Bond misses David Arnold

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  • edited December 2012 Posts: 11,425
    BAIN123 wrote:
    Lofqvist wrote:
    OMB (Oh my Bond) this is good. 1.33 and forward. Pure magic. Almost as good as Zimmer :).

    It's a standout in a very enjoyable soundtrack, I think.

    My favourite track in SF. Love it.

    Flat? :))

    I'm guessing if Shark dislikes Arnold's soundtrack from TWINE he also hates this:


    Dear oh dear. If that's stand out then you are both very easily pleased.

    Arnold's CR soundtrack is a masterpiece compared to SF. I actually associate the music with specific scenes and moods and he wrote IMO one of the best title songs for years.
  • BAIN123 wrote:

    Flat? :))

    I'm guessing if Shark dislikes Arnold's soundtrack from TWINE he also hates this:
    That's a really enjoyable one, I agree!

  • Jazz007Jazz007 Minnesota
    edited December 2012 Posts: 256
    To be perfectly honest, I didn't miss Arnold one bit. He had hit his stride with CR & QOS but it was about time that the series got some new blood into the music department. Newman's score to SF was great - it was largely underplayed except when the wonderfully imagined Bond theme took center stage and his signature sound fit the 007 world perfectly.
  • 0BradyM0Bondfanatic70BradyM0Bondfanatic7 It was this or the priesthood.
    Posts: 28,231
    I love the Bond theme playing when there are certain "Bond moments" in Skyfall whenever he does something that makes you say "wow!"
  • I love the Bond theme playing when there are certain "Bond moments" in Skyfall whenever he does something that makes you say "wow!"
    Unlike quite a few others here, I thought the way the Bond theme was incorporated into the Skyfall soundtrack was clever, understated and excellent.

  • 0BradyM0Bondfanatic70BradyM0Bondfanatic7 It was this or the priesthood.
    Posts: 28,231
    I love the Bond theme playing when there are certain "Bond moments" in Skyfall whenever he does something that makes you say "wow!"
    Unlike quite a few others here, I thought the way the Bond theme was incorporated into the Skyfall soundtrack was clever, understated and excellent.

    Same here, same here. I just love hearing the Bond theme again, and incorporated all over the place. And the cool thing is that when you listen to Newman's score you can usually tell what Bond is doing as the theme rings in the music. Love it.
  • Getafix wrote:
    BAIN123 wrote:
    Lofqvist wrote:
    OMB (Oh my Bond) this is good. 1.33 and forward. Pure magic. Almost as good as Zimmer :).

    It's a standout in a very enjoyable soundtrack, I think.

    My favourite track in SF. Love it.

    Flat? :))

    I'm guessing if Shark dislikes Arnold's soundtrack from TWINE he also hates this:


    Dear oh dear. If that's stand out then you are both very easily pleased.

    Arnold's CR soundtrack is a masterpiece compared to SF. I actually associate the music with specific scenes and moods and he wrote IMO one of the best title songs for years.

    Stand out or not. The scene with M reading Tennyson and the highly appropriate soundtrack cannot be thought of as less then one of the greatest scenes in the history of Bond movies.
  • Lofqvist wrote:
    Stand out or not. The scene with M reading Tennyson and the highly appropriate soundtrack cannot be thought of as less then one of the greatest scenes in the history of Bond movies.
    Well, I am sure some will take umbrage to that notion, but I'm not one of them. There is something very heroic about that scene to me.

  • Posts: 11,169
    Lofqvist wrote:
    Stand out or not. The scene with M reading Tennyson and the highly appropriate soundtrack cannot be thought of as less then one of the greatest scenes in the history of Bond movies.
    Well, I am sure some will take umbrage to that notion, but I'm not one of them.  There is something very heroic about that scene to me. 
    Agreed. I felt like saluting when I watched that scene in the cinema.
  • BAIN123 wrote:
    Agreed. I felt like saluting when I watched that scene in the cinema.

    One of those movie moments that made my heart swell. Rare and special, for me anyway.

  • The Tennyson scene was excellent. On par in my opinion with the Opera scene from QoS.
  • The Tennyson scene was excellent. On par in my opinion with the Opera scene from QoS.

