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You're quad version is far better. ;)
The way things have been going recently the director gets a lot of control. You don’t bring in a director like Danny Boyle and put lots of constraints on him. He will pick his own production designer, composer etc i very much expect. He’s worked with Arnold so he could conceivably be back - but Boyle has worked with lots of other designers as well. Glassner is a safe pair of hands and has definitely upped the quality in terms of production design but he’s not brought anything really stand out to Bond. Frankly we haven’t had anything truly memorable on the production design front since Ken Adam.
I think the issue is that they hired the wrong person. Newman was totally unsuited to Bond. I’m sure John Barry was bloody difficult at times but he was the right man for the job and - very important - liked to collaborate with others. Newman is a mediocrity in my view and with a massively inflated sense of his own worth. I’m still convinced his score got the Oscars nod only because it was associated with Adele’s song. You’re totally right that the only moment Newman’s score comes alive is that brief use of the title theme. The rest of it is like aural anaesthetic - bland background ear wash devoid of emotion, tension or drama.
Imagine if Mendes had come back for a third - we’d have had SF version 3 for the soundtrack.
Here no but elsewhere yes. Whoever the director is in fact.
My wife's reaction about Danny Boyle: "cool!" She really loved Slumdog Millionaire.
From getting into fighting shape to the right hair and makeup, a lot has been said about what Craig needs to look good for his final go as Bond ; in a word may I add, eyebrows! Lol.
Some may scoff but the lack of them tends to give him a brutish look. Trust me Sir Sean’s brows recieved much attention at his peak as 007.
There does seem to be a lot of backlash against Mendes/SP in particular lately elsewhere though. It’s dawned on almost everyone by now it was a weak Bond film. SF still seems fairly well-liked, but a little divisive here on the boards.
Only moments I liked Newman's score for SF and SP...
SF - train fight, bond stalking Patrice through that room of glass + their fight, the Tennyson part
SP - long shot music in pts, bond steals db10 / driving into Rome, music for Donna lucia, bond vs hinx car chase, WOTW instrumental on train
The rest all kind of runs together..
Correct. The Newman hate on these boards is ridiculous. He's not to blame for Arnold getting kicked aside. Newman has always been Mendes's guy, going back to American Beauty. If Bond fans are angry about Arnold they need to direct their anger elsewhere. Newman's two scores for SF and SP were damn good, SF especially, for which he deservedly won an Grammy.
I was not fond of Arnold's scoring until CR. I think he did some terrific stuff on both CR and QoS. There is room to appreciate both of them during DC's tenure.
@thelivingroyale There has been no proof of any falling out. And I saw no indication that Newman phoned in anything. The music foir the PTS was fantastic. And he had to compose two different, distinct female themes: he did that exceptionally well, too. SP had some terrific music.
Speak for yourself, Marketto. If Arnold returned I would certainly be VERY unhappy. Ask yourself this question: why did professional composers (member of the music branch of the Academy) believe back in 2012 that Newman's score was one of the 5 best movie scores of 2012? I really hope you are right. It seems EON will FINALLY get rid of P&W, and people here want Arnold back??? No Spectre plot thread remained unresolved. Spectre is defeated. The baddie is captured. Bond won. Next.
WTH did Thomas Newman ever do to you?
The reuse of the SF track totally fits the resulting movie: lazy, uninspired and out of steam. The only good thing in SP was the acting plus cinematography ...
So you see, it's not just professional.
It's personal.
Okay, okay, he did nothing. I'm just exaggerating of course, and I was exaggerating before. But I don't want him back scoring a Bond film, at all.
Edit: I rank every Bond composer above Newman except for Monty Norman. And Norman did come up with the Bond theme, or at least its key elements. Both Michael Kamen and Éric Serra's scores were certainly better than Newman's efforts. I will concede that Newman's score for Skyfall was reasonably effective and fit the unconventional nature of the film at certain points, but it still left a great deal to be desired. Rehashed parts and everything, I found Spectre's score to be a step up from Skyfall's, but it's not a patch on previous non-Newman efforts. The Newman scores are not disastrous, but they're not very good either. So I was being hyperbolic.
Arnold is a fantastic bond composer
Clear differance
What the Bond movies need are talented directors and writers who are really eager to work on a Bond film. Boyle and Hodge are really eager to do Bond 25.
That all boils down to personal taste and opinion... Just like I can say Arnold's scores for CR and QOS are vastly superior to Newman's SF and SP... And more over when i listen to Arnold's Bond scores, they sound like a Bond movie should... The fact that Newman couldn't even be bothered to score his own version of the Bond theme bothers me, instead he purged it from Arnold.... Twice!
I'll attend. ;)
Not a Newman hater myself (love Skyfall but Spectre was too repetetive and boring) but i'll join just to hang out with you guys :D
i can mix cocktails all night long