Music Composers you would like to see score a Bond film

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  • edited February 2018 Posts: 17,372
    Would like to see (hear!) Pemberton score a Bond film at some point. His UNCLE score is one of the scores outside anything by Barry that get most rotation on my playlists.

    But I'm also weak for 60's/70's Italian movie scores, and Pemberton sure makes good use of that "sound" in UNCLE.
  • Posts: 501
    How about Ludwig Goransson?

    I don't particularly like him. I mean, I find Creed's and Black Panther's scores to be ok. But just ok. I'd rather have Pemberton, Murray Gold, Joe Kraemer, or Thomas Newman.
  • Posts: 4,026
    I know a lot of people like Murray Gold, but I find his music on Dr Who too overpowering.
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    vzok wrote: »
    I know a lot of people like Murray Gold, but I find his music on Dr Who too overpowering.
    I'm not familiar with Gold, but that's sort of how I feel about Pemberton.

    At this stage though I'll be happy with anyone new, just to give us a fresh sound for this series.
  • Posts: 4,026
    I wouldn t mind Morricone for Bond.

    He'd be great, and he's already done an OK Bond soundtrack.
  • ThunderfingerThunderfinger Das Boot Hill
    Posts: 45,489
    vzok wrote: »
    I wouldn t mind Morricone for Bond.

    He'd be great, and he's already done an OK Bond soundtrack.

    Which one are you thinking of?
  • Posts: 4,026
    vzok wrote: »
    I wouldn t mind Morricone for Bond.

    He'd be great, and he's already done an OK Bond soundtrack.

    Which one are you thinking of?

    OK Connery

  • Posts: 5,767
    The Untouchables.
  • edited March 2018 Posts: 3,333
    I have to say, out of all the choices given here, I'd have to go for Pemberton. As much as I love Ramin Djawadi, I think he'll just be too busy for Bond 25.

    As @bondjames points out, Pemberton's scores can be a little intrusive, but that complaint could be levelled at the vast majority of modern movie scores today. For some time now, audiences have been complaining about the music or sound effects being too loud. It's nothing new. This has more to do with modern sound mixing than it has to do with the composer.
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    James Newton Howard. I just got back from Red Sparrow and feel he did an exceptional job with that film.
  • Posts: 5,767
    @bondjames, I´m happy to hear that, as I´m going to watch Red Sparrow next week.
  • M_BaljeM_Balje Amsterdam, Netherlands
    edited April 2018 Posts: 4,467
    Alexandre Desplat is not avaible. To bissy, also for Bond 25. Shame. He have two movies for 2019 and movie credit on this moment for 2018, who mabey will be delayd.
    Not avaible for Bond 25, but for Bond 26.

    James Newton Horton to bissy for Fantastic Beast 2 for this year, but no movie yet for 2019. Avaible for Bond 25, before he started with Fantastic Beast 3. Also David Arnold and Craig Armstrong are avaible. Steven Price only have one movie for 2019.

    Daniel Pemberton did the music of Danny Boyle movie about Steve Jobs and is avaible for 2019, will he work again will Boyle with Bond 25. He also be composer of The Man from U.N.C.L.E. (2015), Molly's Game and All The Money In The World. And going to do the score of Ocean's 8.

    Badnews be that also Thomas Newman don't have any movie yet for this year and 2019.
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    I discovered this truly sublime and sensuous track while viewing Sexy Beast. 1961's Lujon by the late great Henry Mancini. It reminds me of some of Barry's earlier compositions for Bond, which drew heavily on light jazz - particularly his work on TB.

    I'd really love to see someone with a jazz touch do the Bond score once there is an eventual recast with a new actor.

    I think they'd bring something fresh to the Bond sound. Quincy Jones as an example infused Michael Jackson's Off The Wall, Thriller and Bad albums with something special from the jazz environment, and as this is my favourite musical genre I'd appreciate seeing it back as an influence for Bond.

  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,052
    bondjames wrote: »
    I discovered this truly sublime and sensuous track while viewing Sexy Beast. 1961's Lujon by the late great Henry Mancini. It reminds me of some of Barry's earlier compositions for Bond, which drew heavily on light jazz - particularly his work on TB.

    I'd really love to see someone with a jazz touch do the Bond score once there is an eventual recast with a new actor.

    I think they'd bring something fresh to the Bond sound. Quincy Jones as an example infused Michael Jackson's Off The Wall, Thriller and Bad albums with something special from the jazz environment, and as this is my favourite musical genre I'd appreciate seeing it back as an influence for Bond.


    It's interesting that you bring up the jazz element. The other day myself and friends were talking about one of the less-talked about strong qualities of LOGAN - Marco Beltrami's score.

