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If Barry Had Scored [place Bond title here], It Would Be So Much Higher In My Personal Ranking...

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  • MurdockMurdock The minus world
    Posts: 16,331
    Well it will always have a special place in my heart. The first time I heard that gunbarrel music my mind was blown. lol.
  • HASEROTHASEROT has returned like the tedious inevitability of an unloved season---
    Posts: 4,399
    Birdleson wrote: »
    Welcome back, @haserot , I hope that you can last for awhile.

    thats what she said. :P
  • HASEROTHASEROT has returned like the tedious inevitability of an unloved season---
    Posts: 4,399
    Murdock wrote: »
    Well it will always have a special place in my heart. The first time I heard that gunbarrel music my mind was blown. lol.

    ok - yes, i do admit that i kind of like the gunbarrel theme too.
  • MurdockMurdock The minus world
    Posts: 16,331
    Getting back to the topic, If Barry could have scored the movies he wasn't available for, realistically it would be for.

    Dr. No and The Spy Who Loved Me.

  • HASEROTHASEROT has returned like the tedious inevitability of an unloved season---
    edited February 2016 Posts: 4,399
    ok - now the tables get flipped...

    as dated and "disco" as Hamlisch's score was - i felt like that just added to the charm of TSWLM... dated is fine - as long as it's good.. and while the score (especially 'Bond 77') screams bellbottoms and saturday night fever, i still get a satisfaction out of that score that i don't get from some of Barry's later Bond films (namely, OP and AVTAK)
  • GBFGBF
    Posts: 3,195
    HASEROT wrote: »
    ok - now the tables get flipped...

    as dated and "disco" as Hamlisch's score was - i felt like that just added to the charm of TSWLM... dated is fine - as long as it's good.. and while the score (especially 'Bond 77') screams bellbottoms and saturday night fever, i still get a satisfaction out of that score that i don't get from some of Barry's later Bond films (namely, OP and AVTAK)

    Really? In my opinion these two belong to the very best Barry scores, especially the AVTAK score. But you are right, the Hamlisch score fits very well to TSWLM since it reflects the time and when you see the Lotus Esprit to the sound of some disco beats it is just nice. But I would hardly listen to that soundtrack without watching the film whereas I can listen to tunes such as "Golden Gate Fight" or "Wine with Stacey" all day long.
  • GBFGBF
    Posts: 3,195
    The great thing about Barry is that for every new Bond film he was able to compose a very memorable theme which he used throughout the film. Different from Arnold, he did not use variations of the James Bond theme too often which I think is good. Hence the Arnold scores - even though they are very good - have never been that memorable and unique and when I listen to them I always wonder, Ok is this now TND or CR or was it QoS?

  • HASEROTHASEROT has returned like the tedious inevitability of an unloved season---
    Posts: 4,399
    GBF wrote: »
    The great thing about Barry is that for every new Bond film he was able to compose a very memorable theme which he used throughout the film. Different from Arnold, he did not use variations of the James Bond theme too often which I think is good. Hence the Arnold scores - even though they are very good - have never been that memorable and unique and when I listen to them I always wonder, Ok is this now TND or CR or was it QoS?

    he became less reliant on the Bond theme and techno sounding cues in his scores for CR and QOS - i really got the sense that he challenged himself to think outside of the 007 box he had gotten comfortable with during TND, TWINE, and DAD... a lot of his style during those 3 films sounds very similar - especially the way he would use the Bond theme to punctuate a big moment during an action sequence... but IMO, there is big difference in quality and sound between DAD and CR... i remember the first time i heard the score i had no clue it was David Arnold, i thought it was another composer.
  • HASEROTHASEROT has returned like the tedious inevitability of an unloved season---
    Posts: 4,399
    GBF wrote: »
    HASEROT wrote: »
    ok - now the tables get flipped...

    as dated and "disco" as Hamlisch's score was - i felt like that just added to the charm of TSWLM... dated is fine - as long as it's good.. and while the score (especially 'Bond 77') screams bellbottoms and saturday night fever, i still get a satisfaction out of that score that i don't get from some of Barry's later Bond films (namely, OP and AVTAK)

    Really? In my opinion these two belong to the very best Barry scores, especially the AVTAK score. But you are right, the Hamlisch score fits very well to TSWLM since it reflects the time and when you see the Lotus Esprit to the sound of some disco beats it is just nice. But I would hardly listen to that soundtrack without watching the film whereas I can listen to tunes such as "Golden Gate Fight" or "Wine with Stacey" all day long.

    outside of The Living Daylights, i feel Barry's best work had already come and gone by the time he did OP... OP and AVTAK aren't terrible, or even bad scores - they are good... but for my own tastes, Barry's work on OHMSS, DAF, and MR are far superior.... i felt like he kind of went light on OP and AVTAK - there are at least 4 or 5 tracks on the soundtrack to AVTAK that are exactly the same track, just with different titles lol... but TLD was a modern masterpiece - that is a how a Barry Bond film is supposed to sound.
  • GBFGBF
    Posts: 3,195
    I think Barry reused some tunes but in a different context. But he has always done it, sometimes even over two films. Just think of DAF and Thunderball. The underwater battle and the oil rig battle have a very similar track with the same tune.
  • vzokvzok
    Posts: 4,025
    Murdock wrote: »
    bondjames wrote: »
    I realize they are some who have been beating the Arnold drum for some time, & who dislike Newman's efforts, but I think SP & SF are fine as they are. The scores suit the respective films imho.
    Skyfall's works a bit better but Spectre's takes too much from Skyfall's score so it's very less original. It bugged me watching the movie pointing out, Hey, I heard this cue in Skyfall, this one too. It took me out of the movie. Not enough originality or Bond theme. Too subtle for my liking.

