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No Time To Die: Production Diary

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  • ResurrectionResurrection Kolkata, India
    edited December 2018 Posts: 2,541
    DarthDimi wrote: »
    All this hatred for Mendes is silly. Remember when Arnold was scoring the Bonds? This forum was the anti-Arnold forum. Now, some of our members are ready to have Arnold's baby. Is that a testament of how "bad" Newman's music is? No. Because when Arnold was heavily criticised for doing his thing, few people were screaming for a return of Serra. The anti-Newman attitude comes from the fact that this man isn't pursuing Barry, he's not even trying (unlike Arnold). And we don't like that--I don't like that. But to pretend that Newman is an incompetent composer whose contributions to SF and SP were horrific, to pretend that we can do better with a couple of chopsticks and some glass bottles, is outrageous. As with Serra's GE score, Newman's music works in his two Bond films. As a standalone listening experience, his music may be more challenging for sure, but rarely am I taken out of the films because of his works. There are even times, especially in SP, when I feel that Newman's music shows sparks of brilliance. But the current trend, sadly, is to display no nuance anymore. Just bash and trash. We all do that, but one has to know when enough is enough. Let's see who they bring in next. I'm confident it won't be Newman. But nevermind, let's just see who. Perhaps in 5 years from now, people have suddenly rediscovered Newman and decided he wasn't all that bad.

    I think there should be a way to criticize someone's work in a more organized, fair and educated manner rather than making fun of it all the time. It's ok to not like someone's direction or score but this is not the way to do it anyway. I am sure we will get someone new this time as a composer.
  • Risico007Risico007
    Posts: 9,847
    DarthDimi wrote: »
    All this hatred for Mendes is silly. Remember when Arnold was scoring the Bonds? This forum was the anti-Arnold forum. Now, some of our members are ready to have Arnold's baby. Is that a testament of how "bad" Newman's music is? No. Because when Arnold was heavily criticised for doing his thing, few people were screaming for a return of Serra. The anti-Newman attitude comes from the fact that this man isn't pursuing Barry, he's not even trying (unlike Arnold). And we don't like that--I don't like that. But to pretend that Newman is an incompetent composer whose contributions to SF and SP were horrific, to pretend that we can do better with a couple of chopsticks and some glass bottles, is outrageous. As with Serra's GE score, Newman's music works in his two Bond films. As a standalone listening experience, his music may be more challenging for sure, but rarely am I taken out of the films because of his works. There are even times, especially in SP, when I feel that Newman's music shows sparks of brilliance. But the current trend, sadly, is to display no nuance anymore. Just bash and trash. We all do that, but one has to know when enough is enough. Let's see who they bring in next. I'm confident it won't be Newman. But nevermind, let's just see who. Perhaps in 5 years from now, people have suddenly rediscovered Newman and decided he wasn't all that bad.

    Woah I never once complained about Arnold I loved his scores when Casino and Quantum were new films. Hell Quantum of Solace is the first sound track I ever bought.

    And while I don’t want Newman to return Skyfall is a sound track so nice they used it twice but I don’t want it a third time
  • UnivexUnivex
    Posts: 6,709
    Resurrection wrote: »
    DarthDimi wrote: »
    All this hatred for Mendes is silly. Remember when Arnold was scoring the Bonds? This forum was the anti-Arnold forum. Now, some of our members are ready to have Arnold's baby. Is that a testament of how "bad" Newman's music is? No. Because when Arnold was heavily criticised for doing his thing, few people were screaming for a return of Serra. The anti-Newman attitude comes from the fact that this man isn't pursuing Barry, he's not even trying (unlike Arnold). And we don't like that--I don't like that. But to pretend that Newman is an incompetent composer whose contributions to SF and SP were horrific, to pretend that we can do better with a couple of chopsticks and some glass bottles, is outrageous. As with Serra's GE score, Newman's music works in his two Bond films. As a standalone listening experience, his music may be more challenging for sure, but rarely am I taken out of the films because of his works. There are even times, especially in SP, when I feel that Newman's music shows sparks of brilliance. But the current trend, sadly, is to display no nuance anymore. Just bash and trash. We all do that, but one has to know when enough is enough. Let's see who they bring in next. I'm confident it won't be Newman. But nevermind, let's just see who. Perhaps in 5 years from now, people have suddenly rediscovered Newman and decided he wasn't all that bad.

    I think there should be a way to criticize someone's work in a more organized, fair and educated manner rather than making fun of it all the time. It's ok to not like someone's direction or score but this is not the way to do it anyway. I am sure we will get someone new this time as a composer.

