It looks like you're new here. If you want to get involved, click one of these buttons!
^ Back to Top
The MI6 Community is unofficial and in no way associated or linked with EON Productions, MGM, Sony Pictures, Activision or Ian Fleming Publications. Any views expressed on this website are of the individual members and do not necessarily reflect those of the Community owners. Any video or images displayed in topics on MI6 Community are embedded by users from third party sites and as such MI6 Community and its owners take no responsibility for this material.
James Bond News • James Bond Articles • James Bond Magazine
Comments
Awards are irrelevant when you're talking about somebody's suitability for a job. I like Newman's stuff (Road To Perdition, especially) but he hasn't got the right style for Bond. He attempted to overcompensate for it by utilising many of Remote Control scoring techniques which is why we got so much electronic droning and repetitive beats on drums and guitar. There's nothing wrong with that style of music - it just doesn't fit. If he had done what Joe Kraemer did with Rogue Nation and deconstructed the Bond theme and used notes from it as the base for his action cues (something he hinted at doing in "She's Mine"), then the scores would have been elevated considerably. That being said, his two efforts do have a few highlights where he seemed focused and aware of the legacy that Bond has.
His score for The Debt is a much more superior thriller effort because it lacks any of the baggage that his Bond scores had.
The problem is the instrumental happens in one scene, for about 10 seconds, probably because he was asked to.
And the music recycling is more than half the score. Barry only reused bits and pieces (except the "007 theme", and even then it's a different arrangement each time)
I think Arnold uses it just the right amount and like Barry creates new action cues and incorporates the theme song into the score.
You can't be serious if you think he relied to much on the Bond theme in his CR and QoS scores.
I actually think QoS is Arnold's best Bond score, by a long long long way, somewhat ironically given its the least Bondian score he has composed.
Certainly his Brosnan era scores relied way to much on the Bond theme and awful electronica and I don't care too much for his CR score either. As a more 'romantically leaning' film, Newman could have perhaps done CR better.
As much as I like Newman's scores, if he isn't back for more, Michael Giacchino could do a killer Bond score.
His work with Star Trek proves he can work with existing themes/sounds to great effect. I look forward to hearing his Rogue One score.
I love all of Arnold's Bond scores. It's just a shame he never got to do GE as well.
Newman got worse.
I think it's very Bondian. Listen to the PTS car chase score, so many Bondian cues there without being in your face
From CR: Vesper's theme; CCTV; Dinner Jackets; Solange
From QoS: Bond in Haiti; Camille's Theme, and, of course, Night at the Opera
From SF: Brave New World; Komodo Dragon; Severine; The Chimera; Someone Usually Dies
From SP: Madeleine's Theme; L'Americain; Secret Room; Donna Lucia
That's all just great music.
I absolutely hate 'From SF: Brave New World; Komodo Dragon; Severine; The Chimera; Someone Usually Dies'
Better than ice inc?
The awards argument doesn't work.
Newman failed as Bond film composer.
Well, it's all a mattter of taste. But Newman does have a Grammy for SF. So there must have been a lot of people in the industry who thought his score for SF was pretty damn good. And it was.
It certainly worked for the film and even divorced from the film it's a pretty good listen.
Too many nitpickers on here who just want the Bond theme played ad nauseum and get their panties in a bunch when something is done differently.
Well Rocky won over Taxi Driver. A lot of people must have liked it better. It wasn't.
After that logic you must love WOTW by Sam Smith or at least it must be pretty damn good. (And it was). It won about every possible awards there is and he was a multiple Grammy winner before becoming a Bond theme artist.
I did like it. I didn't think it deserved the Oscar over "Worth It" by The Weeknd. But it was a good song.
You're making an apples/oranges comparison. I am not making a one-over-the-other argument. I am merely saying that Newman's work has merit, and if one has a distaste for his work on SF and/or SP, they're in the minority. You're entitled to your tastes, for sure, but know that it is not one shared by most.
I liked Rocky and Taxi Driver equally.
Glad you like WOTW, don't know why this is so hated in this forum.
As for The Weeknd, yes absolutely, he should have gotten the Oscar. But then Pharrell should have gotten it too for Happy, most definitely, a year ago.
Awards are mostly politics and strategy games anyway.
I would strongly disagree with that one, even as someone who enjoyed bits of Newman's scores. I'd say at best for Newman it's a 50/50 split and at worst there's a fraction more who didn't like his stuff than did. It's definitely not a minority as you say.