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Compare to 1997: Arnold, Horner, Goldsmith, Zimmer.
1981: Conti, Barry, Williams, Vangelis, Carpenter, Tangerine Dream, Goldsmith
1987: Barry, Goldsmith, Silvestri, Poledouris, Morricone.
I'd argue Zimmer has produced some pretty great scores but accept much of what he does is fairly generic now.
It would be like having a chef who cooks an awesome steak; you tell your friend, ‘m tonight I really want a steak , this chef does a great steak, let’s go to his restaurant. Your friend points out , well , he’s not known for his chicken, veal or fish and I’m not sure about his side dishes and deserts.
I look at my friend and say, “ Well that’s fine but tonight I want a Steak, and I know the man for the Job.
Arnold knows Bond, he launch Craig and he’s the man to complete the voyage.
+1
Haha I am curious though, was john Barry completely uk based or he never really worked in Hollywood?
Barry lived in the States from the mid-70s onwards.
He´s pretty generic, but he owns generic. He´s not generic generic. If that makes any sense ;-).
Arnold is not known for sticking to a theme ;-).
The internet´s our name, and bloating rumors ist our game ;-)!
Well, BR 2049 let the director-chosen composer Johann Johannson go during production. And even Goldsmith´s score for Timeline was rejected. It was later released on CD, highly recommended!
No I was actually asking if he worked more in Hollywood productions?
If he has left there could be a myriad of reasons why, it may just be simply personal circumstances of some kind have meant that he has had to leave production. On the other hand, in most instances in cinema history when a composer has been replaced (more common than you might think) it usually leads to a composer doing a good score.
The majority of them were, yes.
David Arnold has been my single favourite Bond composer after Barry, and he could probably write a Bond score in his sleep, but if he does come back for NTTD who knows how it will be received?
He could either write a horribly generic and derivative score (which would be very unfulfilling and unlikely for him I'm sure) and some of his more obsessive fans on here will lap it up and be thankful that nothing will ever have to have variety.
Or more likely, he will write one of his typical knockout scores and it will sound too different from his previous work because it's been over a decade since he last wrote one and his style has naturally changed and evolved and the same posters who want him back now will call for his head.
How quickly some forget that Arnold loved to experiment and change his sound with each score, not without controversy too. After his work on the Brosnans grew more light-hearted and electronica heavy (especially DAD) I remember fans being appalled at him being asked back to do the new "gritty and grounded" take on 007.
What will happen next is extremely predictable: EON will hire Arnold who will deliver an awful Barry pastiche and Arnold acolytes will cheer. Cary, if you are reading, you can stopt this.
Said no one ever.
CR had its moments I did cringe but his instrumental arrangements of YKMN and Vesper's theme were quite sublime.
I thought QOS though was consistently his best Bond score and thought of getting a theme that recalls YKMN or hearing Vesper's theme in the Matera sequence at the appropriate moment would put a smile on my face.
Why not let DA cap off Craig's era?
That being said if Romer isn't gone or someone else gets assigned if the rumours are true. I'm open to see whatever plays out but dismissing Arnold outright with saying he'll just press the auto pilot button is unfair.
I think he'd take it as an opportunity to deliver something special rather than default to generic.
First I heard of it was JBR, I compose music myself and I love David Arnold as much as the next person but I've listened to alot of Dan Romer to get into the spirit of things and I've gotta say I want a Romer "NTTD" score so i can go out and get it on vinyl.
I love that were in a time where film music is so realised, celebrated and debated 😁
Some really interesting posts on this site.
I think if it's true (and we're still not sure about that as it's only one source: wouldn't some more soundtrack-based news guys have heard about it?) it's fairly unlikely they'd get Arnold in. I dunno: I just think they've moved on and there are many composers to choose from.
IF Arnold returns, can it please be because he'd be the best choice for this film?
As soon as a film score is fully integrated into the fibre of a film, it puts a definitive stamp on the overall mood of the film. Terrible scores can ruin an otherwise decent film and great scores can function as some kind of damage control. A great score for a great film is film heaven. Music is to a film what seasoning is to food. Few things are more important than to find the right tone for the right film. John Barry managed that essential match every time, but the others, including Arnold, weren't always an unmitigated success.
Fukunaga may be working for Broccoli and Wilson and with several other Bond veterans, but having seen his work so far, I've got a feeling that NTTD will "carry the Cary" all over the place. Not just any tune will then be the right one for the film, I assume, even if it sounds great in isolation. The music has to tell a story after all and has to be more than just some cool, vintage Bond material. Am I saying that DA couldn't pull it off? No, that's not what I'm saying. Am I saying I have no confidence in DA? No, especially after CR and QOS that is not what I'm saying. But is DA some kind of guarantee for "perfect Bond music"? No, he isn't. And we who haven't seen a rough cut of the film yet, we who weren't involved in the establishing of the tone and direction of this film, haven't the faintest idea what the proper music for NTTD would be.
And as some here have already said, perhaps we should first wait for confirmation that Romer has, indeed, left the production.
+1
Exactly. Let's wait and see what happens. All we know so far is that one podcast has that Dan Romer left the film. And as of now, that's literally all we know.