It looks like you're new here. If you want to get involved, click one of these buttons!
^ Back to Top
The MI6 Community is unofficial and in no way associated or linked with EON Productions, MGM, Sony Pictures, Activision or Ian Fleming Publications. Any views expressed on this website are of the individual members and do not necessarily reflect those of the Community owners. Any video or images displayed in topics on MI6 Community are embedded by users from third party sites and as such MI6 Community and its owners take no responsibility for this material.
James Bond News • James Bond Articles • James Bond Magazine
Comments
Complaining - or expressing a wish or preference - might just show how deeply a fan cares about the wellbeing of the franchise. :) *
I heard something like this recently (not really applies, but still, I liked it): "Behind most cynicism lies a craving of idealism."
*IMHO.
I'd say: David Arnold was quite amazing at the start of his tenure. Tracks like "White Knight", "Backseat Driver" (TND) and "Come In 007, Your Time Is Up", "Snow Business" really gave me a John Barry-vibe with a touch of modern electro in it. Those tracks had melody, had original leitmotifs, and were easy to hum/whistle.
His theme songs "Surrender" and "The World Is Not Enough" are among my favourites together with Epworth's "Skyfall" and Napier's "Writing's On The Wall". But I never understood why plain from 'da block' style rock artists helped Craig's first two outings feel like...a real Bond film.
So, I love his earlier work on Bond. But starting with DAD I got tired of it. And I think with CR and QOS he stripped his score down way too much into a blunt, rough, cold score, in which the romantic and more quiet parts of his score were a failure to me. It didn't do it for me. Just listen to "We Have All The Time In The World"..I wanted to hear something marvellous like that as an instrumental. I didn't hear it.
Moreover, David Arnold seems to be somewhat of a British reclusive these days. He said goodbye to Hollywood, doesn't care about focusing on a career out there. Apart from that he lacks a more classic schooling, in which he actually writes music at the piano, or where he is a perfectionistic conductor. He isn't that.
So when I then compare him with Thomas Newman, I must say that he is slightly more skilled these days. Doesn't mean I only want him. We have discussed many alternative movie composers as well, who haven't done a Bond film yet. Just read some of @BondJames proposals. Or what about my favourite Daniel Pemberton. I even love Henry Jackman's scores for "Kingsman" more than Arnold.
So here you go, another nuanced set of arguments why David Arnold isn't just bad....or good :-).
Arnold's had his five. Newman's had his two. These are the only two people who've done a Bond score in 20 years.
I find it laughable whenever I read comparisons between Arnold and Barry. John Barry is a respected giant amongst film composers. One of the all time greats who shaped romantic and suspense scores for a generation. I suspect many won't even remember David Arnold 10 years from now. Thomas Newman may not be everyone's cup of tea, but he is a highly respected composer in the industry.
Craig is back and if B25 is to continue on from the storyline of the last two Bond films, then I can understand why the producers may want Newman back. He wouldn't be my first choice, but I'm not all that enthusiastic about a continuation story either. It makes sense though.
Hear hear!
1. First of all, WHATTITW is among the most beautiful pieces of music ever written, which means no one could ever top him. Secondly, why would Arnold write something like that for Casino Royale or Quantum of Solace? He wrote a beautiful and haunting theme for Vesper, reflecting her deceitful relationship with Bond, whereas in QoS Bond was broken and there was no place for a joyful love theme.
2. The fact Arnold does not want to score Hollywood blockbusters has nothing to do with his composing abilities. There's no reason to bring it up.
I wouldn't mind a new composer, but I'm skeptical whether they'll be able to achieve the Bondian sound. Arnold certainly isn't Barry, but he is a safe bet, IMO.
+1
There was only one John Barry - unbeatable. Saw him in concert at Royal Albert Hall many years back. An unforgettable evening!!!
Seems a logical choice yes. But it depends. I'm one of few who thinks that after a bad score the same artist can improve on that again. I think that of both Arnold and Newman, although the latter is my favourite to do so.
