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Comments
But when the actual film starts,it all disappears...this is one weakness with SF as well,a decent score.
This is one of the major strengths of CR,a fantastic score all the way through.
Even if the Bond theme doesn't appear until later,the score was good enough to keep us all interested and wrapped up in the story.
Totally agree,we could do a lot worse than getting Arnold back in the team.
Let's move on.
Yes let's move on @IGUANNA
I want someone who writes a melody for each track that shouldn't depend on the reactive nanoseconds of a scene. I want a melody that compliments the scene AND makes it feel like a spy soundtrack. Jazz hints, traditional Bond inspired guitar strings (Vic Flick style) that's often called the spy sound (and it doesn't have to be The James Bond Theme being used for the cue), and orchestral violins doing a spy theme gone hand in hand with the brasses. Michael Giacchino knows how to do this. Just listen to his The Incredibles score.
F**k yes.
Absolute no brainer. The trailer music was close to perfection. So tragic we had to put up with Newman's turgid scribblings instead.
We just have mate - for the last two films.
This.
Agreed. This is what I've also been saying. I'm not a fan of Newman's Bond work but that doesn't mean EoN should go back to what came before. This mindset doesn't allow for things to evolve and get better. With Mendes and hopefully Newman gone (good riddance to the guy) EoN should get in a new creative team; starting with new writers. They have the money, it's time to start upgrading and spending money on much needed talent and not on lame car chases and crappy explosions no one cares about. New writers, new director and a new composer. This is the best time to get out of the comfortzone and be bold in heading towards a different direction.
This is Bond it should be a privilege to get it not a chore like Newman made it appear.
Get them to score a GB and the plane chase and see what they come up with.
At the moment @Murdock is in pole position.
As long as it doesnt get out to the press...the headlines will scream '007's X-Factor'...but the idea is good.
If we then decided to move on, I wouldn't mind seeing Giacchino, Daniel Pemberton or Clint Mansell take a stab at it.
Choose Daniel Pemberton.
That would be a good idea. If they're not going to use the Bond theme, then they are not going to be hired. Making them score a generic gunbarrel would be the next step in the audition.
I never had a problem with David Arnold, and would welcome his return. Arnold understood the importance of the Bond theme, and before the series rebooted, he used the Bond theme accordingly.
Arnold knew exactly when to use the Bond theme and not overdo it. He took Barry's idea of utilising music from the theme songs into the score, which works a treat.
His music for the Boat chase in TWINE is just fantastic. Using the guitar Bond theme briefly as the Jet boat thunders along one of the Thames's canals.
Good choice.
I'm bipolar with SP. Was a fun film. My kids have a renewed interest in it too.
That's the way Bond is though. Sometimes just get so angry but then I something always jars me back.
The frequency at which he does projects is not relevant to the quality of his work which is of a high standard. Pemberton is a good choice too - they both would be.
Sublime scoring. We don't get such layered action music from many composers these days.