Which composer should score the soundtrack for BOND 26?

135

Comments

  • GadgetManGadgetMan Lagos, Nigeria
    Posts: 4,247
    I have to say when I listened to Zimmer's score in isolation, I liked the OHMSS references. But when I watched the film, I thought it didn't need the OHMSS themes. I think Zimmer missed a trick, by not reusing Madeleine's theme, created by Newman, which is one of the best romantic tracks in the franchise that Barry himself would have smiled to. Maybe Zimmer should have created another theme for Madeleine....like he was doing with the Matera track, before the track delved too deeply into OHMSS.
  • Jordo007Jordo007 Merseyside
    Posts: 2,406
    GadgetMan wrote: »
    I have to say when I listened to Zimmer's score in isolation, I liked the OHMSS references. But when I watched the film, I thought it didn't need the OHMSS themes. I think Zimmer missed a trick, by not reusing Madeleine's theme, created by Newman, which is one of the best romantic tracks in the franchise that Barry himself would have smiled to. Maybe Zimmer should have created another theme for Madeleine....like he was doing with the Matera track, before the track delved too deeply into OHMSS.

    Yep 100% Madeline's theme in Spectre is one of the best tracks on the score
  • Posts: 820
    Jordo007 wrote: »
    GadgetMan wrote: »
    I have to say when I listened to Zimmer's score in isolation, I liked the OHMSS references. But when I watched the film, I thought it didn't need the OHMSS themes. I think Zimmer missed a trick, by not reusing Madeleine's theme, created by Newman, which is one of the best romantic tracks in the franchise that Barry himself would have smiled to. Maybe Zimmer should have created another theme for Madeleine....like he was doing with the Matera track, before the track delved too deeply into OHMSS.

    Yep 100% Madeline's theme in Spectre is one of the best tracks on the score

    I don't love the Spectre score (it's...fine?) but I do love that theme/track. Brilliant, beautiful stuff.
  • MalloryMallory Do mosquitoes have friends?
    Posts: 2,024
    AgentM72 wrote: »
    Jordo007 wrote: »
    GadgetMan wrote: »
    I have to say when I listened to Zimmer's score in isolation, I liked the OHMSS references. But when I watched the film, I thought it didn't need the OHMSS themes. I think Zimmer missed a trick, by not reusing Madeleine's theme, created by Newman, which is one of the best romantic tracks in the franchise that Barry himself would have smiled to. Maybe Zimmer should have created another theme for Madeleine....like he was doing with the Matera track, before the track delved too deeply into OHMSS.

    Yep 100% Madeline's theme in Spectre is one of the best tracks on the score

    I don't love the Spectre score (it's...fine?) but I do love that theme/track. Brilliant, beautiful stuff.

    The new stuff created for Spectre by Newman is great, its a shame Mendes decided to import a lot of the Skyfall score.
  • GadgetManGadgetMan Lagos, Nigeria
    edited August 2022 Posts: 4,247
    Mallory wrote: »
    AgentM72 wrote: »
    Jordo007 wrote: »
    GadgetMan wrote: »
    I have to say when I listened to Zimmer's score in isolation, I liked the OHMSS references. But when I watched the film, I thought it didn't need the OHMSS themes. I think Zimmer missed a trick, by not reusing Madeleine's theme, created by Newman, which is one of the best romantic tracks in the franchise that Barry himself would have smiled to. Maybe Zimmer should have created another theme for Madeleine....like he was doing with the Matera track, before the track delved too deeply into OHMSS.

    Yep 100% Madeline's theme in Spectre is one of the best tracks on the score

    I don't love the Spectre score (it's...fine?) but I do love that theme/track. Brilliant, beautiful stuff.

    The new stuff created for Spectre by Newman is great, its a shame Mendes decided to import a lot of the Skyfall score.

    I couldn't agree more. Newman had already created a travelogue theme heard in Crows Klinik, Secret Room & Safe House. Plus, a new action theme heard in Backfire, also heard when Bond is chasing Sciarra on foot. These travelogue and action theme, plus Madeleine's theme should have dominated the score with different variations, along with the other stellar new tracks Newman created. I wouldn't have minded more Donna Lucia, even if it was created exclusively for Bellucci's character.
  • Posts: 820
    Mallory wrote: »
    AgentM72 wrote: »
    Jordo007 wrote: »
    GadgetMan wrote: »
    I have to say when I listened to Zimmer's score in isolation, I liked the OHMSS references. But when I watched the film, I thought it didn't need the OHMSS themes. I think Zimmer missed a trick, by not reusing Madeleine's theme, created by Newman, which is one of the best romantic tracks in the franchise that Barry himself would have smiled to. Maybe Zimmer should have created another theme for Madeleine....like he was doing with the Matera track, before the track delved too deeply into OHMSS.

    Yep 100% Madeline's theme in Spectre is one of the best tracks on the score

    I don't love the Spectre score (it's...fine?) but I do love that theme/track. Brilliant, beautiful stuff.

    The new stuff created for Spectre by Newman is great, its a shame Mendes decided to import a lot of the Skyfall score.