    I quite agree. In fact, and this is just a personal opinion, and not one shared by many, the scenes at Macau and at Skyfall, since they pick up the DB5 until M's death are very redeeming of both Newton and Mendes. They alone are worth Mendes being the director of the two films. Brilliant, they are. They were wonderful productions for us fans weren't they? Anyone remember the press conference in Istambul? Or the one in Rome with Monica Bellucci? The unveiling of the title for Spectre,... Good times.
  • vzokvzok
    Posts: 4,044
    I don’t think Newman is a great fit for Bond. Some subtle stuff is great (I liked Loren Balfe’s Fallout score) but there is a bit too much in SF and SP. The reuse of SF in SP is bad enough, but 20 minutes of The Moors across the London finale was a killer.
  • DarthDimiDarthDimi Behind you!Moderator
    edited December 2018 Posts: 24,184
    @Resurrection
    Exactly! I hate having to be the one to stand up for Newman and I know that posts like the ever fair @BMW_with_missiles 's aren't to be taken seriously, but that's just one out of many hyperbolic claims that Newman's talents as a film composer are comparable to those of a farm animal. The man has written wonderful scores in the past; his countless award nominations and wins account for at least something. And yes, his Bond stuff is extremely controversial. Again, I will take the scores of FYEO, LTK and CR67 over SF any day. But lately, people have been dropping a lot of unnuanced posts, lacking in arguments, about how Newman's scores are worse than your aunt's so-and-so and about SP being a train wreck compared to the artistic brilliance of TMWTGG, AVTAK, DAD and NSNA. Just that. Nothing more. No explanation, not the slightest attempt at nuance.

    Now, I'm not getting worked up over that or anything. I know what I like and what I don't like and that's enough for me. I just wish that the average post could return to a more substantiated form, allowing one person's points to be responded to by another person. But how can one respond to "Newman's scores sound worse than my dog crying for food"? Apart from an empty "Seconded" or "I disagree", one can't. Worse still, those of us who do try to point out and elaborate on the things they like about some of these highly contended scores/films, are often silenced with an empty sentiment like "SP ranks at the very bottom of my list," almost to be read as "I don't care about your efforts to keep a good conversation going, I am, between the lines, going to suggest you're an idiot for liking some things here by stating my negative opinion like a law of physics: concise and without an explanation."
  • PanchitoPistolesPanchitoPistoles 2.0
    edited December 2018 Posts: 4,619
    Arnold has always been and will always be a nobody compared to the great Eric Serra and the great Thomas Newman. No ifs, ands, or buts. Arnold would NEVER be able to compose anything as sublime as "The Goldeneye Overture" or "New Digs". The scores of Goldeneye and Skyfall have REAL identity, which is something that can't be said about any of Arnold's Bond scores.
  • UnivexUnivex
    Posts: 6,709



    These and many others have loads of identity. They're marvellous.

    And @Ressurection and @DarthDimi have just made a case about criticising someone in a more organised, fair and educated manner. So why don't we?

    Besides, wasn't this the Bond25 production thread? Not the soundtracks thread, surely.
  • doubleoegodoubleoego #LightWork
    Posts: 11,139
    Newman is good composer but for Bond, for the most part he was wack. He is nowhere near close to having the skill of composer geniuses like the GREAT John Williams. (@panchito, this is how you use the word great)...Newman's not even in the same galactic space as Williams but even Williams reused some themes/tracks from the 1st potter film for the second movie and even then it was handled deftly; used in a dynamic way that wasn't just some lame copy and paste job. This is where Newman's lack and the shortsightedness of the decision makers were on full view.

    Bond needs composers and a director who know wtf they're doing.
  • Last_Rat_StandingLast_Rat_Standing Long Neck Ice Cold Beer Never Broke My Heart
    Posts: 4,589
    No Mendes
    No Newman

    Its that simple. They are a pair. He's not coming back
  • talos7talos7 New Orleans
    Posts: 8,217
    When I said “Nooooo....” obviously I was exaggerating for effect. There is a great deal that I like about his SF score but I hunger for something more dynamic, bold and classically Bond,
  • PanchitoPistolesPanchitoPistoles 2.0
    edited December 2018 Posts: 4,619
    Of course Newman is not bloody coming back. The idea that he might come back just because Seydoux is coming back is ridiculous. We will likely get a brand new composer as the great Cary Fukunaga is incredibly unlikely to pick someone as pedestrian as Arnold, and Barbra will have no choice but to accept Cary's pick.
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    You know it's a slow week if the perennial Newman/Arnold conversation is back front and centre.
    --
    Last_Rat_Standing wrote: »
    No Mendes
    No Newman

    Its that simple. They are a pair. He's not coming back
    I think you could be right. I feel they will go with somebody new. It's perhaps risky, but quite necessary in my view.
  • DarthDimiDarthDimi Behind you!Moderator
    Posts: 24,184
    Besides, we still don't know how big Séydoux' role will be this time.

