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Does anyone agree that the last 4 scores have been completely uninteresting with no personality?
The last 4 scores have been so disapointing. Especially the Skyfall and Spectre scores. There are a couple of great tracks in Casino Royale, such as Vesper and Death of Vesper, but other than that, none of the music has any personality whatsoever. The music is a very big part of Bond, and I think it's such a shame they haven't kept it up. Hopefully they will redeem themselves with the next film. What do you guys think?
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Comments
Arnold's last two scores were great for the most part. Unlike his scores from the Brosnan era, it was in the quieter moments that he shined the most.
The 5 Arnold scores are the best thing that could have happened to Bond, the closest we will ever get to Barry, and yet, Arnold had his own style.
Unimaginable how much better that drab SF could be with an actual score and not that background noise it got.
Spectre on the other hand is such an entertaining movie that not even Newman managed to drag it down.
Into Miami! Yes!!! One of my favorite Barry cues: sassy, jazzy, melodic, and unforgettable. I never fail to get into it every time I watch GF. We need more of that in future Bond scores. I do think Newman's efforts were a bit disappointing, and if Arnold comes back for B25, I'l be more than thrilled.
I like CR and QoS though. The CR soundtrack especially - tracks like 'Vesper' and the incorporation of the theme song woven throughout it - and QoS has 'Bolivian Taxi Ride' and much of the Bond theme mixed in. I think these are two of Arnold's better works (along with TND)
Newman: 12 Oscar nominations; 8 Grammy nominations; 3 Grammy Awards
Arnold: 2 Grammy nominations; 1 Grammy Award.
While Newman was composing music for The Shawshank Redemption, American Beauty, Finding Nemo, The Help, and Saving Mr. Banks, David Arnold was composing Hot Fuzz, Godzilla, and Stargate.
Do we really need to have this conversation again?
As I mentioned I like some of the stuff he does - Day of the Dead, Hinx, Severine - but then there's moments that sound a bit generic and 'production music' - Jellyfish or Quartermaster. It's his style though and I certainly don't find any of it offensive. It's just a little annoying and I wish there was some nice theme work going on (and I'm not a fan of ignoring the title track. I think he literally only references it twice in two films?)
We're lucky that Barry, Arnold and a few of the other Bond composers scores work well with the film as well as a stand alone piece of music.
I agree, but Barry was a composer with a sound all of his own. Composers for the Bond movies either emulate him (as Arnold has done very well) or do their own thing.
Newman isn't John Barry and his scores are not so 'in your face' but I think they underscore the films quite well.
I actually think they're a little underrated.
@tripaces, Mendes made the Oscar darling American Beauty, and other critically acclaimed films; Campbell made the Green Lantern, and other not so well received films.
Sometimes a person is more suited for a role, regardless of awards.
I was listening to TMWTGG last night, and I'm convinced we will never, ever have another John Barry. He was truly one of a kind. But I'm also happy with David Arnold. He will never rise to the heights of Barry, but he seems like a respectful student of the man, and he can also bring to life his own interpretation.
I especially love his final two, and I remember reading in an interview that he was able to bring in some big, masculine sounds for QoS since this is the manner in which DC was playing him. I find a richness in his last two efforts that are full of character.
David Arnold seemed in tune with the character's history, and the man playing him in the moment.
Not Barry, no, but no one ever will be.
It may just be that you are missing the bombastic Bond theme, and that has been covered on another recent thread.
Depends what part of the train sequence you mean. The shootout and the ripping into the train roof stuff was scored brilliantly. The score for the train fight afterwards was rather uninspired, I'll give you that.
The Oscars argument is hilarious. It must also mean Christoph Waltz is the best Blofeld because he's won lots of awards.
Precisely
With Spectre, Thomas Newman has delivered the worst Bond score ever. Skyfall also wasn't more than a middle-of-the-road effort.
While not loved by all, the one-off composers at least brought personality to their scores.
I don't agree about the last two Arnold scores though, I think QOS might be his best contribution to the franchise.
I think that's a bit harsh. I think his score works well with the film if not being entirely memorable. His music for the PTS is excellent and his instrumental of the title song works well in the film.
He uses music from his previous Bond score, but then Barry also did this a few times.
I think the weakest Bond score is Michael Kamen's for LTK. Doesn't incorporate the title song music into any of the score and overuses the James Bond theme throughout the film.
Yep because it gets repetitive. Barry understood this and used it only at the right moments. As did Arnold.
Statistically speaking 97.2% of the Tomorrow Never Dies score is just the Bond theme...
Not sure how you got that statistic, but no it isn't.
You're absolutely right, it isn't. But Arnold relies way to much on the Bond theme, smothering it over action scenes in films to the point of almost parody.
Agreed.