    Dr. No and The Spy Who Loved Me would also benefit from a Barry Score, one thing I appreciate about SPY's score is that Hamilsh did a remake of "Stalking" from FRWL's score so kudo's to Marvin for not being afraid to adapt someone else's work.

    I wonder why they didn't bring Hamlisch back the next time Barry wasn't available. Surely it would have been better to alternate between the two. He got Oscar nods and was extremely popular at that time.
  • HASEROTHASEROT has returned like the tedious inevitability of an unloved season---
    Posts: 4,399
    GBF wrote: »
    I think Barry reused some tunes but in a different context. But he has always done it, sometimes even over two films. Just think of DAF and Thunderball. The underwater battle and the oil rig battle have a very similar track with the same tune.

    that was a specific theme he himself created called "007" and it appears a couple times in the movies he did (last appearing in MR)... it was originally used in FRWL... IMO, using something like that is a little different than Newman poaching cues he did from the previous movie - because again, the rest of the score has a totally different sound and feel.... Barry using "007" is not really that much different than when he uses the James Bond theme.
  • DarthDimiDarthDimi Behind you!Moderator
    Posts: 23,551
    chrisisall wrote: »
    Birdleson wrote: »
    The obvious two, FOR YOUR EYES ONLY and GOLDENEYE. They are both just outside my Top Ten. That may had been enough to kick them up a spot or two.
    I actually like the Serra score a bit. A Barry score would have certainly improved the movie, but not enough to change my rating of it much at all. Unless it was a better score than for TLD...

    Ever the Barry fan, I will nevertheless argue that Barry could not have delivered a score befitting the tone and style of GE.
  • bondjamesbondjames You were expecting someone else?
    edited February 2016 Posts: 23,883
    Sorry - delete. I commented on Arnold/Newman from the previous page, missing this whole second page of discussion on the relevant discussion - the genius that is Barry.
  • Last_Rat_StandingLast_Rat_Standing Long Neck Ice Cold Beer Never Broke My Heart
    Posts: 4,416
    Easily FYEO. The score completely ruins the film for me. I would like to enjoy FYEO for what it is, but I just can't, not with Conti's Rocky - esque wannabe Bond score parading around.
  • chrisisallchrisisall Brosnan Defender Of The Realm
    Posts: 17,691
    Birdleson wrote: »
    Last time I watched it I imagined what a Berry score could have sounded like over the film. I think it would have really been something special.



    =))
  • chrisisallchrisisall Brosnan Defender Of The Realm
    Posts: 17,691
    Birdleson wrote: »
    I've seen Chuck on both coasts.
    You're a good sport!
    \m/
  • TripAcesTripAces Universal Exports
    Posts: 4,554
    Look, I love David Arnold and love much of the music he did for Bond. But he simply isn't in Newman's league.

    Newman
    Collaborators: Sam Mendes, Steven Soderbergh, John Madden, Todd Field
    Academy Award Nominatons: 13
    Grammy Award Nominations (for film): 6
    Grammy Awards: 4

    Arnold
    Collaborators: Roger Michell, Michael Apted, John Singleton, Roland Emmerich
    Academy Award Nominations: 0
    Grammy Award Nominations (for film): 2
    Grammy Awards: 1
  • MurdockMurdock The minus world
    Posts: 16,331
    When it comes to Bond music, awards mean nothing. It's about how good and memorable the score is.
  • HASEROTHASEROT has returned like the tedious inevitability of an unloved season---
    Posts: 4,399
    TripAces wrote: »
    Look, I love David Arnold and love much of the music he did for Bond. But he simply isn't in Newman's league.

    Newman
    Collaborators: Sam Mendes, Steven Soderbergh, John Madden, Todd Field
    Academy Award Nominatons: 13
    Grammy Award Nominations (for film): 6
    Grammy Awards: 4

    Arnold
    Collaborators: Roger Michell, Michael Apted, John Singleton, Roland Emmerich
    Academy Award Nominations: 0
    Grammy Award Nominations (for film): 2
    Grammy Awards: 1

    thats all well and good.... but Arnold GETS Bond - and he GETS how a Bond movie should sound.... i posted an article a while back (cant remember what thread it was on) but it's Arnold talking about how he approaches scoring a Bond film, and when you listen to him talk, you come away with a sense that scoring Bond isn't like any other film - and it's a beast all unto itself.... so Newman may have the most impressive resume between the two - good for him - he is a wonderful composer - but when it comes to Bond, he's probably delivered 2 of the most mediocre scores in the franchise.
  • ThighsOfXeniaThighsOfXenia
    Posts: 1,595
    Both of Newman's movies. I like the scores, but they just don't feel quite Bond enough at times. Even Arnold's which varied in quality, had that feel and spirit, even when they were at their most techno-ear-rape (which I even dig a few cues of).

    Maybe FYEO but I dig Conti's score it's groovy and so 80's. Barry's music is so good it's timeless, and I kinda like Conti's time capsule score.
  • HASEROTHASEROT has returned like the tedious inevitability of an unloved season---
    Posts: 4,399
    ThighsOfXenia wrote: »
    Maybe FYEO but I dig Conti's score it's groovy and so 80's. Barry's music is so good it's timeless, and I kinda like Conti's time capsule score.

    out of all the one-and-done'ers - i like Conti's score the best... plus the music for gunbarrel is arguably one of the best as well - love everything about it, even right down to the overemphasized cowbell lol....... at least IMO :)

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