    I too fail to see a connection between the return of characters from the previous film and its composer, mainly because the director is a whole new guy.
  • echoecho 007 in New York
    Posts: 6,304
    DarthDimi wrote: »
    @Resurrection
    Exactly! I hate having to be the one to stand up for Newman and I know that posts like the ever fair @BMW_with_missiles 's aren't to be taken seriously, but that's just one out of many hyperbolic claims that Newman's talents as a film composer are comparable to those of a farm animal. The man has written wonderful scores in the past; his countless award nominations and wins account for at least something. And yes, his Bond stuff is extremely controversial. Again, I will take the scores of FYEO, LTK and CR67 over SF any day. But lately, people have been dropping a lot of unnuanced posts, lacking in arguments, about how Newman's scores are worse than your aunt's so-and-so and about SP being a train wreck compared to the artistic brilliance of TMWTGG, AVTAK, DAD and NSNA. Just that. Nothing more. No explanation, not the slightest attempt at nuance.

    Now, I'm not getting worked up over that or anything. I know what I like and what I don't like and that's enough for me. I just wish that the average post could return to a more substantiated form, allowing one person's points to be responded to by another person. But how can one respond to "Newman's scores sound worse than my dog crying for food"? Apart from an empty "Seconded" or "I disagree", one can't. Worse still, those of us who do try to point out and elaborate on the things they like about some of these highly contended scores/films, are often silenced with an empty sentiment like "SP ranks at the very bottom of my list," almost to be read as "I don't care about your efforts to keep a good conversation going, I am, between the lines, going to suggest you're an idiot for liking some things here by stating my negative opinion like a law of physics: concise and without an explanation."

    Count me as one who liked Newman's score in SF--specifically as a change from Arnold--but hated it in SP.

    To me it comes down to Newman's very early reuse of old tracks. It threw me out of the movie. I just don't feel like Barry or even Arnold would have blatantly copied his own previous score in the PTS. Barry and Arnold would repeat themselves too, but for Barry it was usually a callback to the Bond theme or the 007 theme, and for Arnold it was an inability to not end the film with basically the same score.

    But at least both Arnold and Barry would wait until at least an hour into the movie before "resting on their laurels."
  • bondjamesbondjames You were expecting someone else?
    edited December 2018 Posts: 23,883
    In my case I just didn't like the action scene compositions in SP. I found them terribly uninspiring. I'm referring in particular to the post explosion chase in the PTS and also the car chase. The reuse of The Moors in the finale was quite distracting and annoying too, but I don't think that section of the film could have been salvaged anyway, so it's not so much of an issue with me (I've yet to be able to get to the end of the film more than perhaps thrice, despite having seen it countless times). I did like his ambient and romance scoring though, although even there I found too many similarities to Severine in SF (a wonderful piece of work), which I felt was superior.

    Conversely, I really enjoyed nearly every bit of scoring in SF. It all just seemed to fit together holistically.
  • echoecho 007 in New York
    Posts: 6,304
    I just felt like Newman was phoning in it for SP. Which is a crime because most composers would jump at the chance to score a Bond film. I never felt that with any of the previous composers, not even the controversial ones.
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    When Newman is on his game he can be top of class. His romantic and ambient cues are some of the most haunting and beautiful I've heard. Road to Chicago (Road to Perdition) and Starship Avalon (Passengers) are just a few examples. Perhaps he just didn't have enough time to pull it together, given what a screwup of a production the film was.
  • TorgeirtrapTorgeirtrap
    Posts: 17,757
    For me, Bond music should be strings and heavy brass, not ambient cues.
  • ClarkDevlinClarkDevlin Martinis, Girls and Guns
    Posts: 15,423
    By the by, is Mark Tildesley still attached to the production? Or have they retained the services of Dennis Gassner, again?
  • bondjamesbondjames You were expecting someone else?
    edited December 2018 Posts: 23,883
    Torgeirtrap wrote: »
    For me, Bond music should be strings and heavy brass, not ambient cues.
    There are a lot of strings in Newman's work, and beautifully rendered as well. He's not so big on the brass.