    100% agree.
  • Madeleine's theme was my favorite part of Spectre's score. It would have been very nice to hear in NTTD, especially since Vesper's theme returned. I agree also that the moments that were given to OHMSS in the score could have been used to give NTTD more of its own musical identity.
  • TheSkyfallen06TheSkyfallen06 Buenos Aires, Argentina.
    edited October 2022 Posts: 968
    I think i've found the perfect subject for the job...
    Rich Douglas
  • SecretAgentMan⁰⁰⁷SecretAgentMan⁰⁰⁷ Lekki, Lagos, Nigeria
    edited October 2022 Posts: 1,166
    Maybe the producers might bring back David Arnold, just to help usher in the new Bond. I don't think they would want a dirge-like ballad to launch Bond 7. What Arnold & Cornell's You Know My Name did for Craig's Bond can't be overlooked.
  • LucknFateLucknFate 007 In New York
    Posts: 1,380
    To me it's a good sign that they involved Arnold in the 60th celebrations, but as others have pointed out, he hasn't done film work in over a decade. Maybe he should try to do a movie in the next couple of years, just to get warmed up in case.
  • DarthDimiDarthDimi Behind you!Moderator
    Posts: 23,324
    After THE BATMAN, I still think Michael Giacchino should be given the chance to score a Bond film. He's got what it takes.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 7,965
    DarthDimi wrote: »
    After THE BATMAN, I still think Michael Giacchino should be given the chance to score a Bond film. He's got what it takes.

    I'm onboard with that.
  • MurdockMurdock The minus world
    Posts: 16,316
    My immediate go to choice would be David Arnold but alternative I would love to hear takes from Michael Giacchino, Brian Tyler, Elliot Goldenthal or Graeme Revell.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 7,965
    LucknFate wrote: »
    To me it's a good sign that they involved Arnold in the 60th celebrations, but as others have pointed out, he hasn't done film work in over a decade. Maybe he should try to do a movie in the next couple of years, just to get warmed up in case.

    The thing that always struck me about him is that he doesn't seem too bothered about doing anything other than what he's been doing for the last ten years, which has mainly been stage and TV compositions.
  • SecretAgentMan⁰⁰⁷SecretAgentMan⁰⁰⁷ Lekki, Lagos, Nigeria
    edited October 2022 Posts: 1,166
    Murdock wrote: »
    My immediate go to choice would be David Arnold but alternative I would love to hear takes from Michael Giacchino, Brian Tyler, Elliot Goldenthal or Graeme Revell.

    Nice list. Although, what I've discovered with Tyler is, he's good at composing the main theme of a film/series, but the rest of the score won't be that great. Revell might be too experimental though. But I love his score for Val Kilmer's The Saint. Although, not that it's a bad thing considering Kilmer somewhat behaves like Bond in the film. But Revell completely rips off the Bond theme for Kilmer's The Saint. As evident in the track, Searching Apartment.
  • DarthDimiDarthDimi Behind you!Moderator
    Posts: 23,324
    Murdock wrote: »
    My immediate go to choice would be David Arnold but alternative I would love to hear takes from Michael Giacchino, Brian Tyler, Elliot Goldenthal or Graeme Revell.

    Nice list. Although, what I've discovered with Tyler is, he's good at composing the main theme of a film/series, but the rest of the score won't be that great. Revell might be too experimental though. But I love his score for Val Kilmer's The Saint. Although, not that it's a bad thing considering Kilmer somewhat behaves like Bond in the film. But Revell completely rips off the Bond theme for Kilmer's The Saint. As evident in the track, Searching Apartment.

    I love that score and I love Revell's music overall. He could certainly bring us a new sound for Bond. I just haven't heard a lot of his work recently.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 7,965
    Revell's score for The Saint is glorious. I love it.
  • SecretAgentMan⁰⁰⁷SecretAgentMan⁰⁰⁷ Lekki, Lagos, Nigeria
    Posts: 1,166
    DarthDimi wrote: »
    Murdock wrote: »
    My immediate go to choice would be David Arnold but alternative I would love to hear takes from Michael Giacchino, Brian Tyler, Elliot Goldenthal or Graeme Revell.

    Nice list. Although, what I've discovered with Tyler is, he's good at composing the main theme of a film/series, but the rest of the score won't be that great. Revell might be too experimental though. But I love his score for Val Kilmer's The Saint. Although, not that it's a bad thing considering Kilmer somewhat behaves like Bond in the film. But Revell completely rips off the Bond theme for Kilmer's The Saint. As evident in the track, Searching Apartment.

    I love that score and I love Revell's music overall. He could certainly bring us a new sound for Bond. I just haven't heard a lot of his work recently.

    Yeah. That's the thing. Nothing recent from him. Revell is a great composer for sure. Love his score Jolie's Tomb Raider as well. The score is almost otherworldly in a good way.

  • SecretAgentMan⁰⁰⁷SecretAgentMan⁰⁰⁷ Lekki, Lagos, Nigeria
    edited October 2022 Posts: 1,166
    Revell's score for The Saint is glorious. I love it.

