Music Composers you would like to see score a Bond film

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  • Posts: 501
    Regarding Dan Romer, the thing is I haven't liked specially anything he's done since Beasts of the Southern Wild

    And I am surprised that no one mentioned Mansell's High Rise:


  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    0iker0 wrote: »
    And I am surprised that no one mentioned Mansell's High Rise:


    I watched High-Rise last night and quite enjoyed the score. I'd be open to Mansell.
  • edited November 2018 Posts: 3,333
    Having listened to Dan Romer. there's nothing that stands out as sounding Bond.

    Clint Mansell, on the other hand, might be the best suggestion yet. Just checking out his bigger scores, such Sahara, it does sound pretty good in a David Arnold kind of way.

  • DaltonCraig007DaltonCraig007 They say, "Evil prevails when good men fail to act." What they ought to say is, "Evil prevails."
    Posts: 15,696
    @bondjames A few more tracks from Hans Zimmer's Widows OST:



  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    Thanks @DaltonCraig007. As with the clip from the film you posted on the prior page, these again have a different sound from what I'm used to from Zimmer - more dialed back and subdued. I think I'll only be able to really assess it when viewing it with the film, which if I'm not mistaken is due for release this week. Even Dunkirk was a little different from his prior 'superhero' (and also his normal Nolan) sound. I think he may be in a transition phase creatively.
  • DaltonCraig007DaltonCraig007 They say, "Evil prevails when good men fail to act." What they ought to say is, "Evil prevails."
    edited November 2018 Posts: 15,696
    Correct, @bondjames, we are getting 2 new Liam Neeson flicks this week, McQueen's Widows on the big screen and the Coen Brother's Ballad of Buster Scruggs on Netflix. Both are getting critical acclaim (94% on Rottentomatoes).

    And definitely agree on Zimmer - his work on Dunkirk was quite superb, and really highlighted the sense of urgency of the film.
  • RoadphillRoadphill United Kingdom
    Posts: 984
    bondsum wrote: »
    Having listened to Dan Romer. there's nothing that stands out as sounding Bond.

    Clint Mansell, on the other hand, might be the best suggestion yet. Just checking out his bigger scores, such Sahara, it does sound pretty good in a David Arnold kind of way.


    That does sound very similar to an Arnold track. There are so many good composers out there. I am really hoping for someone new. Somebody who can ape the Barry type sound but with a fresh spin. A tall order I know.

    That being said I would take Arnold over Newman any day of the week.
  • ThunderfingerThunderfinger Das Boot Hill
    Posts: 45,489
    Anne Dudley
  • MurdockMurdock The minus world
    Posts: 16,339
    Robert Folk
  • ResurrectionResurrection Kolkata, India
    edited November 2018 Posts: 2,541
    Arnold will also be welcome ... Although I liked thoman Newman score in skyfall
  • TripAcesTripAces Universal Exports
    edited December 2018 Posts: 4,554
    I too have brought up Mansell as a possibility for Bond 25.

    CJF will bring in a composer who fits his vision and style. So I think that rules out Arnold coming back, but not Newman. I also can't see heavy-hitter Hans Zimmer getting the call eiher. And while CJF seems to like Dan Romer, too, he isn't a fit for Bond.

    So here's who I see on the shortlist...

    1. Ramin Djawadi (Why? He and CJF worked on separate projects at HBO, at roughly the same time, and likely know a lot of the same people.)
    2. Rupert Gregson-Williams (Why? Rupert composed for the CJF-produced The Alienist and has come into his own in recent years, especially with DC universe.)
    3. Harry Gregson-Williams (Why? He's better than his younger brother.)
    4. Clint Mansell (Why? Has that Indie street cred that appeals to CJF. And, like the Gregson-Williams brothers, he's a Brit.)
    5. Trent Reznor and Atticus Ross (Why? Two of the hottest composers working today: have both Indie cred, with Fincher, and action feature experience, Patriots Day. And it may help that CJF's Maniac star Jonah Hill had hired Reznor/Ross for his directorial debut.)
    6. Daniel Pemberton (Why? See #4.)
    7. Thomas Newman (Why? With Madeleine's return, CJF may opt to keep some other things in place, including the composer of her very compelling theme.)

    Much has been made by the anti-Newman crowd about his music being too atmospheric. I have to argue that 75-80% of any Bond score is atmospheric. Even David Arnold's best Bond work, imho, is "atmospheric": "Night at the Opera, "CCTV," and the themes of Vesper and Solange. Music written for action scenes is far more visceral. And I don't usually listen to that for enjoyment. And I'm not sure it's meant to be.

    A terrific example of this is John Williams' Jaws score. The main theme is what is most memorable, but it is not good music for just listgening to (not usually). The very BEST music in that film is atmospheric:



  • Posts: 4,027
    I think some people (probably including me) have criticised Newman's cues for being too quiet and non-melodic.

    Newman's scores were at times more ambient and tonal, which you could describe as atmospheric. Those Jaws tracks sound more melodic to me than tonal.