    Exactly my opinion. A wonderful marriage between picture and score. Unfortunately this is, in my opinion, not the case with the scene of M:s death. Wonderful picture, not so wonderful score. A pity.
  • Posts: 5,745
    Lofqvist wrote:
    The Tennyson scene was excellent. On par in my opinion with the Opera scene from QoS.

    Exactly my opinion. A wonderful marriage between picture and score. Unfortunately this is, in my opinion, not the case with the scene of M:s death. Wonderful picture, not so wonderful score. A pity.

    I hope this becomes a new 'thing' in the Bond franchise. A scene interwoven with score in some sort of symbolism. It's so powerful in both QoS and SF.
  • I love the Bond theme playing when there are certain "Bond moments" in Skyfall whenever he does something that makes you say "wow!"
    Unlike quite a few others here, I thought the way the Bond theme was incorporated into the Skyfall soundtrack was clever, understated and excellent.

    Same here, same here. I just love hearing the Bond theme again, and incorporated all over the place. And the cool thing is that when you listen to Newman's score you can usually tell what Bond is doing as the theme rings in the music. Love it.

    I didn't hear much Bond theme. I heard it in the helicopter sequence and bits of it, but that's about it.

    I think TWINE was the last time we had the Bond theme properly playing during an action scene, when he jumped out of the window of the bankers office.
  • DoctorKaufmannDoctorKaufmann Germany
    Posts: 962
    Of Newman's SF score, I like "Komodo Dragon", "Tennyson", "The Enquiry", "Welcome to Scotland" and "She is mine", the rest is solid and okay, but not really memorable. It works within the movie, and Newman actually did not overscore the movie (something, Zimmer does at times), he tried to write "Bond Music". Eric Serra on the other hand composed an Eric Serra soundtrack, not a Bond movie soundtrack. And yes, I think DA could have match THIS Newman score. It's quite unusual compared to some other Newman scores, e.g. "Shawshank Redemption" "American Beauty" or "Road to Perdition."
  • Lofqvist wrote:
    Exactly my opinion. A wonderful marriage between picture and score. Unfortunately this is, in my opinion, not the case with the scene of M:s death. Wonderful picture, not so wonderful score. A pity.

    Agreed. Even though Newman gave M her own decending brass motif ( e.g Voluntary Retirement) I found the repetition of it lazy. Perhaps it could have been a bit more haunting like the beginning of the track 'Skyfall' . Also wasn't too big a fan of re-using the crescendo from 'The Bloody Shot' again in 'The Moors' because those were two different scenes and I just felt there could have been a great opportunity to compose something else for the underwater scene at the lake, I don't feel it really fit.

    Thing with Komodo Dragon is to me it feels like a pastiche track, by that I mean it wasn't composed at the same time as the rest of the score, it was done after the Adele track had been completed in order for the OST to have at least one track which related to the title track - so to me it feels a bit out of place, but just my two cents!
  • MartinBond wrote:


    I'll just leave this here...

    That was all a copy of Arnolds work. In fact, Arnolds arrangements were credited in the film. And recycled in some instances in the film where it was obvious that Newman COULDN'T do BOND.

    His simple stuff was nice and better than Arnold's, but he has no idea how to score action.
    There were so many instances in the opening scene where I was waiting to hear some james bond theme, and what we did get sounded like it was put in there for the sake of "oh right, this is a Bond movie, not a Bourne movie"

    The best part of the first half of the movie (music wise) was the title song. It reminded me I was watching a James Bond movie. I loved the beginning, but it felt like an anti climax without Arnold's touch.

    Even though Casino Royale and Quantum didn't use much actual Bond theme in the openings, the action music felt Bond like... This movie it felt like Daniel action scenes.
  • I wonder what John Powell might make of doing a Bond score... But then we'll get the Bourne comparisons... and then the whole QoS issue will rear it's head again!!! :-))
  • I don't think it's that Newman can't do Bond, I think it really is that action isn't his forte. I really don't know why they maybe couldn't pull Arnold in just to help score the action scenes if needs be, like Dark Knight has Zimmer and James Newton Howard. Not to say that the Skyfall OST is bad, but I just don't pick it up and light up like CR or TWINE or TND. I think it boiled down to the fact that there was no real identifiable motif or cue that you listen and you say 'Yup, that was Skyfall' like TLD, or AVTAK or CR.
  • Samuel001Samuel001 Moderator
    Posts: 13,239
    Casino Royale had an identifiable motif?
  • MalloryMallory Are you ready to get back to work?
    Posts: 825
    @Samuel001

    The intertwining of YKMN?

