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Bond misses David Arnold

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  • ClarkDevlinClarkDevlin Martinis, Girls and Guns
    Posts: 15,423
    CraigMooreOHMSS wrote: »
    ClarkDevlin wrote: »
    Take the electronic beats away, and that track is a great one. Funny, in the film, the electronic bumps didn't exist during that scene.

    Yeah, in fact the majority of his music for DAD was different in the film, save for the first part of the ice chase. The majority of the electronics were bumped up for the album release. They do get a bit grating at points but it's the only score of his that does, for me. The majority of it is pretty good.

    It helps that Nick Dodd is one of the best conductors around. Seeing them live is a treat.
    And I thought I was the only one who loved Arnold's score particularly in Die Another Day. :D
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,040
    ClarkDevlin wrote: »
    CraigMooreOHMSS wrote: »
    ClarkDevlin wrote: »
    Take the electronic beats away, and that track is a great one. Funny, in the film, the electronic bumps didn't exist during that scene.

    Yeah, in fact the majority of his music for DAD was different in the film, save for the first part of the ice chase. The majority of the electronics were bumped up for the album release. They do get a bit grating at points but it's the only score of his that does, for me. The majority of it is pretty good.

    It helps that Nick Dodd is one of the best conductors around. Seeing them live is a treat.
    And I thought I was the only one who loved Arnold's score particularly in Die Another Day. :D

    I like it quite a bit. I would love if a film mix surfaced one day minus the electronics that were shoehorned in for the release. It's the weakest of his scores but it's got a lot of strong points and regularly finds itself blaring from my headphones!
  • ClarkDevlinClarkDevlin Martinis, Girls and Guns
    Posts: 15,423
    CraigMooreOHMSS wrote: »
    ClarkDevlin wrote: »
    CraigMooreOHMSS wrote: »
    ClarkDevlin wrote: »
    Take the electronic beats away, and that track is a great one. Funny, in the film, the electronic bumps didn't exist during that scene.

    Yeah, in fact the majority of his music for DAD was different in the film, save for the first part of the ice chase. The majority of the electronics were bumped up for the album release. They do get a bit grating at points but it's the only score of his that does, for me. The majority of it is pretty good.

    It helps that Nick Dodd is one of the best conductors around. Seeing them live is a treat.
    And I thought I was the only one who loved Arnold's score particularly in Die Another Day. :D

    I like it quite a bit. I would love if a film mix surfaced one day minus the electronics that were shoehorned in for the release. It's the weakest of his scores but it's got a lot of strong points and regularly finds itself blaring from my headphones!
    My sentiments exactly.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,040
    ClarkDevlin wrote: »
    CraigMooreOHMSS wrote: »
    ClarkDevlin wrote: »
    CraigMooreOHMSS wrote: »
    ClarkDevlin wrote: »
    Take the electronic beats away, and that track is a great one. Funny, in the film, the electronic bumps didn't exist during that scene.

    Yeah, in fact the majority of his music for DAD was different in the film, save for the first part of the ice chase. The majority of the electronics were bumped up for the album release. They do get a bit grating at points but it's the only score of his that does, for me. The majority of it is pretty good.

    It helps that Nick Dodd is one of the best conductors around. Seeing them live is a treat.
    And I thought I was the only one who loved Arnold's score particularly in Die Another Day. :D

    I like it quite a bit. I would love if a film mix surfaced one day minus the electronics that were shoehorned in for the release. It's the weakest of his scores but it's got a lot of strong points and regularly finds itself blaring from my headphones!
    My sentiments exactly.

    Sword Fight in particular being a fine example of Arnold and Dodd at their best. Superb.

    I'm a big Arnold fan and I think his scores for Emmerich's films, especially Godzilla, are some of the best that Hollywood has come out with in the past 30 years. So when he gets labelled as "untalented" or as a "hack" I find it rather amusing, to say the least.

    I liked the Skyfall score but wasn't too keen on Spectre. That said, I would never go so far as to call Newman out on his talent - especially when there's overwhelming evidence to the contrary.

