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I completely disagree on the 2nd part. The biggest disgrace would have been to not nominate Barry for his highly original, trademark work, and then nominate Arnold for his clearly derivative, inferior copycat work on the series.
If the Academy is going to confer an honour on a Bond soundtrack, it should be for something original, and that means Arnold should never receive a Bond soundtrack nomination for any of his clearly imitative efforts. George Martin, Marvin Hamslich, Bill Conti are all more deserving of a nomination imho than Arnold because their work had creative originality, no matter what you may think of it.
I also disagree with any suggestion that Arnold should even be considered as a worthy successor to Barry. He clearly was not.
Absolutely, but not imitated in an obviously inferior way. I do not subscribe to knock offs in any department.
It should be respected of course, but I am firmly in the camp of those who welcome something new. I want a gifted, brilliant, probably young new composer who is willing and able to mix things up and is not overawed by Barry. Crucially though they need to be extraordinarily talented and not just arrogant. I am open to a new sound.
The problem with Newman is that while he ditches anything Barryesque, he brings nothing new to the table . His SF score is about as close generic Hollywood mood music as you can get.
Different year, different race.
It does still seem absurd that Barry never got a single nomination for Bond. Whichever way you look at it, that's just a sign of the academy's prejudice. May be that's changed, although I do think the fact that Newman is Newman is probably also a factor. Having Mendes direct also just added to this aura of SF being a 'quality' film, as opposed to what the academy probably just regards as the nonsense that is the rest of the series.
Out of interest, how long has the Academy had the original song award?
I think that song is even more well known than We Have All the Time in the World.
However, Armstrong should have at least been nominated. That is the shame.
Agreed on Persuaders, @DaltonCraig007 - I bought the entire dvd set just to listen to the music. Still gives me goosebumps to this day with the intro. I also love the tune for the Return of the Saint with Ian Ogilvy and even the New Avengers (supremely good incidental scene music in those old tv shows as well imho - so much better than the overproduced stuff in a lot of movies today).
My favourite theme tune at the moment is the jazz intro for Homeland as well as the US House of Cards.
• "Come Saturday Morning" — The Sterile Cuckoo
• "Jean" — The Prime of Miss Jean Brodie
• "True Grit" — True Grit
• "What Are You Doing the Rest of Your Life?" — The Happy Ending
Yes, Burt's song has stood the test of time. I am not surprised it won. I just think it's bizarre that WHATTITW was not even nominated.
House of Cards theme is brilliant.
Yes! I want something Memorable that has a good use of Bond theme and that. It's a Bond movie for crying out loud!
So you'd rather have a Bland soundtrack that has no Bond theme at all than something memorable that will stand the test of time? What is the world coming too... @-)
1. We weren't talking about the use of the Bond theme. (The "Barry sound" does not equal the use of the Bond theme.)
2. What I want is something that is memorable AND fresh. Thomas Newman's Skyfall score is exactly that.
What are your Thoughts on Eric Serra's score for GE? (Which I'm one of the few who liked.)
Exactly right on all counts. It's a matter of compositional quality, melody, memorable motifs etc.
My thoughts exactly. With a splash of more Bond theme please. ;)
I love it, mostly because it's unique unlike Arnold's stuff. The "The Goldeneye Overture" is the best track of the Brosnan era in my opinion.
Here here. One of my favorites as well. :-bd
I too liked that GE score because it was very unique. I've always liked the composers who take a new approach. I even like Michael Kamen's work in LTK now (although I did not like it in 1989, because it followed the absolutely out of this world TLD Barry swansong).
None of these guys should be mentioned in the same breath as Barry, but I admire their unique take. That takes courage imho, given the tremendous Bond musical legacy.
Love the first bit, then it gets kind of wild from 2.45 onwards.
I think probably my favourite Serra track though is this:
I am not a huge Arnold fan, although I thought his more recent efforts were pretty decent, and I respect him for Surrender and YKMN as title songs.
I enjoy all the other non-Barry scores. Kamen's is perfectly decent, if unexceptional. It does at least feel like a Bond score.
Like the others above, I am always open to something new, but it will have to be bloody amazing to equal or ever surpass what Barry did. I don't think it has to be the Barry sound to be successful. Others have taken interesting and successful new directions. But I really don't want bland any more. Arnold has developed an effective but not very exciting imitation of the Barry style, and Newman gave us vanilla mood music. I expect more for a Bond movie.