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The David Arnold Appreciation Thread.

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  • royale65royale65 Caustic misanthrope reporting for duty.
    Posts: 4,421
    The way that Arnold consistently weaves YKMN throughout the score is just sublime.
  • MurdockMurdock The minus world
    Posts: 16,330
    Agreed, It rocks! :-bd
  • DaltonCraig007DaltonCraig007 They say, "Evil prevails when good men fail to act." What they ought to say is, "Evil prevails."
    edited August 2017 Posts: 15,690
    Murdock wrote: »
    I love that track. It's one of my favorite establishing shot cues.

    The arrival in the Bahamas is fantastic too, at the 1:18 mark of this track:

  • royale65royale65 Caustic misanthrope reporting for duty.
    Posts: 4,421
    Just about to post that same track!
  • jake24jake24 Sitting at your desk, kissing your lover, eating supper with your familyModerator
    Posts: 10,588
    Murdock wrote: »
    Agreed. I can see that as well. :)
    There's some hints of TWINE and QoS in "3 Suspects" as well. Great stuff.
  • MurdockMurdock The minus world
    Posts: 16,330
    Also another one of my favorite cues. :)
  • mattjoesmattjoes Kicking: Impossible
    Posts: 6,716
    Arnold is a master at composing music for introducing locations. Helicopter Ride, Welcome to Baku, the Iceland music in DAD, Blunt Instrument, Inside Man, Bond in Haiti, Bolivian Taxi Ride...
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,026
    mattjoes wrote: »
    Arnold is a master at composing music for introducing locations. Helicopter Ride, Welcome to Baku, the Iceland music in DAD, Blunt Instrument, Inside Man, Bond in Haiti, Bolivian Taxi Ride...

    Arnold was strong in all aspects. Talamone in QOS is one of my favourites. Sets the scene perfectly.

    Newman was also very good at the transition and romantic cues but Arnold bests him hands down in pretty much every department otherwise.
  • suavejmfsuavejmf Harrogate, North Yorkshire, England
    Posts: 5,131
    LeonardPine wrote: »
    suavejmf wrote: »
    LeonardPine wrote: »
    Been listening to the CR soundtrack in the car going to work, and its so good!

    Great action cues and that gorgeous track, 'City of Lovers' that could have come from John Barry himself.

    Forgot how good the music is for that moment Bond chases after Vesper when he realises he's been duped, which is titled, 'The Switch'

    Another nice track is the brief but lovely, 'Solange'

    Agreed on all points. 'African Rundown' is exceptional too.

    Goes without saying. 'African Rundown' is one of Arnold's all time best action cues.

    I think his scores are respectfully similar to Barry's style but with his own distinctive way of composing. I think all his Bond scores have been tremendous.

    Can't argue with that.
  • suavejmfsuavejmf Harrogate, North Yorkshire, England
    Posts: 5,131
    LeonardPine wrote: »
    patb wrote: »
    "could have come from John Barry himself"

    I think thats the key issue. Some fans think that thats a compliment and some a criticism as its too much like Barry. Arnold will never be able to win over all of the fans. Having said that, if a new composer ignores the Barry legacy, many fans will want Arnold back.

    Barry was an amazing talant but, as a fan base, I think we have to let him go at some point. We can't be listening to new "Barryesque" soundtracks in 20 years....or can we?

    I think the 'Barry' sound is synonymous with the Bond films and it works.

    Arnold said at the time he was going to produce the TND score from a fans point of view and emulate Barry's sound (Just like Michael Giacchino did with The Incredibles)

    I think Arnold's scores are second only to Barry and work very well with their respective films. It was thrilling hearing Arnold's Barryesque score when seeing TND for the first time.

    Agree again.
  • suavejmfsuavejmf Harrogate, North Yorkshire, England
    Posts: 5,131
    RC7 wrote: »
    I think the opening sequence of TND is one the very best in the series and a lot of this can be put down to Arnold's score. 'White Knight' is a rip-roaring accompaniment to what is a wonderfully paced intro. I actually think it does cross-cutting in a more effective way than SF's PTS. The whole thing is a stellar opening for a Bond film. Big, brash and brilliant.