Did you like the score for "Gold" @Creasy47
Either way, can't hurt to let someone new take the reins and see how it goes, especially if Mendes isn't returning.
It almost had a Nightfire sound to it as it didn't sound like anything that was used in Skyfall. Can't for the life of me find it anymore, but it was such a good score.
I couldn't agree more. In addition, like Barry, his motifs and cues are quite catchy. Memorable. I can't count the times I've hummed the "Show Me The Money" boat chase music or DAD's "Welcome to Cuba."
I'd say it should be a mandatory requirement for Bond to provide a score that's melodically memorable. Countless films today lack that. If one were to ask me to hum the music from the new Wonder Woman movie, I'd be baffled. I don't remember how any of the music in Man of Steel goes for that matter either. Or The Bourne Supremacy.
I dread the day we get a new Bond film with such a mundane forgettable score.
Well Barry gave him his blessing, so that says something. You obviously hate Arnold so it's no surprise you find it laughable. As for Newman, He comes from a long line of musicians who work in the industry. Someone with the name Newman is bound to be recognized. People like to use awards to claim they are better than another. Just because someone wins awards doesn't mean they are great. Barry's Bond scores never got any oscars. It's safe to say there is a bias somewhere.
I'd rather have a composer who actually understands and respects the Bond sound and is actually excited to use established themes in a new way rather than someone who refuses to use them at all and takes a crap on the legacy of Bond music like Newman has.
Love him or hate him, but there no denying Arnold did Bond music far better than Newman ever wishes he could. I'd rather have 100 TND type scores over one of Newman's vanilla and water scores any day.
Couldn't agree more. CR and QoS felt like real Bond films and both films have this indescribable exciting feeling. Craig is definitely at his best but the last 2...pass.
He's recognized because he has created some wonderful scores for several films in several genres. To suggest it's because he's someone's son is a bit much. He's in demand by film makers because he knows what he's doing.
I don't recall mentioning awards. Smith won an award, didn't he? That tells us all we need to know about that.
I'd rather have a composer who doesn't sound like a B-grade ripoff without the class, but to each their own. Some of us like the SF score (as do a reasonable amount of the general public), so again I think it's a bit much to say he took a crap on the legacy of Bond music with that score. I'll give you SP because it was an uninspired rehash for the most part.
Really? Well I disagree. To my ears Arnold attempted to do Bond music. Newman brought his own creative take.
I never once compared them in my post said did I? I just said Barry gave Arnold his blessing. Struck a nerve did I?
Yeah maybe he has. I haven't sought them out but when it comes to Bond, He failed badly.
And I never said you did. Though others have.
So just because Arnold's include Brassy elements and the Bond theme that makes him a B-Grade ripoff? You've lost the plot completely. Good. I'm glad you like it. Someone has to.
I know. had this same argument many times in the past.
Firstly I don't hate Arnold (I have complimented aspects of his TND, CR and QoS scores. Secondly, you suggested that this is why I find the comparison laughable, which is again not the case. Perhaps it's you who's got a bone to pick? Or perhaps you just misunderstood. I can only hope it's the latter.
Did I say I find him a B grade ripoff because he includes Brassy elements? No, so again you pass judgement on someone without attempting to understand why they dislike something. Try not to make a habit of it.
I'd rather not waste time rehashing this with you on here and clogging up Jake's thread. We know you want Arnold back. Most know I don't. Let's leave it at that rather than attempting to pass incorrect assessments on why we like or dislike something.
I don't have any bone to pick with anyone, Just trying to clear the air, that's all.
No, you are right of course, A bold presumption on my part and I apologize for that.
I sincerely hope that we get someone new for B25, so that we can both be happy.
No worries, I've been having a rather stressful day and I unintentionally flew off the handle so once again sorry about that.
But yes, We are both very passionate about Bond music and I can certainly agree it's one of the most important elements of a Bond film. Hopefully Bond 25's score will satisfy both our musical needs.
As for Arnold, I thought QOS was his best soundtrack of the bunch, so I wouldn't be upset to hear him return.