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Comments
Agreed.
When you hear Zimmer's work, it immediately grabs you, and this guy can write uplifting melodies. Days of Thunder isn't remotely like anything Barry would do, yet still sounds superb. Hearing examples like this would have got me excited, even though its nothing like Barry -
You do realise much of the key crew would return for subsequent Bond films right? Dr. No wasn't a one-off, and then all crew changed hands with FRWL.
I think after Newman, EON will not hesitate to push Bondian elements in the score.
I wish I had your faith. I haven't seen any of his work so I can't really judge. Had this been Nolan directing Bond 25, then there would have been very little to put me off.
I feel Babs only really got CR right during her reign as producer after Cubby passed away. She has got a lot more wrong than she has got right during Brozza's and Craig's era, which is why I have very little faith now with the new film.
I'm not getting the Bond film I had in my head so I'm going to throw my toys out of the pram, Babs & MGW should sell up because they aren't deliveirng the film I imagined.
I'm willing to give Romer a chance, I've listened to some of his work and while it doesn't scream Bond, I think we need to see what he delivers.
Yes I was quite keen seeing Arnold finish DC's run but Newman isn't coming back so I look at that as a bonus. Romer is nowhere the Hollywood royalty TN is.
This is a man with plenty to prove, a much newer kid on the block, unlikely to be arrogant about not using the JB theme or hopefully able to weave the main title theme into his score.
If he's wrote some pop songs himself, maybe EON should insist whoever they pick collaborates with him or Romer is instrumental in the process of choosing the artist/group that gets the job.
I've seen plenty to still make me think that Bond 25 is in a very safe place and no CF is not going to deliver a Netflix drama, he's going to give us an exciting, tense contemporary Bond film, well that's at least the vibe I'm getting.
+1(000)
Dull, you say? Why do many of us love Arnold? Because of cues like these:
That said I'm willing to give Romer a chance, but the tracks I've listened to don't exactly thrill me. I would imagine he'll add a modern, fresh element to the score. I just hope Romer can respect a bit of the structure that exists to Bond soundtracks as opposed to creating whatever he wants.
My ideal would be that a genius like Barry comes along and takes us in a new musical direction that is still somehow definitively Bondian. But if that's not happening I will take Arnold's Barry-lite over aural anaesthesia from Newman any day.
I like some of the other one off scores. Serra at least sticks in the mind (for all the wrong reasons). I can't remember anything about the Newman scores - they just make zero impact. One of the most anemic and overrated composers in Hollywood IMO.
Also pastiche is not the worst thing a composer can do. Films composers have been 'borrowing' from classical composers forever. Nothing new in taking inspiration from wherever.
But much of Arnold's work sounded like Barry up to 1987 when he finished Bond. There were a few retro nods to the 60's and 70's (QoS in particular), but the romantic score in CR sounded like Barry up until he died.
Agree 100%
Not to my ears. In fact they’re better films because of them. Had Arnold scored them they’d feel lesser to me. I want what’s good for the individual film, not the franchise.
Great examples of Arnold at his peak. Sure, Arnold would go off tangent with techno stuff at times, but to me, these clips stand shoulder to shoulder with Barry's best scores, and shows he could fill Barry's big shoes.
I am still very annoyed he hasn't been picked to come back for Craig's final outing. Babs is bending too much to the whim of any new director she recruits. Are you telling me a director would walk away from the film if they were told Arnold will be doing the score?
Will have to agree to disagree. I remember watching GE for the first time and sitting in a state of shock at the music. The chase with the Ferrari has to be the low point but it's all fairly awful.
It says a lot about the Newman scores that the brief moments they are elevated above shopping mall background muzac is when they reference the title songs (neither section of which Newman deemed worthy of his own personal attention).