    The music must match the film imho. I thought he nailed SF but his type of music isn't all that suitable for a more action focused film like SP, again imho. That's why I liked what he did in setting the mood throughout the film (there's a discomforting uneasiness throughout on account of his score, which matches the unsettling visuals) but wasn't keen about his action scoring.

    A combination of Newman's melodic finesse and Arnold's punchy sounds would nicely approximate Barry imho.
  • jake24jake24 Sitting at your desk, kissing your lover, eating supper with your familyModerator
    Posts: 10,591
    ClarkDevlin wrote: »
    By the by, is Mark Tildesley still attached to the production? Or have they retained the services of Dennis Gassner, again?
    Currently unknown. I feel like Tildesley is still onboard, but still no developments on that front.
  • TorgeirtrapTorgeirtrap
    edited December 2018 Posts: 17,757
    bondjames wrote: »
    Torgeirtrap wrote: »
    For me, Bond music should be strings and heavy brass, not ambient cues.
    There are a lot of strings in Newman's work, and beautifully rendered as well. He's not so big on the brass.

    The music must match the film imho. I thought he nailed SF but his type of music isn't all that suitable for a more action focused film like SP, again imho. That's why I liked what he did in setting the mood throughout the film (there's a discomforting uneasiness throughout on account of his score, which matches the unsettling visuals) but wasn't keen about his action scoring.

    A combination of Newman's melodic finesse and Arnold's punchy sounds would nicely approximate Barry imho.

    Good points, @bondjames. I can understand that Newman's "approach" might fascinate some – and in certain places compliment the look and feel of SF, but the ambient "distantness" (I really don't know what word to use here) left me feeling cold about the score and the film. He is a major contributor to my dislike of both of Mendes' films.

    I also don't think his romantic cues or melodic finesse in any way outshone Arnold's efforts. That's my opinion.
    jake24 wrote: »
    ClarkDevlin wrote: »
    By the by, is Mark Tildesley still attached to the production? Or have they retained the services of Dennis Gassner, again?
    Currently unknown. I feel like Tildesley is still onboard, but still no developments on that front.

    Still attached to the project on IMDB. Not that that is a confirmation necessarily.
  • Pierce2DanielPierce2Daniel
    Posts: 4,409
    ClarkDevlin wrote: »
    By the by, is Mark Tildesley still attached to the production? Or have they retained the services of Dennis Gassner, again?

    Marvellous and intriguing question.

    Typically, when directors depart as acrimoniously as Boyle did, their crew either quit in solidarity or get pushed out. However, sometimes things have moved too far down the line for such a thing to happen.

    According to Dennis Gassner's Instagram, he was in London last month:



    Also, below is a new interview from Linus Sandgren:
    http://www.artistdecoded.com/podcast/linus-sandgren
    ?format=750w
  • bondjamesbondjames You were expecting someone else?
    edited December 2018 Posts: 23,883
    Torgeirtrap wrote: »
    bondjames wrote: »
    Torgeirtrap wrote: »
    For me, Bond music should be strings and heavy brass, not ambient cues.
    There are a lot of strings in Newman's work, and beautifully rendered as well. He's not so big on the brass.

    The music must match the film imho. I thought he nailed SF but his type of music isn't all that suitable for a more action focused film like SP, again imho. That's why I liked what he did in setting the mood throughout the film (there's a discomforting uneasiness throughout on account of his score, which matches the unsettling visuals) but wasn't keen about his action scoring.

    A combination of Newman's melodic finesse and Arnold's punchy sounds would nicely approximate Barry imho.

    Good points, @bondjames. I can understand that Newman's "approach" might fascinate some – and in certain places compliment the look and feel of SF, but the ambient "distantness" (I really don't know what word to use here) left me feeling cold about the score and the film. He is a major contributor to my dislike of both of Mendes' films.

    I also don't think his romantic cues or melodic finesse in any way outshone Arnold's efforts. That's my opinion..
    I understand your point, and can appreciate how it doesn't work for you. There is certainly a detachment of sorts evident in Newman's Bond scores. I think it works to an extent, but then again I'm a guy who loves Serra's loathed GE score as well.