    I think Night At The Opera has a really strong melody in it, it's repeated over and over. Whereas the second part of Eternal City is pure ambient (and I must say I like that part and it fits the scene well).
  • ClarkDevlinClarkDevlin Martinis, Girls and Guns
    Posts: 15,423
    Well, when I want a soundtrack, I want it to be melodic.

    Otherwise, I'd just go outside. ;)
  • Posts: 5,767
    TripAces wrote: »
    CJF will bring in a composer who fits his vision and style. So I think that rules out Arnold coming back, but not Newman. I also can't see heavy-hitter Hans Zimmer getting the call eiher. And while CJF seems to like Dan Romer, too, he isn't a fit for Bond.
    Newman´s Zimmer-isms in SF and SP seem at least partly suggested by the Producers, so I find it anything but impossible that Eon will go for Zimmer, especially as Long as Nolan isn´t ruled out as possible future director.
    TripAces wrote: »
    Much has been made by the anti-Newman crowd about his music being too atmospheric.
    What??? Not once have I read any post here claiming Newman´s Bond Music were too atmospheric. And there is not "the" anti-Newman crowd. Different People have their different reasons.

  • TripAcesTripAces Universal Exports
    edited December 2018 Posts: 4,554
    vzok wrote: »
    I think some people (probably including me) have criticised Newman's cues for being too quiet and non-melodic.

    Newman's scores were at times more ambient and tonal, which you could describe as atmospheric. Those Jaws tracks sound more melodic to me than tonal.

    I think Night At The Opera has a really strong melody in it, it's repeated over and over. Whereas the second part of Eternal City is pure ambient (and I must say I like that part and it fits the scene well).

    Interesting. I find a lot of Newman's Bond music to be quite melodic, especially the themes for Lucia and Madeleine in SP. The Severine theme is beautiful, as well, and the tracks "Komodo Dragon" and "Someone Usually Dies" (played when Bond enters the casino and then meets Severine) are two of my faves. Just gorgeous music. My Daniel Craig era Top 10:

    1. Night at the Opera (QoS, Arnold)
    2. Severine (SF, Newman)
    2. Madeleine (SP, Newman)
    3. Someone Usually Dies (SF, Newman)
    4. Vesper (CR, Arnold)
    5. Brave New World (SF, Newman)
    6. Komodo Dragon (SF, Newman)
    7. Donna Lucia (SP, Arnold)
    8. Close Shave (SF, Newman)
    9. Camille's Story (second half of the song, played when Bond and Camille walk to the bus) (CR, Arnold)
    10. Los Muertos Vivos Estan (SP, Newman)

    Arnold has other pieces that I like very much but they are just too damn short. The track "Bond in Haiti" in QoS is a perfect example.

    EDIT: Donna Lucia (SP, Newman) Whoops
  • edited December 2018 Posts: 17,432
    .
    TripAces wrote: »
    vzok wrote: »
    I think some people (probably including me) have criticised Newman's cues for being too quiet and non-melodic.

    Newman's scores were at times more ambient and tonal, which you could describe as atmospheric. Those Jaws tracks sound more melodic to me than tonal.

    I think Night At The Opera has a really strong melody in it, it's repeated over and over. Whereas the second part of Eternal City is pure ambient (and I must say I like that part and it fits the scene well).

    Interesting. I find a lot of Newman's Bond music to be quite melodic, especially the themes for Lucia and Madeleine in SP. The Severine theme is beautiful, as well, and the tracks "Komodo Dragon" and "Someone Usually Dies" (played when Bond enters the casino and then meets Severine) are two of my faves. Just gorgeous music. My Daniel Craig era Top 10:

    1. Night at the Opera (QoS, Arnold)
    2. Severine (SF, Newman)
    2. Madeleine (SP, Newman)
    3. Someone Usually Dies (SF, Newman)
    4. Vesper (CR, Arnold)
    5. Brave New World (SF, Newman)
    6. Komodo Dragon (SF, Newman)
    7. Donna Lucia (SP, Arnold)
    8. Close Shave (SF, Newman)
    9. Camille's Story (second half of the song, played when Bond and Camille walk to the bus) (CR, Arnold)
    10. Los Muertos Vivos Estan (SP, Newman)

    Arnold has other pieces that I like very much but they are just too damn short. The track "Bond in Haiti" in QoS is a perfect example.

    Nothing beats this one, IMO:

  • Posts: 4,027
    TripAces wrote: »
    vzok wrote: »
    I think some people (probably including me) have criticised Newman's cues for being too quiet and non-melodic.

    Newman's scores were at times more ambient and tonal, which you could describe as atmospheric. Those Jaws tracks sound more melodic to me than tonal.

    I think Night At The Opera has a really strong melody in it, it's repeated over and over. Whereas the second part of Eternal City is pure ambient (and I must say I like that part and it fits the scene well).