    Totally. +1.
  • BondJasonBond006BondJasonBond006 on fb and ajb
    Posts: 9,020
    In regard to Bond, Newman is to Arnold what Austin Powers is to James Bond. An ongoing joke, if very much enjoyable in parts.
  • ThrasosThrasos
    edited October 2017 Posts: 1,469
    Yeah, I think there's a reason why EON stuck with Arnold through so many Bond films. I had a chance to watch part of GE followed now by TWINE. I've always found Serra's music for many GE scenes drab, even depressed at times, and detached from what's going on in the scene--all at odds with Bond's smart and lively yet earthy character. Whereas I find Arnold's music suits the material in TWINE much better--lots of rhythm, energy, flair and sexiness "spy style", with light touches where they need to be. Some of the cues in TWINE reminded me of the music in CR and QoS.

    As to how I think Arnold compares to Newman, who did SF and SP, only a few cues from those films stick in my memory, and at times it seems he likes to be "repetitive", though his music does have a certain "thrust" and is contemporary. However, I find Arnold's music of CR very original and very memorable--one of my favorite Bond soundtracks--and it probably helped that he and Chris Cornell wrote a good theme song to cue from. So of these three, I would hope Arnold comes back for 25. Unless there could be someone better? I haven't even considered who that might be.
    https://www.thewrap.com/chris-cornell-james-bond-theme/
  • MurdockMurdock The minus world
    Posts: 16,330
    Arnold wasn't one of my favorites in the early days, Mainly because I was a stupid kid buying into the group think bashings he would receive but after getting his soundtracks, I really enjoy his scores and the contributions he brought to the franchise.

    I really respect his care and honor towards the Bond sound. He really understands what Bond music is and what it should sound like. He respects the James Bond theme and uses it how it should be used. I'd be happy if he returned. Even if it was one last time to finish off Craig's era before passing the baton to someone new eager to shake up the mix.

    I'd fall back on Arnold because He can deliver a good score and knows and respects the Bond sound. I'm hesitant on new composers because the fear of having another Newman fiasco is a big possibility and I wouldn't want that.

    Michael Giacchino would be good since his work for The Incredibles was a Bond Score demo.

    Though my top picks would be Elliot Goldenthal who I think is free. And Joel McNeely who is currently working on The Orville so he'll be unavaliable for some time. But if David Arnold is brought back, I'd welcome him with open arms.
  • ThrasosThrasos
    edited October 2017 Posts: 1,469
    @Murdock, I didn't know Michael Giacchino by name until I saw now that he did the music for the recent Star Trek movies, two of which I saw and liked the music in...also one of the Spiderman movies and Rogue One. Wasn't too familiar with Elliot Goldenthal either, though I know some movies he's done, and I just scanned some of his music, including the soundtrack for SWAT (since it sounds contemporary). He does have a prolific style. They both have impressive resumes and would, I think, at least give Newman a run for his money, though I too might still go with Arnold--we'll see who gets it!
  • MurdockMurdock The minus world
    Posts: 16,330
    @Thrasos, Agreed. I really like Michael Giacchino. He really knows how to bring his own sound to a franchise while respecting the musical style of it's origins.

    Goldenthal is an interesting choice but he does really good memorable scores which is why I'd pick him. Arnold's always on the table for me though.

    Here's hoping Bond25 will have a score that will be remembered as one of the greats.
  • mattjoesmattjoes Kicking: Impossible
    Posts: 6,716
    Murdock wrote: »
    I really respect his care and honor towards the Bond sound. He really understands what Bond music is and what it should sound like. He respects the James Bond theme and uses it how it should be used.