    I think these last two composers have been quite polarizing for the fanbase. Hopefully we'll both be happy with the choice for B25.
  • ClarkDevlinClarkDevlin Martinis, Girls and Guns
    Posts: 15,423
    Thank you both for the respective insights, @jake24 and @Pierce2Daniel.
  • TorgeirtrapTorgeirtrap
    Posts: 17,757
    bondjames wrote: »
    Torgeirtrap wrote: »
    bondjames wrote: »
    Torgeirtrap wrote: »
    For me, Bond music should be strings and heavy brass, not ambient cues.
    There are a lot of strings in Newman's work, and beautifully rendered as well. He's not so big on the brass.

    The music must match the film imho. I thought he nailed SF but his type of music isn't all that suitable for a more action focused film like SP, again imho. That's why I liked what he did in setting the mood throughout the film (there's a discomforting uneasiness throughout on account of his score, which matches the unsettling visuals) but wasn't keen about his action scoring.

    A combination of Newman's melodic finesse and Arnold's punchy sounds would nicely approximate Barry imho.

    Good points, @bondjames. I can understand that Newman's "approach" might fascinate some – and in certain places compliment the look and feel of SF, but the ambient "distantness" (I really don't know what word to use here) left me feeling cold about the score and the film. He is a major contributor to my dislike of both of Mendes' films.

    I also don't think his romantic cues or melodic finesse in any way outshone Arnold's efforts. That's my opinion..
    I understand your point, and can appreciate how it doesn't work for you. There is certainly a detachment of sorts evident in Newman's Bond scores. I think it works to an extent, but then again I'm a guy who loves Serra's loathed GE score as well.

    I think these last two composers have been quite polarizing for the fanbase. Hopefully we'll both be happy with the choice for B25.

    I sometimes think Newman might have worked better as a one-off. A fresh approach for one film only. Given that Mendes wasn't really returning (?) for SP, that might be one of the reasons for the reuse of certain tracks. As if Mendes telling the story he wanted to tell with SF, Newman scored the soundtrack he wanted to score with that film too.

    The GE score is a great example. A very recognizable score; you never fail to point out what film that music is from. But it's also a polarizing one. Makes you wonder what Fukunaga has in mind for the music department of Bond 25. How much does he have to say re. which composer to use? For all the critical acclaim he's got for his work so far, it's not as familiar a name as Mendes we're talking about.
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    Torgeirtrap wrote: »
    bondjames wrote: »
    Torgeirtrap wrote: »
    bondjames wrote: »
    Torgeirtrap wrote: »
    For me, Bond music should be strings and heavy brass, not ambient cues.
    There are a lot of strings in Newman's work, and beautifully rendered as well. He's not so big on the brass.

    The music must match the film imho. I thought he nailed SF but his type of music isn't all that suitable for a more action focused film like SP, again imho. That's why I liked what he did in setting the mood throughout the film (there's a discomforting uneasiness throughout on account of his score, which matches the unsettling visuals) but wasn't keen about his action scoring.

    A combination of Newman's melodic finesse and Arnold's punchy sounds would nicely approximate Barry imho.

    Good points, @bondjames. I can understand that Newman's "approach" might fascinate some – and in certain places compliment the look and feel of SF, but the ambient "distantness" (I really don't know what word to use here) left me feeling cold about the score and the film. He is a major contributor to my dislike of both of Mendes' films.

    I also don't think his romantic cues or melodic finesse in any way outshone Arnold's efforts. That's my opinion..
    I understand your point, and can appreciate how it doesn't work for you. There is certainly a detachment of sorts evident in Newman's Bond scores. I think it works to an extent, but then again I'm a guy who loves Serra's loathed GE score as well.

    I think these last two composers have been quite polarizing for the fanbase. Hopefully we'll both be happy with the choice for B25.

    I sometimes think Newman might have worked better as a one-off. A fresh approach for one film only. Given that Mendes wasn't really returning (?) for SP, that might be one of the reasons for the reuse of certain tracks. As if Mendes telling the story he wanted to tell with SF, Newman scored the soundtrack he wanted to score with that film too.

    The GE score is a great example. A very recognizable score; you never fail to point out what film that music is from. But it's also a polarizing one. Makes you wonder what Fukunaga has in mind for the music department of Bond 25. How much does he have to say re. which composer to use? For all the critical acclaim he's got for his work so far, it's not as familiar a name as Mendes we're talking about.
    Good point. I'm in complete agreement. I've always believed they should switch up the composers, because I've truly liked all of the one-offs.

