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As far as John Barry scores go, there’s never a guitar featured during the Bond theme ever again after DAF. Only non-Barry composers would bring back the guitar in the theme from that point on. It was part of Barry moving away from the Kentonesque brass/jazzy sound of the earlier films for a more classical symphonic sound. In the 1995 Moviola II soundtrack he performs all the old Bond tunes in the style he had adopted from the 70s and onward. No guitars in the Bond theme. No moog synthesizers in OHMSS. Etc.
Yeah, I think I read somewhere that Barry Brought back the Guitar riff in the Gunbarrel for DAF because, Connery was back....Maybe Barry believes it suits Connery more.
Sure, am all for Evolution, that's why we have Serra's score....I just think Barry felt Connery's Bond deserved the Electric Guitar more...maybe probably something about him being the first Bond, I don't really know though.
Given that DAF was an attempt by the filmmakers to recapture the tone and style of GF, it makes sense to bring back the guitar in order to invoke what the filmmakers wanted.
Yeah, that's also a fair point....could well be.
True. Great Scores, I love them all. Serra is magnificent...a rare gem. Probably because his type of composing is very rare. His scores might not be universally loved, or deemed Oscar-Worthy, but am sure we don't mind, as they're all Stellar Scores. I know it's impossible and might never happen....but I would like to hear another Serra Bond Score....I would really love that, an impossible wish though.
It is a rare moment of boldness in a run of films that do rather tend to rely on reheating what went before. Brosnan even said in that GoldenEye rewatch thing that he was aiming somewhere between Connery and Roger with his performance.
Although, and I know we're all supposed to be terribly down on Purvis & Wade and how awful they apparently are, but at the time TWINE featuring an injured Bond did genuinely feel like a bit of a game-changer. And then they got M captured too.
And in the next one Bond actually gets captured and locked up for many months. They were trying to push it places it hadn't been before, even if tonally it didn't really get there.
Yeah, I think I can see where you're coming from. I think you not wanting Serra back, is because you feel he might not replicate GE's 90s magic. But who knows?....It's Serra after all, I always expect a blatantly good score from him.
Yeah, it would have been interesting to see what Serra would have done with Brosnan's Era....but I love Arnold as well, he was a good replacement. I know Serra Creatively, is more Enigmatic and Unconventional, and ends up producing great ethereal scores...but I also love Arnold's work. Serra and Arnold are good.
Nah. What I would have liked was the films to have an ongoing rotation of new composers, rather than a single regular composer.
Yeah, not a bad idea. Makes for a refreshing score with each entry....only at times, not all the Composers might get the Scores right. Explains why franchises stick to a particular Composer, just for safety until they find another suitable Composer who understands the sound of the franchise, even if he's reinventing it.
I think Arnold produced great scores for both TND and QOS, post-1990 only Serra did better with GE.
Together, they are my three favourite Bond scores of the "modern 007 era" .
I used to love TND as a kid but ultimately decided it should rank more in the middle on my Bond score list. It has moments of brilliance but also a lot of "autch, that sound just pierced my eardrums"--uh--well, noise essentially. Sometimes, Arnold seems to be losing complete control of his orchestra and the horns or whatever are no longer hitting notes but the highest and loudest screams they can hit.
Serra's score never does that. Say what you want, but with him at least, it wasn't about showing off the full decibel power of an orchestra.
I've always found FIVE MILLENIA LATER from THE FIFTH ELEMENT to be very Bondian with a modern twist....It's very Obvious, I always imagine Bond Spying, or in a Casino or in Romantic mode with a Bond girl whenever I listen to it.
Exactly....Since he had GE's experience in his youth, am sure it left an indelible mark on him and one he doesn't like. It appears Besson understands him more, and Besson being French too also helps. I wish he were a frequent Hollywood Composer too, coz truly many films would have benefitted from his ingenuity.
Wow.I think what you just wrote there belongs in the '' Controversial opinions '' thread!
I agree, though I think TWINE/DAD/CR are more guilty of that uncontrolled, chaotic action scene bombast than TND or QOS.
True, GE certainly never does that. It's a consistent, unique, atmospherical and well-balanced score. It's my favourite aspect of the film and one of my very favourite soundtracks.
I'm fairly certain Serra composed the music for the casino scene. I wasn't there when he did it, obviously, but there are loads of moments in the Léon score that resemble this casino scene music in terms of orchestration, tempo and even melody. So yes, I honestly believe that Serra wrote that. Same with other orchestral cues. The only bits in GE that so clearly aren't Serra are the moments in the archive and the subsequent "pleasant drive through St. Petersburg." If Altman and Arch did anything else besides this, anything at all, they were simply cloning Serra's style from Léon, which would be a little strange, no? :)
I don't doubt that at all. My question came from a point of genuin curiosity. I don't remember which sources they are, but I have been reading on the internet that Altman and Arch were responsible for some, or even "several", of the orchestral cues. With my limited knowledge of Serra and his style, I had no way of knowing to which extent that was true or not.
Yeah I don't pretend to have any further knowledge, but the casino sequence seems more sophisticated than the tank chase sequence to me. Plus when it fades out to the more sinister notes (when Pierce is hopping up the steps to look at the yacht) it segues into more familiar Serra territory.
SYNCHRONISED INSTANT, one of my favourite tracks from LE GRAND BLEU....Elegant Music from Serra.
Probably my favourite soundtrack album of all time.