    Yeah. It even ends with Duran Duran's fantastic Out Of My Mind, that also sounds Bondian in some parts....especially its opening guitars and drums.
  • Archangel007Archangel007 United States
    Posts: 25
    I'm good with welcoming back David Arnold, as long as he leaves out the passé sound of blaring horns.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 7,965
    I'm good with welcoming back David Arnold, as long as he leaves out the passé sound of blaring horns.

    Horns are always welcome. They're timeless.
  • peterpeter Toronto
    Posts: 7,954
    I'm good with welcoming back David Arnold, as long as he leaves out the passé sound of blaring horns.

    Horns are always welcome. They're timeless.

    💯!!! Horns are sexy and classy. Horns are a must.
  • Archangel007Archangel007 United States
    Posts: 25
    peter wrote: »
    I'm good with welcoming back David Arnold, as long as he leaves out the passé sound of blaring horns.

    Horns are always welcome. They're timeless.

    💯!!! Horns are sexy and classy. Horns are a must.

    I disagree, the wah-wah horn sound from the Barry-scored films are classic, but not timeless. Even with the TND and TWINE scores I felt it was cheesy sounding.

    Alternatively, I always felt that Arnold wrote some really great string arrangements that Barry would've been proud of.
  • SecretAgentMan⁰⁰⁷SecretAgentMan⁰⁰⁷ Lekki, Lagos, Nigeria
    Posts: 1,166
    I really can't imagine a Bond score without horns.
  • Archangel007Archangel007 United States
    edited October 2022 Posts: 25
    To be clear, I'm not saying there shouldn't be horns. I just don't want to hear the wah-wah sound that was prevalent in the early Connery bond films.

    Even John Barry found them outdated in the 1970s and changed things up starting with his Moonraker score (which is one of my favorites, particularly the track Bond Lured to Pyramid).

    I believe Pixar even wanted Barry to do a 1960s style Bond score for The Incredibles but he declined as he didn't want to do the same old thing again. I think his score for The Living Daylights is a good mix of horns and strings, that's the kind of the combination I'd like to hear going forward.
  • SecretAgentMan⁰⁰⁷SecretAgentMan⁰⁰⁷ Lekki, Lagos, Nigeria
    Posts: 1,166
    To be clear, I'm not saying there shouldn't be horns. I just don't want to hear the wah-wah sound that was prevalent in the early Connery bond films.

    Even John Barry found them outdated in the 1970s and changed things up starting with his Moonraker score (which is one of my favorites, particularly the track Bond Lured to Pyramid).

    I believe Pixar even wanted Barry to do a 1960s style Bond score for The Incredibles but he declined as he didn't want to do the same old thing again. I think his score for The Living Daylights is a good mix of horns and strings, that's the kind of the combination I'd like to hear going forward.

    Barry's MR & TLD score are really loved by Bond fans. So good scores for future Bond Composers to take inspiration from, without blatantly copying it.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 7,965
    To be clear, I'm not saying there shouldn't be horns. I just don't want to hear the wah-wah sound that was prevalent in the early Connery bond films.

    Even John Barry found them outdated in the 1970s and changed things up starting with his Moonraker score (which is one of my favorites, particularly the track Bond Lured to Pyramid).

    I believe Pixar even wanted Barry to do a 1960s style Bond score for The Incredibles but he declined as he didn't want to do the same old thing again. I think his score for The Living Daylights is a good mix of horns and strings, that's the kind of the combination I'd like to hear going forward.

    I don't think Barry stopped using them as prominently because they were outdated. Not wanting to do the same thing again is not the same as something being outdated.

    But I take your point that you have horns without that particular style of using them and still make them sound unmistakably Bondian.
  • DarthDimi wrote: »
    Murdock wrote: »
    My immediate go to choice would be David Arnold but alternative I would love to hear takes from Michael Giacchino, Brian Tyler, Elliot Goldenthal or Graeme Revell.

    Nice list. Although, what I've discovered with Tyler is, he's good at composing the main theme of a film/series, but the rest of the score won't be that great. Revell might be too experimental though. But I love his score for Val Kilmer's The Saint. Although, not that it's a bad thing considering Kilmer somewhat behaves like Bond in the film. But Revell completely rips off the Bond theme for Kilmer's The Saint. As evident in the track, Searching Apartment.

    I love that score and I love Revell's music overall. He could certainly bring us a new sound for Bond. I just haven't heard a lot of his work recently.

    Graeme Revell has retired. But yes, I always quite enjoyed his scores. Tyler is fantastic at both writing action music and working with other composers' themes. I think he would be an excellent alternative to Arnold, though I don't see the producers realistically selecting him or any number of other candidates over Arnold. With the exception of the director's choice (Newman, Romer) or a bid for the Oscars (Zimmer, Williams one day...?), I'd imagine David Arnold will return.
  • brinkeguthriebrinkeguthrie Piz Gloria
    Posts: 1,400
    Arnold. And can we PLEASE actually HAVE the 007 and Bond themes, you know, IN the movies? More brass.
  • Junglist_1985Junglist_1985 Los Angeles
    Posts: 1,003
    Arnold. And can we PLEASE actually HAVE the 007 and Bond themes, you know, IN the movies? More brass.

    Ever see Tomorrow Never Dies?
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