    Same goes for Arnold, regardless of what he's doing these days.
  • ClarkDevlinClarkDevlin Martinis, Girls and Guns
    edited November 2015 Posts: 15,423
    CraigMooreOHMSS wrote: »
    ClarkDevlin wrote: »
    CraigMooreOHMSS wrote: »
    ClarkDevlin wrote: »
    CraigMooreOHMSS wrote: »
    ClarkDevlin wrote: »
    Take the electronic beats away, and that track is a great one. Funny, in the film, the electronic bumps didn't exist during that scene.

    Yeah, in fact the majority of his music for DAD was different in the film, save for the first part of the ice chase. The majority of the electronics were bumped up for the album release. They do get a bit grating at points but it's the only score of his that does, for me. The majority of it is pretty good.

    It helps that Nick Dodd is one of the best conductors around. Seeing them live is a treat.
    And I thought I was the only one who loved Arnold's score particularly in Die Another Day. :D

    I like it quite a bit. I would love if a film mix surfaced one day minus the electronics that were shoehorned in for the release. It's the weakest of his scores but it's got a lot of strong points and regularly finds itself blaring from my headphones!
    My sentiments exactly.

    Sword Fight in particular being a fine example of Arnold and Dodd at their best. Superb.

    I'm a big Arnold fan and I think his scores for Emmerich's films, especially Godzilla, are some of the best that Hollywood has come out with in the past 30 years. So when he gets labelled as "untalented" or as a "hack" I find it rather amusing, to say the least.

    I liked the Skyfall score but wasn't too keen on Spectre. That said, I would never go so far as to call Newman out on his talent - especially when there's overwhelming evidence to the contrary.

    Same goes for Arnold, regardless of what he's doing these days.
    Exactly. I share the same views on the Arnold matter.

    Thomas Newman is talented, very talented. No questions about it. But, I don't think, personally, he gets Bond the way Arnold did or the ones before him (save for Serra). I love his score for The Iron Lady, it was very touching. But, Skyfall and Spectre overall apart from a few good tracks, mostly from the former, don't feel like a Bond score to me. People complain about Never Say Never Again for lacking the Bond Theme, whereas it was a very decent soundtrack recreating the spirit of the original Thomas Crown Affair (as I believe it was requested by Connery himself, who 15 years prior, rejected the role and later regretted it), which Michel Legrand composed. I find that one decent enough, but it isn't Bond.

    I love some of Serra's cues, too. But, he isn't for Bond, either.

    That said, I would not want Newman to return, again. Either bring in Arnold, who, perhaps, having never composed a Bond music for film seven years, might have new influences and inspirations coming to him. I wish they would reuse the essence of Tomorrow Never Dies (one of my favourite soundtracks of all time, and films to name), and what made it great to listen to.
  • petergreenhill5petergreenhill5
    Posts: 824
    By 'not Bond' we mean not Barry or not the Barry lite attempts of Arnold. Time moves on, there is more than one way to score a Bond film. Newman's score for Spectre is spectacular and works so well for the film. Newman gets Bond and his music IS Bondish.
  • ClarkDevlinClarkDevlin Martinis, Girls and Guns
    Posts: 15,423
    Perhaps I lack the ears in that case. Because, to me, Newman's scores are no more than sound effects in the Bonds, just like Hans Zimmer's composure is the counterpart of that in The Dark Knight Trilogy... and its similar thematic film called Inception.
  • MurdockMurdock The minus world
    Posts: 16,333
    I'll take something with heavy melodies and themes over water and crackers.
  • ClarkDevlinClarkDevlin Martinis, Girls and Guns
    Posts: 15,423
    Murdock wrote: »
    I'll take something with heavy melodies and themes over water and crackers.
    I'm with you on that one.
  • TheWizardOfIceTheWizardOfIce 'One of the Internet's more toxic individuals'
    Posts: 9,117
    ClarkDevlin wrote: »
    Murdock wrote: »
    I'll take something with heavy melodies and themes over water and crackers.
    I'm with you on that one.