    It's chock full of western and jazz elements and it very subtly adds a lot to a very melancholic film. He often has a tendency to pound on the percussion too much during action scenes, but I think he'd do a good job with Bond if given a chance. He did a fine job with Kamen's themes for Die Hard so he knows how to respect a legacy - in fact his music was the only really "Die Hard" worthy trait about number 5.









  • Posts: 5,767
    Beltrami was also the best thing about Terminator 3. In fact, after hearing the above examples, he´s one of my favorites for Bond.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,052
    boldfinger wrote: »
    Beltrami was also the best thing about Terminator 3. In fact, after hearing the above examples, he´s one of my favorites for Bond.

    Quite right @boldfinger

    A lot of the emotional kick from T3 came from the music. In fact, I'd wager that a majority of it came from Beltrami.

  • bondjamesbondjames You were expecting someone else?
    edited April 2018 Posts: 23,883
    @CraigMooreOHMSS those samples you posted from Logan are pretty good. I've only seen the film once (not a fan of it I'm afraid) and so am not all that familiar with the music from it. I quite liked his score for 2007's Live Free Or Die Hard (he updated Kamen's score well on that earlier film from the series too).

    The best example of incorporating a jazzy sound into a suspense score of late was of course Michael Giacchino's highly praised (rightly so) homage to Barry for The Incredibles. Daniel Pemberton also brought in elements for The Man From Uncle. I personally love Dave Grusin's jazzy piano work for The Firm too.
  • Posts: 5,767
    @bondjames, The Incredibles has a fantastic score, but Giacchino tends to do a lot of quite mediocre stuff too. Daniel Pemberton is a bit like Hans Zimmer in that he shows some brilliant peaks and a lot of meandering into boredom.
  • bondjamesbondjames You were expecting someone else?
    edited April 2018 Posts: 23,883
    I don't disagree on Giacchino @boldfinger, although I thought his efforts for last year's War for the Planet of the Apes was quite good. Frankly though, I prefer both Kraemer's and Elfman's efforts for the MI series. I agree on Pemberton too. He's prone to repetitive & somewhat distracting showboating with his riffs, which is something Barry was never guilty of.

    Did you get a chance to see Red Sparrow yet? If so, what did you think of James Newton Howard's score?
  • SatoriousSatorious Brushing up on a little Danish
    Posts: 232
    I need to check out Red Sparrow now as I think James Newton Howard is an amazing choice anyway. He'd bring some class, edgy tension, emotion and swagger back. Wasn't he rumoured to be in the running around the time of Tomorrow Never Dies? I always found the very end of this track to be somewhat John Barry inspired around the 1min50 mark (Iove the subtle orchestral build also):


    Pretty good at doing the more exciting stuff also:
  • bondjamesbondjames You were expecting someone else?
    edited April 2018 Posts: 23,883
    @Satorious I recommend Red Sparrow as a film. It's one of the better ones I've seen in that genre lately. They didn't cop out with it, and they easily could have. They deserve credit for that. Newton Howard's score during the opening sequence drew me right in and I remember thinking in the theatre that I'd like to hear something 'soaring' like that in a Bond film again.

    I enjoyed the Bourne Legacy score, although I preferred John Powell's work for the main series (I think his main theme and some of the other tracks, including when Bourne is running on the beach in Goa in Supremacy, are first class).
  • mattjoesmattjoes People's Republic of Matjoeguay
    Posts: 6,833
    bondjames wrote: »
    I discovered this truly sublime and sensuous track while viewing Sexy Beast. 1961's Lujon by the late great Henry Mancini. It reminds me of some of Barry's earlier compositions for Bond, which drew heavily on light jazz - particularly his work on TB.

    I'd really love to see someone with a jazz touch do the Bond score once there is an eventual recast with a new actor.

    I think they'd bring something fresh to the Bond sound. Quincy Jones as an example infused Michael Jackson's Off The Wall, Thriller and Bad albums with something special from the jazz environment, and as this is my favourite musical genre I'd appreciate seeing it back as an influence for Bond.

    I'd too like to see jazz return to Bond more prominently. In his Bond scores, Barry drifted away from it and into a more symphonic style, but there's nothing that would prevent a future composer from going back. My favorite track in the Skyfall soundtrack happens to be Old Dog, New Tricks, the one that most approaches that sensual sound of the early Bond scores.

    Absolutely lovely piece by Mancini, the one you posted. Love the melody that opens the theme and is then heard throughout, played by marimba and bass. The string melody is also enchanting in those big leaps it takes.

    Speaking of Mancini, this is one of my favorites by him. At 1:16, the combination of glockenspiel and zither playing on different octaves is exquisite.

