's rubbish" which to me is the Bond music equivalent of "Sorry teacher, I didn't see the point of this homework so I just didn't do it. Oh wait, actually, my dog ate it!"

    Anyway, probably best to get the thread back on to some semblance of a relevant point until a composer is announced.
  • DonnyDB5DonnyDB5 Buffalo, New York
    Posts: 1,755
    Hard to believe it’s already been over a year since Craig announced on Colbert he was doing one more movie. This has been a very painful wait. March can’t come soon enough.
  • Risico007Risico007
    Posts: 9,771
    DonnyDB5 wrote: »
    Hard to believe it’s already been over a year since Craig announced on Colbert he was doing one more movie. This has been a very painful wait. March can’t come soon enough.

    I would argue especially with the lack of video games the Craig tenure has been painful it’s slow output....

    Still I enjoyed it for the over 13 years it has existed and I am looking forward to the future.
  • ringfire211ringfire211
    Posts: 646
    People who complain about Arnold sounding too much like Barry make no sense. Barry was the greatest composer who ever lived and I’d raise him from the grave to compose another Bond score for us, if I could. So any composer who can give me the Barry sound I welcome with open arms. Even if it’s not up to par I’ll still take it just to hear that classic Barry sound. Some Barry is better than no Barry. That said, I also thought Newman’s SF score was a blast! And any tracks that sounded even a bit Barry-esque were that much better!
  • boldfingerboldfinger
    Posts: 5,767
    ringfire211 wrote: »
    People who complain about Arnold sounding too much like Barry make no sense. Barry was the greatest composer who ever lived and I’d raise him from the grave to compose another Bond score for us, if I could. So any composer who can give me the Barry sound I welcome with open arms. Even if it’s not up to par I’ll still take it just to hear that classic Barry sound. Some Barry is better than no Barry. That said, I also thought Newman’s SF score was a blast! And any tracks that sounded even a bit Barry-esque were that much better!
    Noone ever complained that Arnold Sounds too much like Barry.

  • PanchitoPistolesPanchitoPistoles 2.0
    Posts: 4,619
    =bg= wrote: »
    newman's scores are safe, snore-worthy and predictable. At least Arnold can crank up the brass.
    It's pretty much IMPOSSIBLE to compose safer Bond scores than the ones that were composed by David Arnold.
  • DaltonCraig007DaltonCraig007 They say, "Evil prevails when good men fail to act." What they ought to say is, "Evil prevails."
    edited October 2018 Posts: 15,690
    Don Johnson (Miami Vice) joins Daniel Craig, Ana de Arnas, Chris Evans and Michael Shannon in Rian Johnson's Knives Out.

    https://bloody-disgusting.com/movie/3528360/miami-vice-star-don-johnson-joining-michael-shannon-rian-johnsons-murder-mansion-film-knives/
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