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And that's OK! I'm in the (seemingly niche) camp of being as hadcore a David Arnold fan as they come, and yet I really, really loved Tom Newman's work on the last two films as well.
Serra's GE score didn't appeal to me at all when I was younger, but as I've aged I've learned to appreciate it in many more ways. Still not my favorite, but I think it's actually quite innovative and more unique/classically Bond than it gets credit for. I mean, if you love John Barry, I find it hard to believe you can totally hate the fella who wrote "We Share the Same Passions."
Arnold worked "Another Way to Die" into the QOS score a lot, as well. He was really quite the team player on that film.
Yes, Romer is a synth-and-beep guy, but let's not be entirely unfair: judging from his IG, he plays several instruments, so a musician he most certainly is. Less synth-and-beep experiments and more strings, horns and brass - traditional Bond music - and he could probably pull it off. Let's have faith now and complain later ;-)
As long as his score don't sound dated in 10-20 years, like others who wanted to do their own contemporary experiments (Hamlish, Serra, Conti) it will suffice.
Ahh, of course! Thanks for the reminder, it’d been awhile. Now I need to go listen to YNMN all over again, such an awesome Bond theme.
Why wouldn't the series survive if it gave us another Bond film with Arnold doing his nods to John Barry? That is the most ridiculous thing I've read today.
And as for modern day music composers, that Facebook comment was spot on. Moody atmos tracks are easy, ten-a-penny. Any student musician could knock up moody ambience on their electronic keyboards. Composing strong melodies is a fine art that only a handful of legendary musicians could really achieve - the likes of Morricone, Williams, Goldsmith, and of course, our very own John Barry. Arnold was becoming closer with each new Bond film to reaching those heights, but now he has been robbed of the chance.
Instead, we have to look forward to another second rate `composer' with his keyboard tricks to give us electro moody vibes. Every example of Romer's that I've listened to on YouTube in the past hour is pretty depressing. I haven't heard one example to prove this guy has it in him to write a strong, melodic score that Barry could do in his sleep - and for that matter - so could Arnold.
a) he uses more Bond theme than Newman, and not only the first few notes of it, but also the orchestral explosion of Bondiness. Newman nearly got that during the Mexico City helicopter scene when Bond re-gains control over the chopper - I was getting ready to celebrate, when it abruptly ended. Also, laying it only over the end credits is not enough, imho.
b) he weaves in the main theme into the score (but I guess that depends on how they coordinate the main theme with the scoring of the rest of the film, time-wise)
c) he takes a more of an 'orchestral' and 'melodic' approach, and less of a 'moody', 'generically repetitive' and unmemorable one (I'm not a music expert, hence I'm using these terms in a layman's fashion. Memorability is my no. 1 criterion, I guess. Basically, I'd like to be able to hum the tracks walking down the street.)
Some time ago I heard a rumour that they don't use the Bond Theme that often anymore, because they're obliged to pay exorbitant royalties. Is that true? Or is it purely the composer's choice not to do it?
His scores definitely sound moody
You are hoping what I and many others are hoping for too. Whether Romer has the chops to pull it off remains to be seen.
The only thing that would give me confidence at this stage is if this guys went on an interview and came out with things like `Barry was one of my idols in the music film world. He will be my inspiration when composing the score, evoking his sound while also trying to modernise it too. I'm even looking at reworking the `007' theme, which was last heard in Moonraker, etc. etc....'
If I heard these types of comments coming from Romer, then I would be fully on board too. As it is, I am remaining very sceptical. Other than the Jamaica location and the use of the Aston Martin from TLD, there isn't much I'm excited about with Bond 25 currently.
The news of this `composer' just made my trepidation even worse...
That's specifically not what I said, and fundamentally not what I meant.
I'd have loved that approach for Bond 25. As stated. You and I, it seems, share a passion for Arnold's work and he's clearly our preferred choice.
But the same way Arnold was an evolution, we need to be open to other evolutions. And the music ultimately needs to fit the film. That's the most important thing. And I trust in CJF and Romer to know that, and get it right.
And yes, I want the Bond theme in there sometimes. But I'm open minded about this choice and I want this film to not be too much like older films, including the music - but still retaining the Bondian feeling. Which can be done, I feel sure.
In fairness, Newman's SPECTRE interviews were those exact platitudes as well.
At least you have more faith than I do. From what I have learned of CJF and Romer's work, we are in modernised Netflix TV Box set moody territory - a million miles away from majestically sweeping, uplifting beautiful scenes like this -
The days when people are hired into the franchise because of their merits are over. (Arnold did some fantastic scores and won awards before he was considered, same with Hamlish, Conti, Serra).
Now all they have to do is to be a friend, or earlier collaborator, of the director, because modern directors don't know how to work with composers they have never met, or something?
Imagine if Ryan Johnson brought Nathan Jonson onboard as composer to replace John Williams for SW: Last Jedi, just because they've worked together on 'Looper' - it would be ludicrous.
Exactly!
Spot on, mate!
I would have liked Balfe to get it. He is much hated on soundtrack forums, but I loved his Fallout score. He does add a lot of dynamism to ambient. Lovely rework of MI theme in The Exchange, sort of Schifrin meets euphoria.
That score is a grower. Initially didn't like it, but now I play it regularly. It's great fun. "Stairs And Rooftops" is superb.
Where did I say `hiring a friend'....??
And he may have done `good films'. The pair of them may have collaborated on `good films'. Newman and Mendes did `good films'.
Still doesn't mean their collaboration style will be ideally suited for Bond. Moody scores don't usually suit Bond, unless the composer has it in him to do uplifting pieces too as a contrast.
Right now there is not one single shred of evidence to prove this guy has it in him to do an uplifting Barry piece. I sincerely hope I'm proved wrong.
That said, I just remembered that Mendes said "WOTW" was recorded in January, that is two months after filming started. I know with all the troubles they had recently it might be too early for that, but I wonder if they might be recording it around September-October or so.
Agreed. I'm largely prepared to take a break from the franchise until new blood is brought in. Purvis and Wade were tired more than a decade ago, and it's clear MGW's hand is no longer on the tiller. Babs may have his name, but she doesn't have a tenth of the talent of her father.
Spot on!
Give that man a beer!
You'll be close to slashing your wrists after hearing some of the electro moody garbage he has churned up.
:)) Sounds exciting then!!! =))
https://en.m.wikipedia.org/wiki/Dan_Romer
But seriously apparently he produced a hit song for Christina Aguillera so maybe he could write the title song or at least collaborate.
That producer and collaborative role is what also Arnold brought.
Say Something is actually a pretty good song as well.
Should have mentioned it directly to him.
I am fine with Romer being on board. As I've said, I think it's good (and expected) that Cary would choose someone he's worked with before. I look forward to different music in this Bond film, yet still retaining enough Bondian flare. I'm not concerned.
I tried listening to some of his stuff earlier today. Reminded me of Kenny G or John Tesh. Maybe I'm thinking of Yanni? Either way nothing remotely resembling a Bond sound, IMO.
Although we really can't judge until the film comes out, I suspect Eon wants a different sound this time, and not particularly a Bond sound.
I think we may end up with something more comparable to Michel LeGrand's NSNA, with the obligatory, (now over used Craig era) Bond theme saved for the end credits.