    Interesting. I find a lot of Newman's Bond music to be quite melodic, especially the themes for Lucia and Madeleine in SP. The Severine theme is beautiful, as well, and the tracks "Komodo Dragon" and "Someone Usually Dies" (played when Bond enters the casino and then meets Severine) are two of my faves. Just gorgeous music. My Daniel Craig era Top 10:

    1. Night at the Opera (QoS, Arnold)
    2. Severine (SF, Newman)
    2. Madeleine (SP, Newman)
    3. Someone Usually Dies (SF, Newman)
    4. Vesper (CR, Arnold)
    5. Brave New World (SF, Newman)
    6. Komodo Dragon (SF, Newman)
    7. Donna Lucia (SP, Arnold)
    8. Close Shave (SF, Newman)
    9. Camille's Story (second half of the song, played when Bond and Camille walk to the bus) (CR, Arnold)
    10. Los Muertos Vivos Estan (SP, Newman)

    Arnold has other pieces that I like very much but they are just too damn short. The track "Bond in Haiti" in QoS is a perfect example.

    Don’t disagree with any of those Newman selections. Those are his strength. But he does a lot of ambient stuff too and I think that’s not so popular round here.

    He’s hit and miss on action for me.
  • talos7talos7 New Orleans
    Posts: 8,084
    Both CR and QOS are exceptional; Arnold took full advantage of being freed from the traditional Bond sound while at the same time remaining true to it.
    Port Au Prince Is another strong cut. There is a portion, beginning at the 5:00 mark that is magically hypnotic as it segues into a familiar Bond sound.
  • Posts: 501
    I'd take Newman's score for SF and SP above any Arnold score, with the exception of CR. M's brilliant theme alone, both majestic and full of melancholy, is enough to make them that good.
  • M_BaljeM_Balje Amsterdam, Netherlands
    Posts: 4,479
    Marc Streitenfeld (Germany)
    https://www.imdb.com/name/nm0834199/




    (movie directed by Marc Forster)
  • TripAcesTripAces Universal Exports
    Posts: 4,554
    0iker0 wrote: »
    I'd take Newman's score for SF and SP above any Arnold score, with the exception of CR. M's brilliant theme alone, both majestic and full of melancholy, is enough to make them that good.

    It is a chilling piece of music, with the shot behind Bond, overlooking London, from the rooftop.
  • MonsieurMerciMonsieurMerci France
    Posts: 98
    I like the MI:Fallout music by Lorne Balfe (nice feature on the bluray with the isolated score track), best MI Theme so far to me. I wonder what he could bring to a Bond score.
  • Posts: 501
    Joe Kraemer did it much better with MI 5. In fact, I could see Solomon's theme in a Bond flick.

    That score is very very underrated. Kraemer should've been brought back to MI. Balfe's score is too formulaic and too Zimmer-like. I know it was recorded by a live orchestra, but it seemed a bunch of samples stuck one behind the other.
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    I liked them both actually. I really enjoyed the RN score and was initially wary when Balfe was announced as composer, but he stepped up and delivered very well as far as I'm concerned.

    There's a fair amount of creativity and variety throughout the MI series when it comes to composers and approaches to the music, while still retaining the essential MI core.
    --
    M_Balje wrote: »
    Marc Streitenfeld (Germany)
    https://www.imdb.com/name/nm0834199/




    (movie directed by Marc Forster)
    I don't know much about him, but both of these pieces aren't bad.
  • ThunderfingerThunderfinger Das Boot Hill
    Posts: 45,489
    0iker0 wrote: »
    Joe Kraemer did it much better with MI 5. In fact, I could see Solomon's theme in a Bond flick.

    That score is very very underrated. Kraemer should've been brought back to MI. Balfe's score is too formulaic and too Zimmer-like. I know it was recorded by a live orchestra, but it seemed a bunch of samples stuck one behind the other.

    Great track!
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    0iker0 wrote: »
    Joe Kraemer did it much better with MI 5. In fact, I could see Solomon's theme in a Bond flick.

    That score is very very underrated. Kraemer should've been brought back to MI. Balfe's score is too formulaic and too Zimmer-like. I know it was recorded by a live orchestra, but it seemed a bunch of samples stuck one behind the other.

    Great track!
    It certainly is. Lots of subtle detail in the earlier part and it builds very nicely.
  • M_BaljeM_Balje Amsterdam, Netherlands
    Posts: 4,479
    Yesterday i watched ''3 days to kill''

    https://m.imdb.com/name/nm1190889/
    Guillaume Roussel (France)






  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    Alan Silvestri

    I think he was good in the 80s, but his later scores feel as if he never evolved since then.
  • talos7talos7 New Orleans
    Posts: 8,084
    This was posted elsewhere but it illustrates what Noel Gallagher , and his producer David Holmes could do, not only for a title track but the score.
    Holmes has done some outstanding work, including the "Oceans" films

    This song alone would have improved my assessment of SPECTRE by several points ;)


  • edited March 2019 Posts: 17,432
    talos7 wrote: »
    This was posted elsewhere but it illustrates what Noel Gallagher , and his producer David Holmes could do, not only for a title track but the score.
    Holmes has done some outstanding work, including the "Oceans" films

    This song alone would have improved my assessment of SPECTRE by several points ;)



    It really is a great song. Noel Gallagher is making some very enjoyable music these days, and I'd be a very happy man should he get the chance to do the title track for B25. Maybe with Paul Weller?

    Only know David Holmes' work from the Oceans films unfortunately. Do like those scores though.
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