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The Best Of David Arnold

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Comments

  • shamanimalshamanimal
    Posts: 623
    I'd like to hear the swing come back. If you listen to the 60's Barry soundtracks, they swing. The Bond theme itself does. The Newman stuff doesn't, it's mood music. And pretty generic action/suspense movie stuff. As well as losing the melodies, since the seventies we've also lost the jazzy swing feel.
    Arnold had better melodies than Newman, but still lacked the catchy themes of Barry. It's like they're worried about writing a rousing hook.
  • suavejmfsuavejmf Harrogate, North Yorkshire, England
    Posts: 5,131
    African Rundown, White Knight, Time to Get Out and Blunt Instrument. All class.
  • MansfieldMansfield Where the hell have you been?
    edited August 2016 Posts: 1,263
    White Knight had a great cue that should have been used at least twice more in the score. Barry knew when he had gold and dropped it into three or four tracks to provide a continuity throughout the film and bridges together themes without requiring dialogue or other means to do so. I get the impression modern composers save a few (Shore and Zimmer come to mind) are too focused on making each track unique to express a progression that they leave out the basic psychological impact their great work has on us. Imagine if Barry only had the main motifs of Palace Fight in Octopussy and He's Dangerous in AVTAK once. Snooze!

    (Not to mention the entire OHMSS soundtrack is basically only 4 or 5 different themes.)
  • shamanimalshamanimal
    Posts: 623
    I wonder how much the re-watching of movies has shaped the soundtracks? I mean, in the sixties, you'd see a movie perhaps once or twice, then if you're lucky, five years later it came on the telly. The musical themes needed to memorable, and the re-occurrence of the same tune in the same film wasn't a problem. It defined the film. These days, we end up re-watching a movie on our TVs as many times as we like within months of the cinematic release.
  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    One thing I missed in Skyfall and SPECTRE was a proper incorporation of the main theme woven into the score. Sure we had Komodo Dragon and a few notes from Writing's on the Wall after the train fight, but I liked when the whole scores were built upon the main theme(s).
  • talos7talos7 New Orleans
    Posts: 7,984
    I absolutely love Arnold's Casino Royale score; it contains the Bond DNA yet is original and fresh. I would like to see him brought back on for 25.
  • jake24jake24 Sitting at your desk, kissing your lover, eating supper with your familyModerator
    Posts: 10,588
    I've complemented Arnold on his music through twitter on a couple of occasions, to which he responded. I'd certainly welcome his return.
  • IncompetentHenchmanIncompetentHenchman
    Posts: 1,817
    Walecs wrote: »
    One thing I missed in Skyfall and SPECTRE was a proper incorporation of the main theme woven into the score. Sure we had Komodo Dragon and a few notes from Writing's on the Wall after the train fight, but I liked when the whole scores were built upon the main theme(s).

    Yes, the closest we've had in a while was the use of YKMN in CR.
  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    @IncompetentHenchman Exactly.
  • suavejmfsuavejmf Harrogate, North Yorkshire, England
    Posts: 5,131
    Walecs wrote: »
    One thing I missed in Skyfall and SPECTRE was a proper incorporation of the main theme woven into the score. Sure we had Komodo Dragon and a few notes from Writing's on the Wall after the train fight, but I liked when the whole scores were built upon the main theme(s).

    Agreed.
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