    Fukunaga is certainly a bit of an enigma to me, and his public comments about Bond have been somewhat vague as well. I think his composer will match the visuals and the film is likely to have a holistic tone, at least based on what I've seen of his prior work. I have no idea who it will be.
  • TorgeirtrapTorgeirtrap
    edited December 2018 Posts: 17,757
    bondjames wrote: »
    Torgeirtrap wrote: »
    bondjames wrote: »
    Torgeirtrap wrote: »
    bondjames wrote: »
    Torgeirtrap wrote: »
    For me, Bond music should be strings and heavy brass, not ambient cues.
    There are a lot of strings in Newman's work, and beautifully rendered as well. He's not so big on the brass.

    The music must match the film imho. I thought he nailed SF but his type of music isn't all that suitable for a more action focused film like SP, again imho. That's why I liked what he did in setting the mood throughout the film (there's a discomforting uneasiness throughout on account of his score, which matches the unsettling visuals) but wasn't keen about his action scoring.

    A combination of Newman's melodic finesse and Arnold's punchy sounds would nicely approximate Barry imho.

    Good points, @bondjames. I can understand that Newman's "approach" might fascinate some – and in certain places compliment the look and feel of SF, but the ambient "distantness" (I really don't know what word to use here) left me feeling cold about the score and the film. He is a major contributor to my dislike of both of Mendes' films.

    I also don't think his romantic cues or melodic finesse in any way outshone Arnold's efforts. That's my opinion..
    I understand your point, and can appreciate how it doesn't work for you. There is certainly a detachment of sorts evident in Newman's Bond scores. I think it works to an extent, but then again I'm a guy who loves Serra's loathed GE score as well.

    I think these last two composers have been quite polarizing for the fanbase. Hopefully we'll both be happy with the choice for B25.

    I sometimes think Newman might have worked better as a one-off. A fresh approach for one film only. Given that Mendes wasn't really returning (?) for SP, that might be one of the reasons for the reuse of certain tracks. As if Mendes telling the story he wanted to tell with SF, Newman scored the soundtrack he wanted to score with that film too.

    The GE score is a great example. A very recognizable score; you never fail to point out what film that music is from. But it's also a polarizing one. Makes you wonder what Fukunaga has in mind for the music department of Bond 25. How much does he have to say re. which composer to use? For all the critical acclaim he's got for his work so far, it's not as familiar a name as Mendes we're talking about.
    Good point. I'm in complete agreement. I've always believed they should switch up the composers, because I've truly liked all of the one-offs.

    Fukunaga is certainly a bit of an enigma to me, and his public comments about Bond have been somewhat vague as well. I think his composer will match the visuals and the film is likely to have a holistic tone, at least based on what I've seen of his prior work. I have no idea who it will be.

    One would guess that Arnold scoring the number of scores he has, is because he's kept things "Barry-esque". Every one-off score (with the exception of LALD is some places, IMO) have been quite different.

    Fukunaga has indeed been somewhat vague (understandably so), and I really don't know what to expect from him. The comment he made re. Bond and Elba some years ago was quite funny: "For lack of better words, James Bond is this quintessential panty-dropper, and so is Idris". That doesn't sound to me like a director looking at Bond as a character with a lot of emotional baggage (like this era has been about) – but now he's making a film concluding that very story arc, in one way or another…
  • MurdockMurdock The minus world
    Posts: 16,351
    PanchitoPistoles wrote: »
    Arnold has always been and will always be a nobody compared to the great Eric Serra and the great Thomas Newman. No ifs, ands, or buts. Arnold would NEVER be able to compose anything as sublime as "The Goldeneye Overture" or "New Digs". The scores of Goldeneye and Skyfall have REAL identity, which is something that can't be said about any of Arnold's Bond scores.

  • FrankXavierFrankXavier
    Posts: 678
    bondjames wrote: »
    In my case I just didn't like the action scene compositions in SP. I found them terribly uninspiring. I'm referring in particular to the post explosion chase in the PTS and also the car chase. The reuse of The Moors in the finale was quite distracting and annoying too, but I don't think that section of the film could have been salvaged anyway, so it's not so much of an issue with me (I've yet to be able to get to the end of the film more than perhaps thrice, despite having seen it countless times). I did like his ambient and romance scoring though, although even there I found too many similarities to Severine in SF (a wonderful piece of work), which I felt was superior.
    SP is so sluggishly paced I'd rather revisit any scenes I like through youtube clips.

    SF is the much more dynamic, visually stunning film.

    I find SP's score to be utterly forgettable. However I do quite like the SF score. Especially the moody ambient track when they drive to Skyfall -- truly ominous, a warning of what's to come.

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