    Count me in. PeterGreenhill clearly has some sort of super sensitive dog hearing if he can make anything but repeating of SF's score and the odd dash of the Bond theme in Newman's uninspired score.

    Or perhaps I just need a hearing aid?
  • ClarkDevlinClarkDevlin Martinis, Girls and Guns
    Posts: 15,423
    TheWizardOfIce wrote: »
    ClarkDevlin wrote: »
    Murdock wrote: »
    I'll take something with heavy melodies and themes over water and crackers.
    I'm with you on that one.

    Count me in. PeterGreenhill clearly has some sort of super sensitive dog hearing if he can make anything but repeating of SF's score and the odd dash of the Bond theme in Newman's uninspired score.

    Or perhaps I just need a hearing aid?
    I'm beginning to wonder that about myself. :))
  • CowleyCowley
    Posts: 486
    MakeshiftPython wrote: »
    To take the big band thing further. David Arnold to me is like Michael Buble, trying too hard and making it more obvious that he doesn't have a fraction of what made that music brilliant in the first place.

    That's absolutely spot on with how I feel about Arnold too.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,040
    TheWizardOfIce wrote: »
    ClarkDevlin wrote: »
    Murdock wrote: »
    I'll take something with heavy melodies and themes over water and crackers.
    I'm with you on that one.

    Count me in. PeterGreenhill clearly has some sort of super sensitive dog hearing if he can make anything but repeating of SF's score and the odd dash of the Bond theme in Newman's uninspired score.

    Or perhaps I just need a hearing aid?

    I think we all might need one.
  • petergreenhill5petergreenhill5
    Posts: 824
    The WizardOfice probably doesn't need a hearing aid. Just listen to the score in the film and on album without preconceived notions of what Bond music should be.
  • MurdockMurdock The minus world
    edited November 2015 Posts: 16,333
    Yes let's ignore what good Bond music should sound like and favor pretentious bland scores that are running rampant in films these days. ugh. 8-|
  • TheWizardOfIceTheWizardOfIce 'One of the Internet's more toxic individuals'
    Posts: 9,117
    PeterGreenhill wrote: »
    The WizardOfice probably doesn't need a hearing aid. Just listen to the score in the film and on album without preconceived notions of what Bond music should be.

    You amuse me Mr Greenhill!

    The notion that I'm going to actually part with money to buy the OST is plainly ludicrous.

    I'd even resent paying for the electricity required to illegally download it.

    To be fair it's not particularly that SP is utterly awful that irks me. It's perfectly serviceable I suppose.

    It's the shameless recycling of SF that is unacceptable. In at least 3 of the action scenes I noticed direct copy/pastes from the last film. Sorry but if Newman can't be arsed to bring his A game to Bond then he certainly does not deserve another crack.

    Barry after 9 films could still come up with phenomenal action cues like 'He's Dangerous' but after just one film Newman is phoning it in. On your bike sunshine.
  • MyNameIsMyBondRnMyNameIsMyBondRn WhereYouLeastExpectMeToBe
    Posts: 221
    "Bourne"-series has also continuity as it is the identity of that Particular Movie Franchise,
    Tech issues arises with time and authors abilities-and not all are having a good day when You need it for a particular movie-that comes also with the scores. on a whim everything changes as the audience attention turns; novel situations catches on.
    -as an Author-; You cannot feed them all..!
  • MayDayDiVicenzoMayDayDiVicenzo Here and there
    Posts: 5,080
    What on Earth are you talking about?
  • PFOPFO
    Posts: 18
    TheWizardOfIce wrote: »
    PeterGreenhill wrote: »
    The WizardOfice probably doesn't need a hearing aid. Just listen to the score in the film and on album without preconceived notions of what Bond music should be.

    You amuse me Mr Greenhill!

    The notion that I'm going to actually part with money to buy the OST is plainly ludicrous.

    I'd even resent paying for the electricity required to illegally download it.

    To be fair it's not particularly that SP is utterly awful that irks me. It's perfectly serviceable I suppose.

