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Which One time Bond composer do would you have liked to have returned to score another Bond film?

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  • mattjoesmattjoes
    edited December 2020 Posts: 6,710
    hegottheboot_ wrote: »
    All of them really in the proper context.
    But Martin without question. I wish he had done more film scores in general. The LALD score is a powerhouse and easily the best non Barry score in the series.
    Terrific score indeed. A second score by Martin would have been a delight.

    hegottheboot_ wrote: »
    FYEO takes some getting used to with the dated synths but it gets the nuance and feeling of the entire film perfectly. Plus when Conti goes big in the score he goes properly big but is then able to come back down to softer pieces with expertise. It’s really an outstanding score and very well recorded.
    Yes! I also feel that while the action music goes for a different style than usual (very succesfully for me), Conti's romantic and suspenseful pieces stick fairly closely to the Bondian template, some instrumentation choices aside. Cues like St. Cyril's Monastery and the music heard when Bond and Columbo attack the Albanian warehouse are top notch and highly Bondian, in my opinion. I love the first 20-or-so seconds in Cyril, especially when the brass steps in to present some stately yet foreboding harmonies against those high violins. A perfect way of underscoring the challenge Bond is about to undergo, in beautiful but dangerous surroundings. An example of Conti's understanding of the feeling of the film that you mention.

    Ski...Shoot...Jump, with its quickly shifting, somewhat eccentric and cleverly orchestrated moods, is another brilliant composition, brimming with creativity. That's how I feel about FYEO in general, it's a very inspired and well-crafted score. The gunbarrel music, which most people seem to love, is a prime example: in terms of energy and intensity, it blows your socks off. With its badass guitar, loud brass and tremoloing violins, not to mention the driving percussion, it screams "THIS IS BOND, DAMMIT!"

    FYEO is also a well-spotted film. After the deafening, hold-your-breath silence of the climbing sequence, once Bond reaches the top, the way the music kicks is absolutely perfect. "Let's go", it says musically, just as Bond uses a gesture to signal the others to start moving.
  • fjdinardofjdinardo
    edited December 2020 Posts: 1,965
    Bill Conti from FYEO. I sometimes feel his music in FYEO is more well placed then some of the Barry scores.
  • Risico007Risico007
    Posts: 9,767
    Martin definitly
  • mtmmtm United Kingdom
    edited December 2020 Posts: 14,920
    I think Bill Conti is possibly the most talented, or at least best suited of that selection, and would have given another exciting score with a fresh batch of melodies; but maybe Kamen too. I doubt his second would have been anything too distinct from LTK as he didn’t vary his work hugely around these times, but it all works in the film nicely and heightens the drama and danger.
    I love the Daylights score but there’s probably an argument to say that Kamen makes LTK feel more visceral and dangerous than Barry would have done.
    Thunderfinger wrote: »
    What do you think? Will Zimmer be a one-time composer, or will he perhaps be a new regular?

    I would expect that the producers would probably like him to be regular, but it may depend on him.
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