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And he did it well and met the demands of that film. He's arguably more engaged than he was in YOLT, his comedic timing and delivery remained excellent, and he still moved well, regardless of the state of his tits. I'd rather see an actor enjoying himself than going through the motions, which unfortunately was Roger's state in AVTAK.
A hoot and a half while we watch Love by Cirque de Soleil got great music and is bearable without earmuffs.
The academy have voted and the Klebbie for worst send off for a Bond actor is ...Pierce parasails past some icebergs in DAD!
It was a tight 3 picture race!
DAD received 15 votes
DAF received 7 votes
AVTAK received 5 votes
LTK received Zero.Zero votes!
Our next Klebbie is for worst soundtrack! Other the years we have had some wonderful scores of Bond films. Some have not hit the mark. So which score is the worst. The nominees are:
Time for the academy to weigh in and vote for the soundtrack which murders their ears the most!
No words for this effort, did he phone it in and nobody was at home. If this the best they can get than it is horrible.
As for @NickTwentyTwo's point about using the old themes. This has come up countless times before, and yet it still needs to be stated: the decision to recycle music from SF is Sam's decision, not Newman's.
All that being said, Bill Conti, for FYEO, gets my vote.
This is something I definitely keep forgetting, thanks @TripAces. Los Muertos Vivos Estan is indeed a phenomenal track.
Dr. No deserves some credit on this one as well. There's a reason why Norman didn't do FRWL...
I can understand the disdain for GE, but I love, love the cold, industrial sounds used. There's one thing for certain: this score has an identity.
Except for the horribly dated FYEO score, I have absolutely no recollection of the other nominees’ music (which already says a lot about them), so my vote goes to Conti’s 007 meets Rocky and Scarface.
If you're only thinking of the soundtrack music, watch the film again. The overwrought 1950s orchestral tracks turn this movie from a top five Bond film to a top...well, top ten Bond film.
Kamen's LTK isn't Barry-level good but not generic either--the gunbarrel and "Pam" and the latin touches are all inspired.
Serra's GE is a cold dead fish of a score and inappropriate to a Bond film.
I think Conti's FYEO terrific. No more "dated" than any other style of vintage music. It also has more vigor than the Barry scores that bracket it.
Newman's SP...I can barely remember it. Little more than wallpaper.
Norman's DN is melodramatic but effective and does a fine job conveying a local feel.
It's rather tough deciding between GE and SP. Is it more offensive to be boringly bland or icily lifeless? Ultimately I would give the Klebbie to GE, since at least SP has a Bondian feel, even if it's recycled and unremarkable.
Hate most of GE, but at least the Bond theme is great. I like FYEO a lot too.
SP easily the worst for me. It has no distinguishing features, repeats Skyfall, and quite frankly Newman should be ashamed for accepting the pay cheque.
LTK is a pretty exciting and effective score. A bit like Die Hard perhaps, but he still does some inventive things with the Bond theme. It’s a good score.
GE, well it works in the film mostly, and it’s certainly the work of an original composer. When he drifts Natalya’s theme in or similar moments it can be quite affecting. It’s bold.
FYEO is a damned exciting score, it gets the blood pumping in a way Barry could never have done at that time. Just watch that gunbarrel! It’s full of good themes and melodies too. Nah, it’s great.
Spectre is a really good score. He reinvented the Bond sound for Skyfall and it worked. Just because we’ve heard it before doesn’t make it a bad score: if Bond fans thought something is without value if it’s repeated then I’d ask why they’re coming back for the 25th film! :D
So the winner is Dr No. That’s a rubbish old style score delivered by someone on a level way, way below anyone who followed him in that job. it’s a crappy sort of 1950s UK matinee soundtrack. It’s rubbish.
Creating sounds equivalent to The Tin Man from The Wizard of Oz, falling down a stairs!
After Spectre, I ask myself that all the time.
Yes I'm the same. It's on a level far below anything that came after. The rest are all world-class.
Still fairly ballsy to hire Barry though: I think he'd only scored one whole film before that.
The only score/soundtrack I don't listen to from the list, easy decision for me.
Or indeed, as has been noted before, that it was most likely down to the director temp tracking the film with Skyfall's score and wanting to stick with that.
I cannot see how that is a worse score than Norman's Dr No.