  • bondjamesbondjames You were expecting someone else?
    edited April 2018 Posts: 23,883
    mattjoes wrote: »
    bondjames wrote: »
    I discovered this truly sublime and sensuous track while viewing Sexy Beast. 1961's Lujon by the late great Henry Mancini. It reminds me of some of Barry's earlier compositions for Bond, which drew heavily on light jazz - particularly his work on TB.

    I'd really love to see someone with a jazz touch do the Bond score once there is an eventual recast with a new actor.

    I think they'd bring something fresh to the Bond sound. Quincy Jones as an example infused Michael Jackson's Off The Wall, Thriller and Bad albums with something special from the jazz environment, and as this is my favourite musical genre I'd appreciate seeing it back as an influence for Bond.

    I'd too like to see jazz return to Bond more prominently. In his Bond scores, Barry drifted away from it and into a more symphonic style, but there's nothing that would prevent a future composer from going back. My favorite track in the Skyfall soundtrack happens to be Old Dog, New Tricks, the one that most approaches that sensual sound of the early Bond scores.

    Absolutely lovely piece by Mancini, the one you posted. Love the melody that opens the theme and is then heard throughout, played by marimba and bass. The string melody is also enchanting in those big leaps it takes.

    Speaking of Mancini, this is one of my favorites by him. At 1:16, the combination of glockenspiel and zither playing on different octaves is exquisite.

    That's a great track you posted. Some French influences can be heard (I'm not musically trained and so can't normally properly describe what I'm hearing). Those instruments you mentioned sort of have a twangy cimbalon quality to them, which is also something we got from early Barry (Ipcress File). Lujon (the Mancini track I posted earlier) reminds me a little of the glorious Cafe Martinique from the TB soundtrack.

    You're right about Barry going for a more sweeping and symphonic sound with his later Bond scores. I always thought that was partly because he was mirroring Roger's aging, but then realized it was apparent in his later non-Bond scores as well. So it must have been because Barry himself was aging.

    I'm with you on Old Dog, New Tricks. One of my absolute faves from SF. I actually found this very site while searching for samples of Newman's score online prior to the film's release. I was anxious to hear what he would come up with and when I heard that track I knew I would like the score, and I did.

    The reason I'd rather they incorporate that light jazz quality with a recast is because I think it better suits a younger actor. Here's hoping they hear us.
  • Posts: 727
    How about Alan Silvestri? His soundtrack for Infinity War sounds really good.

    https://youtube.com/watch?v=Rou3-kBVo1A
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    How about Alan Silvestri? His soundtrack for Infinity War sounds really good.

    https://youtube.com/watch?v=Rou3-kBVo1A
    I do like his Avengers theme very much, and from the trailers I can tell that he's going to massage and tweak it beautifully in the film, like how Barry did with the Bond theme in the old days.

    I will be able to comment more when I get round to seeing Ready Player One, which I believe he also scored.
  • edited April 2018 Posts: 5,767
    bondjames wrote: »
    I don't disagree on Giacchino @boldfinger, although I thought his efforts for last year's War for the Planet of the Apes was quite good. Frankly though, I prefer both Kraemer's and Elfman's efforts for the MI series. I agree on Pemberton too. He's prone to repetitive & somewhat distracting showboating with his riffs, which is something Barry was never guilty of.

    Did you get a chance to see Red Sparrow yet? If so, what did you think of James Newton Howard's score?
    @bondjames, I loved every second of the film! Especially the backgrounds and set design left me with an open mouth. To be honest, I´m not sure where there was classical ballet music and where there was JNW´s score. But I guess that only shows how well he blends in. Overall, I found the music fantastic!



    @Satorius, I must say those examples from Bourne Legacy and Salt are quite convincing.


    How about Alan Silvestri? His soundtrack for Infinity War sounds really good.

    https://youtube.com/watch?v=Rou3-kBVo1A
    I´m not sure how he would fit Bond, but I enjoyed his Ready Player One score a lot!
  • Posts: 501
    For those still not convinced by Murray Gold, listen to this track's last minute or so. You might find something familiar.

    I wouldn't want Silvestri for a Bond flick. Don't know why, I like the composer, but I just don't see it turning out right.

    Regarding JNH's score for Red Sparrow, I loved both the ambient part and the lush, Russian-ballet-like parts.
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    boldfinger wrote: »
    bondjames wrote: »
    I don't disagree on Giacchino @boldfinger, although I thought his efforts for last year's War for the Planet of the Apes was quite good. Frankly though, I prefer both Kraemer's and Elfman's efforts for the MI series. I agree on Pemberton too. He's prone to repetitive & somewhat distracting showboating with his riffs, which is something Barry was never guilty of.

