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I'm not averse to his return. More indifferent.
A new sound would be welcome as well from my perspective, to set this series up for a bright and interesting future. Someone who could potentially nail it and be commissioned for future films as well.
That doesn't mean anything when you consider the fact that for all of Barry's superior brilliance, he won nothing for his contributions to the Bond films.
1977!
Or people who say the RT score is more so the film is better.
The comparison here isn't between Barry and Newman; it's between Newman and Arnold. Besides, the voting procedures for both awards (as well as the Golden Globes) have changed a lot over the past five decades.
There have been notable Oscar slights, for sure. I would say Barry's biggest snub was not for Bond, but for Midnight Cowboy. This doesn't mean that Oscar-nominated scores are trash, either. There is a reason Newman's SF OST received accolades: it was damn good. Taste is subjective; one person's junk food is another's nutrition. But you can get a sense of quality work (in terms of original score) if it's up for a lot of awards and honors. No sense in splitting hairs among them in terms of which is best. But I will forever defend Newman's work in comparison to Arnold's. While Arnold's work had some terrific moments (Night at the Opera, for sure), overall, the breadth and scope of the music for each of his Bond films didn't touch Newman's.
I rather be less of a music connoisseur for preferring the to the point scores of Arnold, then - as he pushed all the buttons regarding motifs, theme songs, etc. For me, Newman was making a Newman score, rather than a Bond score.
Jesus Christ you think you’ve heard every possible insanity on here over the years but then someone amazes you with a comment like that. Although that one will take some beating.
You’ve just set the Bob Beamon record for ridiculous comments - this one is going to stand for decades.
It’s not even the best track in SF.
I genuinely think the SP score was him taking the piss. We know from @JamesPage that him and EON fell out during SF because he didn't want to use the title song at all. So my theory is they didn't want him back after that but Mendes insisted and Newman phoned it in as a massive middle finger to them. Either he phoned it in on purpose to get one over on EON after they clashed, or he just couldn't be bothered at all after that but agreed to turn up and copy/paste the SF score as a favour to Mendes. I refuse to believe that he actually tried and that he thought he was doing a good job. No way did he sit there as he looped The Moors over the finale and thought "yeah, this is a job well done, I'm really proud of this".
I am fully behind all of this!
Yes!
HAHAHA, new digs is a great track but it’s not better than any of the aforementioned or any of the Arnold/ Barry stuff in general
That's my jam! :)>-
All that, and he forgot the Bond theme. Bond theme or Grammy? I would prefer to hear the Bond theme.
This has been brought up many times, but the decision to reuse the Skyfall tracks in SPECTRE did not come from Newman.
That said, I agree he made few efforts trying to get the Bond sound right. The score needed more tracks like Los Muertos Vivos Estan and less like Snow Plane (which I enjoy, but could have been much more Bondian).
… to be serious though, it's probably the least typical Bond sounding track of the score, but it was alright for that specific scene, which is more than I can say for several of the other tracks.
All I know is they work very well with the accompanying images on screen. For some reason the tracks which repeat don't work nearly as well in SP, and I'm assuming that's because they weren't originally devised for that film. The newer tracks fall flat to me as well. Sadly, as with many things in that last effort, it just doesn't come together as originally intended.
Anyway, this is all moot, because it's very unlikely that Newman will return for B25.