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Comments
Ditto. The only bit I remember is the lone reference to Adele's title song. And Newman couldn't even be arsed to orchestrate that bit himself.
It's a sign of his arrogance that he refused to acknowledge the quality of Adele's song and work with it in his score IMO. He might have the external appearance of a nice chap, but I don't like him at all. Barry was a gruff, grumpy sounding Yorkshireman, but a great collaborator with other artists. Newman should be pretty ashamed in my view. Instead he gets an Oscar nod. Totally absurd.
I still think people were voting for the title song and not Newman's score.
God knows why Mendes likes him so much. Give me Arnold any day.
I wish to heck we could get back to something like OHMSS where you have a solid, SOLID tune that can be worked and woven into the very fabric of the whole thing...
I just don't understand this view at all. I've listened to them. They're fine, but utterly forgettable. Newman doesn't seem very able to write a recognisable theme or melody. His stuff is fine as background filler, but it really has nothing to distinguish it from hours of other generic movie music.
I think Newman's score for American Beauty was excellent. It really added something very significant. But the others just don't stand out for me. Not bad by any means, but really lacking in anything distinctive. That's fine for a lot of films, but it really seems a shame with a Bond score - almost setting out to be bland.
For some reason the first 35 seconds remind me of Kamen's score for LTK.
A lot of people believe that every non-melodic movie score is automatically generic. I believe those people are very old fashioned. This is 2015, a great score doesn't need recognisable themes and does not need to be melodic. I am talking about scores like the one composed by Atticus Ross and Trent Reznor for The Girl with the Dragon Tattoo.
I think we have different views on what constitutes memorable then. I don't think every score has to have a strong melody to be memorable (although I'd argue if you don't have one for a Bond film you're into a losing streak). I've enjoyed a lot of Zimmer's scores, who I'm often told on here cannot write a theme to save his life . I thought his atonal melody-less scoring for 12 Years a Slave was incredible.
What makes you feel this way? My opinions on Newman and Hans Zimmer have been quite clear. But what's wrong with Recognisable themes or melodies? Why do you feel they are outdated? Are you suggesting that all Film music today should sound similar? I'd like to hear more of your thoughts on the subject.
If that was the most memorable part for you then that speaks volumes, doesn't it?
I also believe that a lot of people prefer scores with melodies and themes simply because they are easier to like when one listents to them on their own. Something like the score of The Girl with the Dragon Tattoo requires more effort from its listeners.
Funny because IMO that part is cacophonic and ruins what would otherwise be one of the best Bond tracks ever.
His score composed for Skyfall is true to his own style, true to the spirit of the Bond films and modern - all in one. It stands out exactly because he has never composed the score of a big action movie like Skyfall before, and his quirky style is very unique in the big blockbuster realm... I can easily see why some people don't like this score, because it is a big departure, and because music is very subjective after all. But generic? How can anyone call this for example generic? https://www.youtube.com/watch?v=Yep1md_UUt4
That example there is very generic to me. Also, there are other moments in the film where he is blatantly ripping off The Dark Knight theme (hanging on the elevator in Shanghai, the escape tunnel at Skyfall, etc.)
He actually copied Zimmer more than Barry in SF, which again is disgraceful.
It's more subtle than that. And I find it tremendously listenable. It compliments the film with a growing sense of foreboding rather than aurally signposting how we should feel.
Melodically it's unusual. The chords and melodies in some sequences are bit unpredictable, but I like that.
Barry was Barry. Arnold wanted to be. Serra, conti and Hamlisch are all time capsules of varying degrees of horribleness.
I find newmans score different but engaging.
Looking forward to SP