    Did you get a chance to see Red Sparrow yet? If so, what did you think of James Newton Howard's score?
    @bondjames, I loved every second of the film! Especially the backgrounds and set design left me with an open mouth. To be honest, I´m not sure where there was classical ballet music and where there was JNW´s score. But I guess that only shows how well he blends in. Overall, I found the music fantastic!
    Glad you liked the film and the score. I thought you might. Both are very well done indeed. I realize there was an idiotic PC backlash against it but hopefully it picks up viewers in the home video market and results in a sequel down the road (I know JLaw has given up acting to focus on some silly politicking of her own but hopefully she gets back to it soon. She is quite a talent).
    0iker0 wrote: »
    Regarding JNH's score for Red Sparrow, I loved both the ambient part and the lush, Russian-ballet-like parts.
    Me too.
  • Posts: 17,372
    0iker0 wrote: »
    For those still not convinced by Murray Gold, listen to this track's last minute or so. You might find something familiar.

    I wouldn't want Silvestri for a Bond flick. Don't know why, I like the composer, but I just don't see it turning out right.

    Regarding JNH's score for Red Sparrow, I loved both the ambient part and the lush, Russian-ballet-like parts.

    That was a really good track! That last part would fit a Bond soundtrack like a glove. :-)
  • mattjoesmattjoes People's Republic of Matjoeguay
    Posts: 6,833
    bondjames wrote: »
    mattjoes wrote: »
    bondjames wrote: »
    I discovered this truly sublime and sensuous track while viewing Sexy Beast. 1961's Lujon by the late great Henry Mancini. It reminds me of some of Barry's earlier compositions for Bond, which drew heavily on light jazz - particularly his work on TB.

    I'd really love to see someone with a jazz touch do the Bond score once there is an eventual recast with a new actor.

    I think they'd bring something fresh to the Bond sound. Quincy Jones as an example infused Michael Jackson's Off The Wall, Thriller and Bad albums with something special from the jazz environment, and as this is my favourite musical genre I'd appreciate seeing it back as an influence for Bond.

    I'd too like to see jazz return to Bond more prominently. In his Bond scores, Barry drifted away from it and into a more symphonic style, but there's nothing that would prevent a future composer from going back. My favorite track in the Skyfall soundtrack happens to be Old Dog, New Tricks, the one that most approaches that sensual sound of the early Bond scores.

    Absolutely lovely piece by Mancini, the one you posted. Love the melody that opens the theme and is then heard throughout, played by marimba and bass. The string melody is also enchanting in those big leaps it takes.

    Speaking of Mancini, this is one of my favorites by him. At 1:16, the combination of glockenspiel and zither playing on different octaves is exquisite.

    That's a great track you posted. Some French influences can be heard (I'm not musically trained and so can't normally properly describe what I'm hearing). Those instruments you mentioned sort of have a twangy cimbalon quality to them, which is also something we got from early Barry (Ipcress File). Lujon (the Mancini track I posted earlier) reminds me a little of the glorious Cafe Martinique from the TB soundtrack.
    Absolutely. Both Café Martinique and Lujon have a certain elegance and exuberance to their melodies. Both are also in minor mode, which contributes to that feeling of opulence they evoke.

    The cimbalom --a form of zither-- was also used by Barry in the theme of The Persuaders. He did several pieces in the seventies with a similar sound: the themes of The Adventurer and Orson Welles' Great Mysteries, as well as arrangements of This Way Mary (from Mary Queen of Scots), We Have All the Time in the World and Diamonds Are Forever.

    Presumably, Mancini also used a cimbalom for the title theme of Charade. I'm not sure I hear it, myself-- only the electric guitar, though it's possible and logical they blend together all too well.
    bondjames wrote: »
    You're right about Barry going for a more sweeping and symphonic sound with his later Bond scores. I always thought that was partly because he was mirroring Roger's aging, but then realized it was apparent in his later non-Bond scores as well. So it must have been because Barry himself was aging.
    Absolutely. Barry underwent a general change of style during the 70s. In my opinion, in Bond, the first clear step of that transition was in TMWTGG, followed by MR and culminating in OP, after which his Bond scores had a similar sound, certain instruments aside (electric guitars in AVTAK, drum machine in TLD). There was a certain frenzyness to Barry's brass passages that he started to abandon in the 70s, replacing it with a more stately sound. This was probably not only related to the evolution of Barry's own compositional style, but also to changing trends in film music, considering that Star Wars had brought back the symphonic film score in full force after some years of it having been out of fashion. From what I've heard, the last Barry score in his old style may have been for 1978's Game of Death, with its brassy, energetic main theme.
    bondjames wrote: »
    The reason I'd rather they incorporate that light jazz quality with a recast is because I think it better suits a younger actor. Here's hoping they hear us.
    I would add that it can convey a sense of elegant playfulness that suits cinematic Bond very well.
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