It looks like you're new here. If you want to get involved, click one of these buttons!
^ Back to Top
The MI6 Community is unofficial and in no way associated or linked with EON Productions, MGM, Sony Pictures, Activision or Ian Fleming Publications. Any views expressed on this website are of the individual members and do not necessarily reflect those of the Community owners. Any video or images displayed in topics on MI6 Community are embedded by users from third party sites and as such MI6 Community and its owners take no responsibility for this material.
James Bond News • James Bond Articles • James Bond Magazine
Comments
Nothing written in stone, but you never know...
Look, T. Newman is a big name in film music. I am sure EON had no issues with Mendes bringing him on board. Whether EON liked the end result is another matter. I rewatched SF last night for the first time in ages and the music is pretty generic and forgettable. There's not really a single cue or melody that stands out for me personally. It's music largely devoid of personality. Some of it is effective in the specific scene but that is about as generously as I can put it. But at the same time it's not a fail. It does a job.
I imagine EON just accepted it. It works, but most of us agree there's nothing very special about the SF score.
And after the success of SF there was obviously no way that EON would refuse Newman's return.
Most fans don’t know any better. For example: their reaction to Eric Serra’s score.
Another Example is Bill Conti's 'Runaway' from FYEO's score. Although, the track works as listening experience & and somehow fits Moore's Playful portrayal of Bond. I don't think Barry would have been that playful with that scene, considering FYEO was a more grounded Bond film. And Conti was the guy who scored Rocky....meaning he had a huge Profile already. So like Newman, he was definitely going to be given freedom....at least to a certain degree. One huge plus though, was Conti was able to work with Sheena Easton....so he weaved the title track into the score. Just like how Martin & Hamlisch did too to great effect. I recently started warming up to Michael Kamen's LTK'S score....and I couldn't help, but think had he used the title track in his score, it might have been instantly liked and would have been a better score. Strangely enough, I like Serra's score even without him weaving the title song into his score. One can only imagine how ultra-brilliant that score would have been if he did that....but still I like the score.
Yes
I don’t think there’s any reason to think that, no.
Yes, good post.
I’m not aware of that: where did you hear that? I heard him being interviewed about it and he seemed more than happy.
I don’t think Runaway is particularly playful: it’s one of the more dramatic bits of music in that score.
I dont get that. Its not like he’s in a position where he has to grab every project going his way, he's such an established composer that he could have turned it down if he wasn't comfortable with what it requires.
Music scores are a collaboration with many different people all wanting different things, and as the composer, you have to try and navigate all of that, keeping everyone happy, whilst keeping yourself happy. Not an easy task, especially on something as big as Bond where everyone has an opinion of what it should “sound like”.
For what its worth I think Newman did a pretty good job with both scores. I know Spectre gets a lot of stick for its use of Skyfall’s cues, but that was Mendes and (editor) Lee Smith’s decision, not his.
It's only recently since his collaborations with Nolan that Zimmer has really ascended to the heights he has. I imagine Bond has been on his radar since 2005. If you think about it, Barbara Broccoli has only worked with three composers since taking over the series:
I also think that Broccoli convinced Fukunaga to drop Romer. I think Fukunaga was more complicit in the decision-making than we think....I mean he seems very happy if Instagram and the GMA appearance are anything to go by. I think Romer's work was just wrong for the film - a director has to acknowledge that.
Yes
That said, the only two soundtracks that I think work against the film, are GE and FYEO. Newman, after all said and done, created the requisite tension and excitement with his scores, I doubt anyone would deny that.
A tad insulting IMO.
It's a shame the producers didn't sack Serra in 94/ 95 much like Roamer in 2020.
Ah definitely no, good sir, as a cinema junkie I can't avoid getting a lot of Zimmer in my ears. And I can assure you, I will be very happy if NTTD's score turns out to my liking, no matter what name is attached to it.
Splendid!....How Reassuring.
I don't believe that's Fukunaga's official page.
95% certain Newman was strongly resistant to incorporating Adele and Smith's songs into the scores
Gosh I even rather like the FYEO one. I think it might actually be the most exciting gunbarrel! :) And Runaway is fairly cheesy, instrument-wise, but it's hard to imagine Barry turning out something as full-on and exciting at the time.
Based on what? I'd need more info than just how the score turned out as there can be many influences on that.
It’s worth noting Serra was recommendation by John Barry because he loved the score for LEON: THE PROFESSIONAL. For Arnold I remember a claim by Broccoli in some interview that she was handed a CD album of INDEPENDENCE DAY by a store clerk, but it conflicts with the “recommended by Barry” talking point.
Cool.
Let's be real though - Hans Zimmer has been the heir apparent to the Bond composer role for a very long while. Now he is here, you can wave goodbye to David Arnold ever returning.
That depends on whether he succeeds and returns for another after this one, surely?
And if that ends up being the case, it's not just true for Arnold, it goes for almost every other potential name that has been mentioned in this thread for the last year or so. I'm not so sure that's a good thing either. There's a lot of talented names there.