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Comments
even the terrible CR67. both it and NSNA, are never watched but I need to have them. :))
Goldeneye score:
Goldeneye still wins for me. NSNA's score sounds like songs you'd hear on a cheap package holiday video.
As for best score. It has to be somewhere between YOLT and OHMSS. Those really feel like Barry was at the top of his game as far as Bond goes.
I'm always perplexed by the re-emergence of the Norman score for the helicopter sequence from FRWL.
Best for me might be The Living Daylights or On Her Majesty's Secret Service.
Where was the stunning doom laden OHMSS rendition from the trailer? At the finale chasing Blofeld down the Thames I kept waiting for this to kick in but it never did.
Extremely poor. This guy has had his chance (I actually thought his score for SF wasnt bad) but Arnold has to come back after this.
Of course the terrific setting of the theme from OHMSS from the Spectre trailer was never going to feature in Newman's score for the film. Trailers are nowadays usually scored by specialized composers - not by film score composers, whose work often begins after the trailers been released.
But I agree with you that it's a shame that the OHMSS theme - and Barry's killer action cues in general - are not re-used by his successors. What a joy it would be to hear his '007' theme again. Or his thrilling action theme for A View to a Kill. They would really spice up the score - especially Newman's, whose action material for Skyfall I find plain bland and generic and workmanlike.
Good point.
As for my favourite score, Diamonds Are Forever:
1. The title song: one of the best in the series, and Shirley Bassey belts out Don Black's deliciously filthy lyrics with great gusto.
2. The two instrumental lounge settings of the title song and the theme for Tiffany Case: Barry in his smoothest lounge-mode.
3. The big band and show tunes which spice up Barry's score mostly as as source music, such as 'Circus Circus', 'Q's Trick', the airport source music (my favourite), and the unused material in the 'Additional and Alternate Cues' on the 2003-CD.
4. The reprise of the 'Capsule in Space' theme from YOLT in '007 and Counting'
5. The overblown choral material for Bond's near-incineration at 'Slumber, Inc'
Well why cant we get that guy to score the film FFS?
There are several composers who can do a superb job on B25. We've mentioned a few on the music in SPECTRE thread.
I agree that Newman probably isn't the best for this sort of work (although I actually like some of the cues I've heard on SP.....I've not seen the film yet). If one looks for Barry type sounds, Newman will always disappoint. It's just not what he does.
I disagree on bringing Arnold back though. I think he's had his 6.....or was that 5.
Newbie - but favourite score "Diamonds are Forever" Least favourite - sorry Spectre
Sadly he's just not suited for Bond and his style doesn't mesh well with Bond.
I agree. His score for SF wasnt too bad. But that doesnt mean I liked it so much I want to hear it again for SP. Its not that its bad per se (much better than GE say) its just the lazy repetition thats pissing me off.
Different strokes. Nothing about his work for Bond is memorable to me. It should be hummable. A hummable Bond score is a perfect Bond score.
However, when the same folks hold up Arnold as the replacement, then I'm puzzled. His action scores were not melodic to my ears, save for a few exceptions. Nobody has created more unmemorable scores imho than Arnold for DAD/TWINE. Not even Newman or Serra (no one can accuse Serra of not being memorable).
I think we all agree, someone new is required for B25 onwards. There are several great contenders out there and EON should really get its act together on this front. It's one of the few areas that they have not put right after they cleaned house for the DC era.
I agree.........NSNA had a terrible music score. Michel Legrand's music for the film was totally inappropriate.......and had an adverse effect on the film.
In fact........i have read articles where the producer of NSNA had wanted to have the film re-scored, and then re-released a few years after its initial release.
What makes this story even worse.........is that it was apparently Connery who had wanted Legrand to do the music.........the producer wanted James Horner, but Legrand somehow got the job.
James Horner, would of been an excellent composer for NSNA. Horner had composed some fabulous sountracks for some of Hollywood's blockbusters........eg Aliens.
I'd rather have someone new as well. Joe Kraemer, Michael Giacchino, Sean Callery have all proven themeselves worthy in my book.
QoS/CR - much better no doubt and you have posted what are easily his best tracks on those two scores and in his entire 5 film repetoire.
Again, holding Arnold up as the alternative shows a lack of imagination, as did EON by using him for those 5 films. It's time for someone new to show us how it can/should be done. We don't have to settle for this any more.