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Agreed. A daft and unnecessary comment.
Yet we’re happy because he got 5 wins so all is good? I don’t think so. I think being snubbed just because it’s a Bond score is the height of arrogance and unfairness. By that logic Williams should have never been nominated for any of the Star Wars. I mean those aren’t serious films, right?
To be thrilled for Zimmer and Newman getting nominations is a great disservice for both Barry and Arnold. Because they both deserved it more. Barry especially! And I don’t care if Barry already won 20 or 30 other Oscars. Doesn’t matter. That’s not the point. The point is he deserved more but was snubbed because it’s Bond.
But I agree Barry should have gotten a nom or win for Bond, but I highly doubt he was looking back at his career and thinking “OH NO WHY DIDN'T I GET AN OSCAR FOR BOND?? WOE IS ME!!”
And it would be fair to say that no other Bond composer should feel the same way, as a result.
It can't have helped that Barry himself had earlier somewhat dismissed his own Goldfinger work as "million-dollar Mickey Mouse music." But whatever we might think of it today, back then Bond music just wasn't considered "award-worthy," which is rather ironic given the double Song category wins of recent years-and perhaps a likely third win next year for NTTD.
Period.
I too think it's a missed opportunity that Barry wasn't awarded by the Academy for his amazing work on YOLT, OHMSS and, in fact, several other of his Bond scores, all of which are undeniably outstanding achievements. But hey, if we're going to complain about the Oscars neglecting certain people, there's a long list of actors, directors, cinematographers we can start talking about. And at least Barry got an Oscar for Born Free (two, in fact), The Lion In Winter, Out Of Africa and Dances With Wolves.
Your angry post is a bit scary, @ringfire211. You are looking for reason and rationality where there is none, in a world that doesn't invite nor nurture it. First of all, I wouldn't call his four Academy awarded scores "lesser works". The Lion In Winter is nothing like Bond; they simply cannot be compared. But it is an impressive score. So is Dances With Wolves. "Lesser works" is a matter of taste, not fact.
Yes, a lot of Bond material from the past, not just the music, was overlooked, and most likely because the Academy refused to take Bond seriously. If you ask me, at least half the Bonds could and should have received a statue in a technical department. Oh well. I'm not going to pump up my blood pressure over it.
The fact that the Academy has been more generous with its Oscars towards Bond in recent times doesn't make up for the past, but it's a sign of some respect, and I welcome that. Nevertheless, the Oscars don't mean all that much in the end. Amidst dozens of completely forgotten Oscar winners, the Bonds continue to be celebrated, loved and--most importantly--watched by generations upon generations of die-hard as well as casual Bond fans. So whenever a Bond film wins a statue, I'm happy, even if it's for Writing's On The Wall and not for Bassey's Diamonds Are Forever; but when a Bond film doesn't get the Oscar, I'm not going to get worked up over it like you seem to be. It's not the end of the world, mate. No need to bring such a short fuse to this discussion. If Zimmer wins, hell if NTTD wins in whatever category, just be happy there's yet another Oscar for our beloved series. I agree there could have been many more, but we can't change the past.
Final Ascent - Slowed down with reverb. Sounds incredible:
That is better than the original. I love it.
The Oscars barely have any credibility. Kubrick and Hitchcock were I believe ignored throughout their careers. Vangelis's incredible score for Blade Runner wasn't even nominated. But that's just a few that have been ignored.
A back slapping ceremony that means bugger all to me. All I know is I love the music from the Bond films and there's never been a bad score.
It has great re-watch powers over me, @NickTwentyTwo ... I battle the desire to watch it every evening... Sometimes I say I'll just watch the PTS (knowing that I'll continue watching the rest of the film), other times I say I'll just listen to the soundtrack (which moves me in different ways depending on the track), and then I get so jazzed up, I pop the film in again.... Luckily I've fought the demon many times, and last night was only my 11th viewing (whereas it has the potential to be far higher in views than it is).
Hasn't gotten old for me yet, either. And here I thought my five viewings were impressive... ;)
I've also heard the show is great too; might have to check it out.
And given how self-referential the series has become (never more so than under Craig), I think we can expect the weight of its own tradition to factor ever more highly regarding the music, as well ....
I’m all for Bill Conti’s “Make It Last All Night” be reprised in the same way OHMSS and WHATTITW was in NTTD.