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Newman's score just has a deadening soporific effect on several scenes. His music is like aural anaesthetic. The film (which is basically okay) could have been elevated to a whole new level with a better score. I have no qualms in saying that even Arnold would have done a better job.
Second one is a part of the car chase music, namely
Other than that it's pretty forgettable. I also wonder why we haven't got a proper full arrangement of the Bond theme. Did someone forbid Arnold and Newman to use that in the Craig Era at other places than the final scene/credits? I feel like IF we get to hear it, it always cuts off before the ba-da-da-daaaaah-da-da-da, which disturbs me a lot. The PTS digger scene in Skyfall SCREAMS Bond Theme to me, instead we get slight hints of it that end up being forgettable.
The snow action sequence in SPECTRE would be much better with the OHMSS Theme we heard in the trailer. Obviously Newman didn't do the trailer music, but I wish someone had listened to the fans and used that trailer music in the film. It would've made the scene so much better.
I think you're correct. There is probably a gag order on the Bond theme (how else does one explain its relative absence since DAD), to make up /even out for all the times Arnold lazily used it during the Brosnan era.
Now it's reserved for some seriously retro bad 'a' moment like the DB5 intro or My name is Bond, James Bond.....
Maybe they hold it back because they resent paying marvellous Monty too much in royalties?
Btw I'm seeing SPECTRE tomorrow :)
I will say your reactions to my post on the previous page made me laugh. I'm feeling a little better.
...still hate the score, though. But, oh well. Can't win 'em all.
You should be ashamed. ;)
Not after six tumblers of cask strength Bowmore Tempest it's not :-bd
I agree! And Actually i Think there are some good Barryesque moves in some tracks,specially romantic ones. I Think about Donna Lucia or Madelaine.
I definitely agree With You about the fact it is not Barry, unfortunatly. But there are some good tracks IMO.
Specially the romantic themes. I'm not that exciting about the action themes. They're ok but kinda too generic.
IMO, the real problem again for me, it' s still the lack of James Bond Theme. But it's a récurrent problem since CR so it had nothing to do With Newman i guess...
SP is a better film than SF IMO but both scores are equally lacklustre.
I'm more into David Arnold as well.
However, i Think SP is a better score then SF :).
I disagree. After 5 attempts, overall he was possibly better in QoS and CR yes, but it was not 'significantly' imho. Just barely, as well he should be after 5 tries that we had to endure.
I don't have a problem with people advocating for Newman's removal, but holding up Arnold as the alternative is uinspirational. Bond can and should do much better, again imho.
I don't understand the whole Arnold vs Newman debate. Some of us like them both. I prefer Newman's work, but some of Arnold's work in CR and QoS was sensational.
I have the CR, QoS, and SF OSTs all merged in one playlist (will add SP, too). It all works together.
Neither do I actually. However from my point of view they are both mediocre and not up to the standards that Bond deserves. Some criticize Newman and advocate Arnold. I don't agree. We have Newman now and he's tolerable with some decent flourishes, like Arnold was. I can live with him, but would I like Newman for 5? No. Did I want Arnold for 5? No. I endured him however.
Time for someone new. Someone better. It's easy......any number of films this year itself have demonstrated this amply.
You misunderstand what I'm saying. I don't think Arnold is all that great - I just think his CR and QoS scores are better than what Newman has given us. I would much prefer a totally new, better composer. The fact that Arnold is better than Newman is a damning indictment of Newman IMO.
I feel Newman's music completely distances me from the film. In SP I am watching beautiful photography, great performances etc but the score just completely lets the film down. I'm actually really annoyed that Mendes brought him back. The film is crying out for a different kind of score. I didn't care that much with SF as I didn't like the film, but I actually quite enjoyed SP and just wish it had had a better score.
Newman's music is not for everyone, especially those who like the sweeping Barry'esque action melodies. He's far better at the more intimate stuff, but even in that respect he did not come up with anything really standout in SP except for the often mentioned Donna Lucia.
Newman came along because he's Mendes man. The blame should be laid at Mendes feet. Having said that, I'm happy Arnold is not with us any more either because I was sick and tired of him being the 'go to' man for Bond. He is not worthy of that position imho, no matter how much he may have finally improved towards the end.
Anyone who gets the privilege to do more than one Bond score should really be first class. Newman won a Grammy so they probably had to bring him back. So actually blame Mendes and the academy.
I really struggle to understand what it is that people hear in Newman's music that I'm missing. His music is generic, utterly undistinguished background ear wash IMO. Even though I can't stand it, in some weird way I'd almost prefer a GE type score - at least it has personality.
The thing I personally find so odd about Newman is that to my mind he literally sucks the excitement out of a scene. His music actively undermines the directors apparent intentions. Clearly that's not what everyone feels though and that underlines how music is so subjective.
If EON has to be blamed for anything regarding the music, it's that they don't have the singer and composer work together on the song. I knew that when the song was announced and that Newman's name was not credited as either producer or writer, that he would only have a minimal amount of it in the score. History shows that when the composer and singer work separately on a Bond song, there's little chance of it appearing in the score. That happened with LTK, GE, DAD and QOS. At least Newman tried to put the song into his score despite not having worked with Smith.
This is unforgivable. There is no excuse for not getting this collaboration up and running as soon as the artist is chosen.
It is quite simply SLOPPY MANAGEMENT on EoN’s part, and once again proves the point I continually make that Babs should let someone else call the creative shots – either she does not have (or make) the time to take these creative decisions seriously (in which case she needs to appoint someone who does), or, as I suspect, she lacks judgment.
B.Broccoli is a producer in the sense that she knows the industry side of things and has good contacts + knows how to fund the Bond projects. She is however NOT suited to the role of a producer with creative input.
This. Do not underestimate her.
But still a far better effort in my opinion and should compliment and elevate what is on the screen.
Also watched on YouTube a documentary on Bond music where Barry compliments both Conti and Arnold and encouraged Barbara to use Arnold.
(I still don't want Arnold to return nor do I want Newman to return either.)