    As for Skyfall, I think the genius is that the identifiable motif is the Bond theme.
  • edited December 2012 Posts: 204
    Yeah. For example, 'African Rundown' - that brass line when Bond is running up the tractor arm, it's quoted from the title theme... Also tracks like 'Aston Montenegro', 'I'm The Money' are based on the phrase 'Arm yourself because no one else here can save you..." from YKMN etc...
  • I just feel that kind of thing really ties the film together and gives it a sense of identity. The only example of that from SF was 'Komodo Dragon' and that was added after to have at least one reference to Adele's theme!
  • M_BaljeM_Balje Amsterdam, Netherlands
    edited December 2012 Posts: 3,367
    Lissen to the score now for the first time on CD, whyle i give the music in the movie 8/10 on cd i give it 7.5/10. In specialy the second row and 19 to 23 and track 26 & 30 are very good. Track 27, 28 are oke, with track 27 a bit loud start. From the first row: Shame track 14 isn't include in track 1 or track 2 as it be in the movie because it can have made track 1 a litle bit better. Now it look like track 1 is cut off a bit. Imagine if track 3 from Twine score not be at as track followd track 2. Same happend a bit with Track 7 and 11 too (but then track 11 first and 7 followd if i remember correctly this are the Q scene's at Mi6.), but it be a less of a problem. Again 2 tracks belongs together i think. Also for me 13 track belongs a favorite of myne.


    Stil i can't say or i whant Thomas Newman back. Lissen to his score and i like the music in the movie. I give 7.5 and say yes also because i think it is refreshing, a second movie scored by him will help to like this one more. Also i think there mabey should consider to not asking Robert Deakins back but Robert Elswit. Sound a bit strange, but mabey his music in prove in scene's like Macau/Komodo dragon if there take the Tomorrow Never Dies cinematopgrapher. But that i also consider ''No'' is because of the return Quantum of Solace elements like the return of Quantum, Felix and Camile and style not be same as Skyfall.
  • David Arnold did a great job with the music score for Casino Royale.
  • I still think Arnold did a better job, but I praise Newman for creating this one:



    My favorite. :x
  • I just feel that kind of thing really ties the film together and gives it a sense of identity. The only example of that from SF was 'Komodo Dragon' and that was added after to have at least one reference to Adele's theme!

    Agreed. That's why I rate Arnold's score from CR as his best - he repeats themes and that gives the film a sense of cohesion, personality and identity.

    I thought that he had some great tracks in QoS but again the soundtrack as a whole was too...diffuse. If he could just work with the main title song (and perhaps a love theme as well) like he did in CR then I'd say bring him back. But I thought that QoS showed that his CR style soundtrack was a one-off.

  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 5,194
    I just feel that kind of thing really ties the film together and gives it a sense of identity. The only example of that from SF was 'Komodo Dragon' and that was added after to have at least one reference to Adele's theme!

    Agreed. That's why I rate Arnold's score from CR as his best - he repeats themes and that gives the film a sense of cohesion, personality and identity.

    I thought that he had some great tracks in QoS but again the soundtrack as a whole was too...diffuse. If he could just work with the main title song (and perhaps a love theme as well) like he did in CR then I'd say bring him back. But I thought that QoS showed that his CR style soundtrack was a one-off.

    In Arnold's defence, Another Way to Die was a very hard song to pull a melody from.
  • ggl007ggl007 www.archivo007.com Spain, España
    Posts: 2,384
    Just a word. No problem with Newman but,

    Bring David Arnold Back! :D
  • Posts: 7,587
    Bring back a qualified composer that actually can create a new sound for the franchise which would show it moved on since John Barry. DA had its chances and did not act on it, Newman was too occupied by his own ego.

    Roll on a new sound and a new composer.

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