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Comments
I wonder if Arnold did return how he would approach the score.
I'm ok with Pemberton, but I didn't like his Uncle score all that much and find some of his work a bit repetitive. My #1 choice is Jackman, but I'd also be ok with Kraemer, Djawadi or Desplat. Djawadi would be perfection imho.
Besides, Bond movies aren't very Hollywood by definition anyway. If he was anti-Hollywood, reuniting with EON again wouldn't be him going back on a stance he had about the industry (which I don't think he has anyway, frankly).
Who's Jackman? I like your choices by the way.
I am not interested in a man who's only saying he would love to return to the Bond franchise, when outside the Bond family he's barely undertaking any movie projects. And I do acquire that of a movie composer these days; a man who's employing his talents for different kind of movies as well. JUST like John Barry by the way. We barely mention his fantastic work for movies like "Dances With Wolves", "Out Of Africa", "The Black Hole", "The Magnificent Seven" or "Midnight Cowboy".
Same with Newman...and now also with Daniel Pemberton. He's very much active within the movie scene. Not just Bond. We can't say that of David Arnold. And frankly, I'm on the whole not thrilled about his scores for "DAD" and "QOS", give or take a few (2 or 3) tracks.
That's complete utter bullocks :-). And you know it.
I actually think Daniel Craig himself needs/wants a different director as well. If it's Guy Ritchie -with whom he never worked- or Chris Nolan -with whom he also never worked-, Craig is fond of starting new projects. Just look at "Othello".
By the way, you ought to know that I'm truly happy for Daniel Craig and Babs that they have so much success with this play...and that it's even being merged into a Broadway Musical. Can you imagine? Craig winning a Tony :-)? I also think 'Cubby' would be so proud of his daughter and how succesful she can be outside the Bond world as well. Let's not forget Cubby's wonderful "Chitty Chitty Bang Bang".
Perhaps ever since Broccoli and Wilson have become members of the Producers Guild (Awards), mainly thanks to "Skyfall", they do have every right to try other stuff as well.
Barry didn't score The Magnificent Seven, he just covered a theme.
Arnold has done TV scoring, including magnificent work on Sherlock, which is a helluva lot more taxing than film work. He must score three episodes each at an hour and a half in length, making up for many hours of material depending on the needs. Doing this kind of work on big series the BBC produces gives him a better chance to grow and challenge himself than film would, as it requires more time management with a possibility of more pressing deadlines.
You overestimate Newman's importance and underestimate Dan's willingness to continue, Mendes or no Mendes.
Thanks for the correction. That was Elmer off course. Recently watched "Moonraker" hehe.
It would be nice if we didn't treat perfectly reasonable scenarios like they're absurd improbabilities, especially when something very similar played out with both of the last 2 actors to fill the tux.
I liked that too ...don't know if deliberate or not but it caught my attention.
Me! Too! B-)
It's fff-ing dramatic and tense music. Only used for the final part of one of the best parts of "SPECTRE". But ooowh soo fitting! I think that scene was the very first time when I thought Bond (and Swann) physically felt entirely vulnerable. Love the choking from Madeleine....and Craig's choking too 8-X
Hogwash. Arnold has always expressed an interest in continuing to score Bond. And what unsuccessful BBC series has he supposedly been scoring of late? The massively popular Sherlock?
Which interviews?? I have only ever heard Arnold enthusiastically support the series. Yes, post-Newman even!
And yes Cavill did show some range. The film had its own smart vibe and style, and I say this as an Uncle fan, who assumed we would be getting something very similar to the original run.
I was pleasantly impressed.
I thought he pulled good performances out of the two female leads too.
Fingers are crossed.
I thought he was pretty good in that, actually. He seemed far more comfortable in that role than he did as the emo-Superman. Pretty good comic timing and a nice air of prickery/snobbery about him.