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Your respectable opinion, my friend, no more... [-X ;) :D
Bring David Arnold Back! :D
While with drum 'n Bass DA you recognised possibly the movie the sound belonged to, with CR & QoS he did do a few quite numbers in the soundtrack but there was no cohesion at all. And he had a shot at creating something new the best he came up with was a re-working of John Barry once again.
With Newman at least there was a cohesion in the score, it did make a whole unit, albeit not very Bondian.
If you are such a fan of DA you were never a fan of the great Soundtracks the 007 franchise once used to have. You prefer bland elevatormusic or generic actionmusic and that is fine too. But for me it seems that EON has forgotten to be bold out there with their music instead of palying it save with some tv composer.
So just because He's a fan of David Arnold that doesn't make him a Bond fan? That's so stupid. It's a Matter of taste. What makes you the judge of Bond fandom? I like David Arnold and prefer his music over Newman's. John Barry is the king of Bond music and will never change. But at least David tried to keep with Barry's tradition while mixing it up a little bit. Sure the techno got out of hand in 1999/2002 but that's the time period for you. If he was given more expressive freedom to use the Bond theme and even 007 theme like he once said he wanted to use. He would create something fantastic. But sadly in this time period where all the music has to be bland and composed by Hans Zimmer for every damn movie, I'd rather bring David Arnold back.
I love ALL John Barry music, but sadly he can´t be back.
Arnold´s work in his four Bond films are, in my opinion, superior to Newman´s. As I´ve said, just a question of opinions. (Arnold a TV composer?? Oh, yes, like in his brilliant Sherlock? you mean...)
What I said is that DA always was an underachiever when compared to the period before him. His composing for CR & QoS was hit and more often miss, and now people blame EON for not allowing him to use the 007 theme?? And EON gets the credit for forcing Newman to use more 007 theme. That is so schizofrenic.
DA stands for a poor period of music, I want creatiity back instead of elevator music or techno music. DA is than the wrong choice. imho
I can be more specific on this part. I for one love Arnold's music for the Brosnan Era. I think he great musical freedom. Used the Bond theme at all the right times. But when the Craig era started, Bond music was getting more subtle and severely lacking the Bond theme. Why? Is Monty Norman asking for more royalties? Is EoN ashamed to use the theme? I want answers too. But today what Bond 24 and the future of Bond music needs is more freedom to use the James Bond theme when nessessary, and Even the 007 theme. A tune I want to hear again. I liked a little bit of CR's and QoS's scores. Like Night at the Opera, Vesper's theme, Dinner Jackets, African Rundown, Camille's Story, Time to get out. All well and good. but I miss the Brass, the punch, the orchestral James Bond theme from the Roger Moore Era. Arnold at least tried.
You're confusing James Bond theme with 007 theme. They're two completely different themes.
And indeed I should seperate them but the 007 theme was last heard in MR, I guess I should be more accurate. My apologies for the inaccuracy.
Arnold has had his day.
Bye, Newman?, Hello, Arnold?? :D
Perhaps in his earlier days, when less attention to the quality of the movies was given before CR and the Golden Age of Daniel Craig's films, David Arnold produced very cliched pieces. As sappy as Paris & Bond was, the score piece was more carefully done than the presentation. But as we got to CR and QoS we got more complete scores. For example, later works like the Vesper theme is not too short and yet it stands on its own. QoS has an electric-guitar Bond theme that plays throughout the film as much as Vesper's score.
In fact, as you may know, some of Arnold's work is used (although small) in Skyfall. The last couple of films have carried forth David Arnold's work in some way. Plus, the score for QoS was done after principal photography was wrapped up. Marc Forster worked closely with him to work things out and have a harmony between the score and the film.
Thomas Newman relies a lot on percussion, repetition, and is mainly absent. It's like he tries to use fewer different chords. In this case it might be better for him to take a risk and use some different instruments for his pieces. David Arnold did that with QoS alone using Spanish guitar amongst other instruments.
Let's hope so!
Yes, he is. This was confirmed one year ago.
Is there an echo in here?
Evidence about this? Because that doesn't apply to me.
I guess I could too if I listen to them like 15 or 20 times. With Barry's scores, just two or three times they are ingrained in your head...AND you like to listen to the music. With Arnold, I don't have the motivation to re-listen many of his work. Any action cue that is more than 4 minutes in length is a warning sign to me: STAY AWAY, WALL OF SOUND APPROACHING.
Can you tell me please why?
The man has a fab musical history...Is it because he's so fond of Bond, he just gets all tense creatively and can't deliver the Bond soundtrack I know is in him...or is it simply he just can't do it for Bond, there is no synergy, no chemistry?
That said, I would have no issue with Arnold's return. I'd prefer him to do B24 than Newman.