    It's the shameless recycling of SF that is unacceptable. In at least 3 of the action scenes I noticed direct copy/pastes from the last film. Sorry but if Newman can't be arsed to bring his A game to Bond then he certainly does not deserve another crack.

    Barry after 9 films could still come up with phenomenal action cues like 'He's Dangerous' but after just one film Newman is phoning it in. On your bike sunshine.

    Never mind that "He's Dangerous" sounds an awful lot like the OHMSS main theme.

    But you are right on the money. The SP score is shameless recycling. Newman does not deserve a third film. Mind you, I don't want David Arnold back either.
  • MyNameIsMyBondRnMyNameIsMyBondRn WhereYouLeastExpectMeToBe
    Posts: 221
    MayDayDiVicenzo wrote: »
    What on Earth are you talking about?
    -Production Design-(the main identity of the End Product).
  • MurdockMurdock The minus world
    edited November 2015 Posts: 16,333
    It's complicated. =))

    Also He's dangerous doesn't sound anything like OHMSS, it just uses the 4 note bass melody in it's composition. It's not recycling.
  • PFOPFO
    Posts: 18
    He's Dangerous constantly sounds like it's about to erupt into OHMSS. Ditto the Octopussy action cue and TMWTGG title song. Thematically these pairs are very similar. Despite that, I never called it recycling, let alone "way recycling", er, whatever that means.
  • MurdockMurdock The minus world
    Posts: 16,333
    A typo on my part. :))
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    The title and the entire premise of this thread is sadly misguided, uninspired & lacking in vision, imho.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,040
    bondjames wrote: »
    The title and the entire premise of this thread is sadly misguided, uninspired & lacking in vision, imho.

    We are very happy to have you here to fix that for us. Thank you.
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    CraigMooreOHMSS wrote: »
    bondjames wrote: »
    The title and the entire premise of this thread is sadly misguided, uninspired & lacking in vision, imho.

    We are very happy to have you here to fix that for us. Thank you.

    No problem. Any time.
  • petergreenhill5petergreenhill5
    Posts: 824
    It's obvious to anyone who has seen the film why Newman has reused a few cues from Skyfall.
  • petergreenhill5petergreenhill5
    Posts: 824
    Re: the thread title. Bond doesn't miss David Arnold in fact David Arnold more than outstayed his welcome. A few decent cues were more than negated by a tendency to produce loud, aimless, crash bang wallop noise whenever he ran out of ideas. Newman has transformed Bond music into classy, gorgeous thrilling scoring. We are blessed.
  • TheWizardOfIceTheWizardOfIce 'One of the Internet's more toxic individuals'
    edited November 2015 Posts: 9,117
    PeterGreenhill wrote: »
    It's obvious to anyone who has seen the film why Newman has reused a few cues from Skyfall.

    I've seen the film and can understand why Newman uses the musical cues for M and MP and I havent got a problem with that.

    But I'm rather ignorant as to why the PTS climax for example features identical music to SF action scenes so given its so obvious to you I'd love if ityou could enlighten me why he does this, because to a musical troglodyte like me it just seems like Newman has nothing new in his locker to bring to the table.
    PeterGreenhill wrote: »
    Newman has transformed Bond music into classy, gorgeous thrilling scoring. We are blessed.

    Please. Reign it in a bit I've just had my lunch.
  • WillyGaloreWillyGalore
    edited November 2015 Posts: 6,396
    TheWizardOfIce wrote: »
    PeterGreenhill wrote: »
    It's obvious to anyone who has seen the film why Newman has reused a few cues from Skyfall.

    I've seen the film and can understand why Newman uses the musical cues for M and MP and I havent got a problem with that.

    But I'm rather ignorant as to why the PTS climax for example features identical music to SF action scenes so given its so obvious to you I'd love if it you could enlighten me why he does this, because to a musical troglodyte like me it just seems like Newman has nothing new in his locker to bring to the table.
    Not just the climax to the PTS but the scene when the building collapses, the car chase in Rome and escaping from the lair in Morocco, all features cues from SF.
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