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Comments
In a perverse way I hope the score is an absolute travesty, and Bond 25 is one mess of a film, because this may be the only way we get the right changes made at EON. Babs isn't fit to run the franchise anymore, and the only way we'll get these changes made is by an absolute disaster of a film, so she is forced to sell up to someone who understands Bond - including getting the right sound of the film, and going back to the Fleming novels.
The fact that she has chosen to ignore the previously unused material and gone with the `Fleming re-imagined' family angst crap in SF and SP shows she isn't up to the task anymore.
More shocking bad examples. Meandering, plodding, atmospheric, ambient crap.
Again, shows this guy is not the man for the job.
I doubt Romer will get anywhere near anything as great as this. It just makes you want to weep when you hear these tracks again, knowing that Arnold hasn't been asked back, in favour of some indie rookie who specialises in ambient background noise. nothing more.
Fair enough. I shouldn't really write the guy off until hearing his score. I'm making a judgement on his previous work. If I heard glimpses even, of something remotely sounding like a strong melody, I may be a bit more optimistic.
Unfortunately everything I have heard so far (and I've heard quite a bit now from examples posted on here) leaves me with the dreaded feeling that we are in for another Newman type score - ambient, generic, atmospheric crap, that sounds like a million other Netflix dramas.
The Bond sound is unique to its franchise. Other films occasionally try to even mimic it. And yet here we are, with another composer brought in because of the director. Mendes cocked up both SP and SF with his own vision of what a Bond film should be, and here we are, third time lucky, going through the motions again.
And the one person who truly can do a Bond score is sidelined once again.
I am not sure I like the diversity of the Craig Bond movies. They are all very different from each other. The style, editing, music etc. It feels like there's a whole new team brought on board every time.
That’s probably the best route, as it gives identity to each era. But they are letting the director decide so that’s scuppered that.
I hope we'll never have to hear something so generic in a Bond film ever again. My favourite Arnold score is QOS, partly because it has nothing like this in it, for a change. CR has moments like this in Venice and on the Nassau beaches, DAD has it in the very last scene and TND brought a similar sound to Paris and Bond. Do you know what I thought when I first heard "Paris and Bond" in '97? "My god, David, you had to bring stuff from ID4, didn't you? In an otherwise very inventive score, THIS is what you throw in?" And he would do it again and again and once more. But not in QOS, and I loved him for that. :)
I too think it's insane to write off Romer before we have heard even a single note of his score.
I think we have different different ideas of what generic film scoring is, @DarthDimi ;)
But I agree with your last part, I think it's only fair to let Romer do what he has been hired to do without damning him to hell before he gets to do it, regardless of your opinion of his previous work.
I agree, I think it's best too. Maybe it might be something they will consider in future, if they plan the eras in broader strokes.
Anything should be an improvement over SF & SP score.
Thinking about it, it's actually funny that SF was nominated for best score.
+1
I've wondered that for years,DD !!
I'd choose SP over SF score, simply because sounds like an overall improvement of everything good there was in SF.
Exactly how I feel. It s a wonderful score.
So have I, @barryt007. I mean, I don't hate the SF score but if this thing got nominated, how come Barry, Goldsmith, ... didn't get nominated for many more Oscars? In fact, how come Barry never got the Oscar for the YOLT, OHMSS, DAF, MR, FRWL, GF, ... scores? Those were absolute diamonds! The fact that SF got nominated at all is an insult to Barry's legacy.
Even more insulting, however, is TWOTW winning the Oscar--I still have trouble believing that--while theme songs like YOLT, WHATTITW, DAF, ... didn't.
Either the Academy dismissed the Bonds back in the day as unworthy, convinced their faeces don't stink; or such low quality was produced in recent years that the options proved too few; or both. Whatever the case, Sam Smith winning the Oscar for his theme song to SP isn't a "gift" in my opinion to us, Bond fans; rather, it's like dancing on Barry's grave.
I don't take the Oscars seriously and havent for a long time.
They're laughable if anything.
I think James Bond films have always been pretty low on their totem pole.
Vangelis's incredible ground breaking score from Blade Runner wasn't even nominated!
But SkyFall was. How does one explain such a thing?
Lobbying.
The Academy has nominated and awarded Bond films as far back as GF, so I don’t think it’s necessarily them dismissing Bond. For whatever reason, Barry and the songs he produced got overlooked, but other composers and songs got nominated before Thomas Newman and Adele won their awards.
For the music categories “Live and Let Die”, “Nobody Does it Better”, and “For Your Eyes Only” were nominated for best song, and Marvin Hamlisch’s score was nominated for best score. All suspiciously without Barry.
At the same time, Barry’s non-Bond scores and songs got nominated numerous times throughout the years. So, what’s the deal? I suspect that Barry didn’t want his Bond work to be submitted for nominations, preferring that his non-Bond work be recognized instead. It’s no secret that by a certain point John Barry thought he was too good for Bond but kept taking the gig because it was good money. Part of the reason he didn’t come back for LALD was actually because he thought another non-Connery picture would not be a big hit, so why bother making a score for that? Oh, it’s actually a big hit, guess he’s okay with scoring Bond again. That’s just my hypothesis because of an interview he gave where he in retrospect dismissed the post-60s Bond films.
He was a snobby fella, but also a genius composer.
Lack of music knowledge. Lack of taste. Lack of brain cells.
You are miscrediting John Barry by using loose assumptions.
And he reached no agreement with the taxman until the 80s.
I was laughing out loud at this. Then I thought maybe you are not taking the piss and mean it. Do you really mean this? It's so OTT about Barbara.
Romer is versatile and I'm not at all concerned. I like David Arnold a lot, but I'm open to a new composer. Cary has enjoyed working with him, and he's not a "one tone only" composer.
Production Designer Mark Tildesley?