    Looking back, with two Newman scores behind us, Arnold's sound is something I will definitely take less for granted.
  • 00Agent00Agent Any man who drinks Dom Perignon '52 can't be all bad.
    edited March 2018 Posts: 5,185
    Saw David Arnold live in the Hamburg Elbphilarmonica yesterday, together with the Prague symphony Orchestra. Conductor was Nic Raine who worked with John Barry on AVTAK and TLD.
    They played some of Arnolds original Songs as well as Barrys tracks from various movies.
    The second half was all about 007 music, performing all the classics, as well as some gems from TWINE and CR.

    Needless to say this was one of my personal highlights in my 20+ years as a Bond fan.

    Finally my jaw was literally on the floor when David all of a sudden took a microphone and sang a piano Version of Only myself to blame as well as The world is not enough for the encore. That Dude can sing! He has a really great voice.

    Here is a version of him singing TWINE from 3 years back.
  • mattjoesmattjoes Kicking: Impossible
    edited March 2018 Posts: 6,716
    That rendition from the video is a fine one indeed. Sits happily in my hard drive. Arnold's vocals are terrific and the theme sounds great in D minor.
  • ClarkDevlinClarkDevlin Martinis, Girls and Guns
    Posts: 15,423
    Yes, if only that exact rendition of TWINE (without the vocals, mind?) gets recorded sometime properly in a soundproof room and gets labels sold.
  • vzokvzok
    Posts: 4,023
    While we are waiting for confirmation of David Arnold being hired for Bond 25, here he is talking about his last Bond score.

  • peterpeter Toronto
    Posts: 8,484
    Lean and muscular.

    I love this score.

    And we need to go back to a lean and muscular way of telling B25. And I'd be very happy to see Arnold return to provide the accompanying music.
  • MurdockMurdock The minus world
    Posts: 16,330
    Me too. Such a lovely guy.
  • vzokvzok
    Posts: 4,023
    He can sing a bit, but he's no Eric Serra.

  • RemingtonRemington I'll do anything for a woman with a knife.
    edited September 2018 Posts: 1,533
    That's actually not bad. Better than Sam Smith.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,026
    Listened to Arnold's music for Godzilla while working the other day, and was reminded at how strong he is at crafting muscular, energetic and powerful action cues that never risk losing the run of themselves. Very well orchestrated by Nick Dodd, too.

  • MurdockMurdock The minus world
    Posts: 16,330
    CraigMooreOHMSS wrote: »
    Listened to Arnold's music for Godzilla while working the other day, and was reminded at how strong he is at crafting muscular, energetic and powerful action cues that never risk losing the run of themselves. Very well orchestrated by Nick Dodd, too.


    That's an awesome track. It very much reminds me of the work of Elliot Goldenthal for the two Batman films he scored with elements of TND and TWINE thrown in. Great stuff. :-bd
  • TorgeirtrapTorgeirtrap
    edited October 2018 Posts: 17,272


    Lovely track. He can still make a terrific Bond score if EON wants him back at some point.
  • peterpeter Toronto
    Posts: 8,484
    Torgeirtrap wrote: »


    Lovely track. He can still make a terrific Bond score if EON wants him back at some point.

    I agree. You just don't lose your skill as a composer.

    People have complained he doesn't do feature films anymore, well, I have an answer for that: THAT'S COZ MOST OF THE INTERESTING STORY-TELLING IS BEING DONE ON THE SMALL SCREEN!!!!

    This man gets Barry, and understands Barry was the Master-- he is merely the student. This man gets Bond. And this man can do 25 just as well today (as heard by his contemporary output), as he did back in '08 (his best Bond score to date; and he's obviously grown since then, as he grew through each of his own Bond compositions)
  • talos7talos7 New Orleans
    Posts: 7,962
    He's not unlike Martin Campbell in that detractors will ask, ' what has he done outside of Bond', My reply is, ' I don't care'; both "get" Bond. That's all that matter to me when it comes to either one.
    There are a couple of cuts that I enjoy from Newman's scores but there's absolutely no doubt in my mind that an Arnold score would have enhanced both SF and SP.
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