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Comments
+1. The overabundance of homages makes movies like The Force Awakens, Solo and Jurassic World unwatchable to me. The number-plate and the painting are fine since they are not intrusive (and I'll be honest, I wouldn't have even noticed them if it weren't for you guys), but I don't want them to recreate scenes from previous movies or even directly quote them.
Much as they were happy to get an Oscar-caliber (and truly wonderful) composer in Tom Newman, I think they'd also have to know by now that the last score for SPECTRE doesn't seem to have been particularly well-received.
It's an interesting dilemma, and probably quite an interesting negotiation as well.
EON acquiesced to Mendes and asked Arnold to sit the last two out, and one might think they'd like their (generally loved) resident go-to option back in the fold to mitigate risk. On the other hand, someone like Cary Fukunaga doesn't sign up for a picture like this without ensuring a certain degree of creative control, especially after what happened to Boyle -- and composer choice might make sense as one element the producers are comfortable trading off in exchange for other things.
On top of all this, though is the consideration -- what if CJF simply loves David Arnold as well and is happy to have him back? A reliable, strong hand on the music would be an advantage to Cary in a franchise he's taking the reigns of for the first time. Perhaps, if he's pushing for innovation in other ways, he knows a familiar strength in the music can be an asset to the overall experience.
He's already shown himself to be an open-minded collaborator where personnel are concerned. He's kept Mark Tildesley on board from the Boyle era (no small influence, a production designer!) and apparently had no trouble diving straight into work with Neal and Rob.
My feeling in general is that the producers don't have as much faith in their knack for experimenting with the formula as Fleming had in his Bond in the FRWL novel, where almost the entire first third doesn't feature James Bond at all.
Bond is pretty much always away from the big screen now, with only a few instances when a new film is in production. Perhaps Eon feels the need to remind audiences of Bond's cinematic historical influences whenever a new film is actually in production? Hence the references to other films.
In addition, I'm seeing more and more of the Brosnan/Craig films played on television now than the earlier classics. I'm also coming across more people who have never seen the pre-Brosnan films. Sadly, many people today have no interest in watching a movie made before they were born.
Still, I think the Craig era should have focused more on creating it's own iconography rather than reference the earlier films. We really don't need Aston Martin involved with every Bond movie.
So you agree at least one respectful nod to TLD?
They've gone in the right direction because they don't all have gadgets anymore, but still, a new Aston every film or two seems excessive to me. Moore, Connery and Dalton didn't always have a flash new car. It's not necessary imo. I think every actor should have one new car per era with all the gadgets bells and whistles, and then that can make little cameo appearances throughout the rest of their run (like the DB5 in TB).
Unfortunately though since the Craig era Aston Martin seem to thrive off the legacy they have with Bond and I bet EON get a lot of money out of it. So I think we'll keep seeing their new models popping up for the forseeable. I also don't think we'll ever get Bond being given a car from a new marque anytime soon for the same reason.
Let's hope the BOND 25 OST will be as excellent as the 1987 one ^:)^
The still-not-commisioned-B25-film-score-composer ...have already some pressure
Modern art and heritage sites is one of my pet hates. I hope he flattens the lot of them in his fleet of Astons!
+1
Trashing trash.
Indeed, that will dictate a great deal of the decision. I think Arnold's much more versatile than he gets credit for, but this could be a major factor in EON and Fukunaga's decision for sure.
At the same time, EON might have been disappointed in the choice Mendes made to bring in Newman. Newman wasn't going to have Adele's theme in the film, BB and MGW demanded he'd have it in there. And even then, he let J.A.C. Redford do the orchestration, because he couldn't be bothered himself. And then he did the same thing on Spectre, leaving the instrumental for Simon Hale.
No idea whose decision it was to reuse Arnold's arrangement for the endings, but this could've been an EON thing as well.
What I'm trying to get at, is that BB and MGW might not let Fukunaga as freely to choose the composer as they did with Mendes, as they have learned the hard way. At the same time, I think this does not guarantee that Arnold will return, but EON might be looking for a composer who actually wants to tick the boxes (Bond theme, instrumental version of the title song, romantic theme) first and discuss tone and feel with the director second.
Yes, that's the other side of that. My instinct is they're leaning this way.
I knew about Redford doing the orchestration of Skyfall, but I didn't know that Newman also left the instrumental of SPECTRE too. That's shameful. Fingers crossed for Arnold's return to bookend Craig's era.
I, too, liked some of Newman's work (that is most of Skyfall score, and Madeleine, the first half of Secret Room and Los Muertos Vivos Estan from SPECTRE) but I don't want him anywhere near next Bond movies. I couldn't care less about a composer who refuses to weave the theme song into the score.
For B25 I wouldn’t mind a soundtrack with a little more Bond vibe in it.
Noticed that too! Especially the Istanbul score gets used a lot! Strangely enough, the SP score isn't used at all. Perhaps because it's already too similar?
Or at least, that's what the liner notes of my SP soundtrack CD are saying, I presume they have it right! ;-)
I agree with 'bookending the Craig era'. If those rumours of Bond visiting Vesper's grave are true, I would actually like to hear Vesper's theme for just a split second. Yes, another reference, I know, some people would hate that, but I kinda found it shameful that Vesper's Theme was not played when Bond discovered the tape in SP. Newman is not the composer to do that, to give those nods, so no surprises here.
But if they truly go full circle with Bond 25, then I actually would like Vesper's Theme back. And maybe even the YKMN instrumental.
Me too. I'm hoping this for years now. YEARS!
And no, it's not to cartoonish, it's perfect. And if done right it would make for a brilliant chase/action moment.
;)
Underwater TB fight
Also paying tribute to by far the greatest theme of this era and the best since VTAK.
A number of factors point to the return of Arnold being a smart move in my book.
Although if CF goes with another candidate I'm willing to see what they might deliver. As long as it's not Newman again I'll be happy.
Was watching the plane chase in SP the other day and I was thinking how greatly it would be improved with another score. I like Newman's SF score. But SP was just embarrassing.
I say bring Arnold back.
We love David Arnold. So does Barbara Broccoli! He is the best. Next!