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It most certainly did not. TND had perfect use of the Bond theme. It never lost it's impact, That's silly. I care about the theme because it's a James Bond movie. I want theme, not themeless background music.
Furthermore, nothing is confirmed. We don't know if Newman is coming back but I'll say this, if he can't adhere to the simple requirement of incorporating the title theme as part of his score and make appropriate use of the Bond theme, then he should decline to return; it's as simple as that. These are Bond movies, a distinct sub genre in it's own right.
The fact is that these composers, songwriters and music editors thought that the score of Skyfall was one of the five best scores of 2012 and they did not think that any of the scores by David Arnold was good enough for a nomination.
Yes, the same people that denied John Barry for almost 30 years; very credible.
Paid for what? Celebrities don't get paid to attend the Academy Awards. They may receive pricy gift bags, but they don't receive a check for attending/presenting, just the hosts do.
I think he means they are paid to 'act', so why the need for badly delivered lines, courtesy of a teleprompter.
Apologies for riding slightly off topic there.
No. All I'm saying is that to claim that the Oscars are a joke and they don't mean anything is ridiculous.
John Barry? Do you mean the 5 time Academy Award winner John Barry?
Yep. Two or three instances per film is totally sufficient.
TND was probably the worst score ever in a Bond film. I'm not completely down on Arnold, BTW, but why anybody thinks this techno-hackery is a good score is beyond me.
Major disagreement PK! TND's score is very light on the techno. In an interview with Arnold, he broke down how he scored it. PTS to London. (Bond is Back, traditional Bond music. Orchestral typical Bond stuff. Hamburg (Non heavy techno elements.) Then once they get to Saigon to the very end. (Asian instrumentation with heavy orchestra stuff for the climax on the stealth boat.) TND does not have the worst Bond soundtrack! The only time DA went overboard with the techno was in TWINE. If you want bad Bond soundtracks, I suggest you listen to TSWLM's score.
Logan give me a Bond filM, give DC his FRWL he's always wanted and don't give that Notting Hill pseudo action director an excuse to make another SF.
Exactly. Thanks, @RC7.
My impression is that Skyfall was a high pressure experience to score. Newman is hardly short of offers so it may just be that he's ruled himself out. I saw David Arnold interviewed before a showing of YOLT at BFI SouthBank in late January and the strong professional relationship between Mendes and Newman was mentioned. Arnold agreed and gave absolutely no indication that he was remotely in the running for Bond 24. Either he's not doing it or he's doing a very strong job of keeping a straight face.
To be honest, I wouldn't like to predict who is scoring Bond 24 at this point.. If either Arnold or Newman are doing it then surely they've been signed up by now.Five Arnold scores is enough. If it's not Newman then IMO they should go for the best, Alexandre Desplat. Eon can afford it. :)
And I am happy to see Colonel Sun posting here, by the way.
For my personal tastes, I would definitely welcome Arnold back - and I do not feel we should limit someone by saying well he had 5, that's enough. Really? He was not burnt out; he was still developing and improving with his Bond scores.
I also welcome a new composer. But I am not wholly against Newman. I for sure am not satisfied with what he did, however. If Newman returns, I simply want more from him this time. Meaning I want the more Bondian influences in the score - the theme song woven into it, the James Bond theme in it more. Skyfall had some lovely moments, but it was overall not a great score and not particularly memorable. I know Newman has the talent, I just want him to embrace a Bond film as a Bond film and put those special touches in - and subtle is fine, I just want them there. Don't tell me a person that talented couldn't do it or shouldn't do it. This is not a regular action film or any other standard film, this is a Bond film and I do want it to have that flavor, even with the score.
If Newman is in and gives us a score similar to Skyfall's effort, I will be mightily disappointed. In Mendes as well, because Mendes is the director and has had a longstanding partnership with Newman - he should be able to influence Newman somewhat. Therefore, if Newman does not deliver something better for me, I do blame him (specifically his ego, because what else would be stopping him?) and I would also blame Mendes more this time. I do not mean to sound so cold against Newman; I am not. But I'm trying to be clear that what he did, nominations aside, was not sufficient for me and I know very well he can do better for Bond.
I think Newman may well be reluctant to return, but I feel Mendes would want him to say so he might be on board. Who really knows? I honestly hope we get confirmation soon. Which we probably won't.
http://www.contactmusic.com/story/adele-tight-lipped-on-james-bond-theme-future_4102914
Yes, the one and the same who was consistently snubbed for his work on the Bond series, which btw is where his best work can be found.
I don't know if we can trust this article 100% either.
But I am okay with Adele returning. And from a business standpoint, I can see why the producers would ask her. I am okay with someone new.
Would be great to get confirmation of something soon.
'AM' is my favorite album of all time. They just have a sound that screams Bond to me. I could definitely see them sliding nicely in front of a Craig movie, and the timing is right.
The only thing is the whole 'One Sony' goal where the company would want to use one of the artists they own the label to. Adele matches that. Arctic Monkeys, unfortunately, don't.
To reiterate that list:
Those were the likely possibilities I picked from the full list, here: http://en.wikipedia.org/wiki/List_of_Sony_Music_artists