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Comments
Exactly. And he developed the sound as the films progressed.
Me too, at the drop of a hat!
Yes, the two have collaborated throughout. You hear a lot of Arnold's signature sound in Sherlock. There are parts where you hear a brief influence from Casino Royale or QoS or TWINE or even Godzilla I believe.
I'm not losing too much sleep over it because as I've said elsewhere, I'm looking forward to someone new for B25 and beyond. I suspect they'll get a big name on board, given they are doing that in all other departments these days.
In a sense, David is the Bond of LTK in this whole situation and Barbara (and the rest of EON) is Pam. He's jumping over balconies and into pools to get her attention, all while saying, "So why don't you ask me to?" Somewhere in there a fish would wink, too.
i've seen enough from Newman to know that if he came back for a 3rd, he'd most likely just continue to purge whole sections of music from the last 2 films - sprinkle in some new stuff, and call it a soundtrack (especially if Mendes is brought back)..
to me, Barry set the tone of what a Bond score should sound like - not that future composers need to be lock step in line with Barry's style.. but Bond scores are as much a character in their own way - the sweeping melodies, which are then used re-occuringly throughout the film (and also incorporated into the title song please ***glares at you Newman***) to build a theme, and give each film it's own musical identity... that was probably one of the chief things that annoyed about the soundtracks to SF and SP - they are 75% identical to the point that you could interchange the tracks, and it wouldn't make the difference...
Yeah, he once told me that he was waiting for them to ask to return and score a Bond film. His enthusiasm is unparalleled for the job but he just isn't getting approached. Shame that MGW+BB have given Mendes a little too much creative control w/ his films and pushed Arnold out of the picture.