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Comments
He give lots of thought into making his musical scores.
It would make me happier than just about anything.
I like that, despite it not being very Bondian. Reminds me a bit of Zimmer's ambient soundscapes in Inception/Interstellar - though that may or may not appeal to people.
No thanks. Move on. Was watching QoS (his best score) and still laughed his at his little stinger for when Medrano turns his head to face Greene. Arnold's melodramatic approach was fine for Brozzer but there are so many composers out there who can bring something fresh. Justin Hurwitz for instance did an innovative but Barry-influenced score for First Man.
Unless the composer is an actual genius like Barry I don't understand the appeal of having fewer composers as opposed to hearing fresh takes on the material.
I respect your difference of opinion, however, it's ironic that by not having David Arnold back in lieu of a composer who can bring something fresh would be someone who did a Barry-influenced score. I get what you're saying but Thomas Newman did something completely new but it was a bit overly-simplistic and he even reused some of Arnold's music from QoS, like you said, Arnold's best album.
I don't think it's going to be Romer. CJF isn't necessarily tied to him like Mendes was to Newman (not a complaint of that team, btw). He'll want more meat on the bones, something a little edgier.
Ramin Djawadi is a safe bet, here. So is Daniel Pemberton.
There are two dark horses, though:
1. Jonny Greenwood, who is also capable of composing the Bond theme.
2. The duo of Atticus Ross and Trent Reznor*
* This was my dream come true for B25. But I have been reading that CJF and Jonah Hill have become quite close since their work on Maniac. Hill brought the Ross/Reznor tandem onto his directorial debut. So it is more than just pure fantasy.
Yes I suppose what I said is slightly contradictory. I suppose I mean that you can have the spirit and tone of Barry which is a sort of core while doing something new. Like I think that Conti for instance had the energy of Barry and the lovely romantic interpetation of the title theme while bringing in his own style of brass and electric guitars, etc.
I also think it's ok to stray from Barry, as is the case with Serra and Newman (first score was wonderful and thematically engrossing, but the copy paste for the second one was criminal) and I suppose Hamlisch. Kamen is an interesting case because I think he goes back to an extremely early concept of the Bond sound from the first three films and explores outward from there.
No one has come close to Barry's best work.
I found David Arnold's early work on the Brosnan films so so. In parts of was good but much of it was totally forgettable.
It does feel like he had a Bond renaissance when the Craig era started. CR and QOS are really good Bond scores - not up there with Barry's best but very strong. I'd be fine with him coming back if he matched that quality.
I think Fukunaga is going to look elsewhere though.
Although it depends how producer led this film is. It felt like Mendes got closest to getting auteur style freedom as a Bond director. At the moment I don't know whether Fukunaga has been brought on as a talented but essentially pliable young director or whether EON are really giving him free rein.
When we start getting the announcements I think we will have a clearer idea.
I think that David Arnold's scores for the Brosnan films over-relied on the electronic musical style that was more "in" at the time. But when Craig took over, he toned it down and I feel like if he produces a score similar to CR/QOS with more of the Bond theme weaved in as well as the main title theme, it could be spectacular.
When David Arnold did the QoS soundtrack, he not only added dramatic value to the scenes, he also created his own kind of theme that could have been adopted by other bond films. It's the guitar-made theme played when Camille exists the car and Bond drives off as she walks into the train station in Bolivia. Does everyone know which one I'm talking about? It's the one that plays just as the scene transitions into Kazaan, Russia where Bond is waiting for Yusef at his apartment.
That alone was a reinvention of the Bond theme.
I think you are talking about this one started at 0:34, i loved it really bond music at the same time something fresh.
This re-invented the Bond theme and is always welcome for any future movies, especially for Bond 25 and beyond.
I agree on the power of that theme in QoS, it also Plays when Bond arrives early in the film to inspect M´s bodyguard´s flat.
I totally disagree About The Experience of Love. Never has there been any song less Fitting to a Bond film. It´s a horrible song for GE as for any other Bond film. But then again, I am Pretty fond of much of what Serra did for the film before the end credits song ;-).
Sigh. Have you by accident bothered to listen through a complete Soundtrack of Pemberton? King Arthur as well as Steve Jobs are prime examples of scores that feature very inspired approaches and then get incredibly stale after 20 minutes. Pemberton is Nothing other than Zimmer, 20 % Genius, 80 % boredom. That is not good enough.