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Comments
Umm,,,not sure on that. I think his score for CR is the best since TLD so he that sets him above everyone else for that. I am not joking. One of the pleasures of CR was his lush score as Bond sails into Venice also the Vesper theme which permeates the film and pops up in Quantum. Also he gets marks for the, and I hate to use the word, awesome 'Surrender' by KD Lang in TND.
As for Serra? Well GE is one of my least watched Bonds but the adjective which pops up is.
tinny.
Not great I am afraid.
Those cues are extremely simplistic... I'd expect more complexity and epicness for romantic cues like Barry and Serra can compose. The CR score is appalling IMO. It's the most basic and simplistic score in the franchise. It's nowhere near the level of grandness that I am used to from Barry and Barry.
I agree that's a good song. The Cheryl Crow one is ok but Surrender is much better. It's a shame its only played at the end.
Back to GE and CR, in regard to title songs I've never been overly fond of the film version of YKMN. The official version by Chris Connell is much better IMO. It's louder and has a bit more force to it.
Words to describe his score for CR
lush
romantic
grandiose
complex
moody
multi-layered
Words to describe Serras score for GE
kerplunky..
and
of course
tinny.
Totally untrue. Any professional musician would tell you the score is extremtly simplistic. How can you say such nonsense ? The score is not 'complex'. It's totally silly to say such things. A simple analysis of the soundtrack will tell you it's just basic, simplistic music.
I think what you are trying to tell us that is you 'like the soundtrack of CR'. Which is totally fine. But saying it is a 'complex, multi-layered' , etc. is just not true. You're basicly saying Zac Efron is a better actor than Marlon Brando. It's your opinion to prefer Efron to Brando, but saying Efron is a better actor than Efron will rise many laughs from those who will hear you say such things.
Simple but effective music which completes and moves the story along. A wonderful romantic score in places which enhances Vesper and Bonds growing relationship.
Compare it to the kerpunkly stylophone noise of GE.
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Is that the best you can throw at me?
Beautiful piece of moody evocative music, the CCTV one is comparable with Barrys safecracking in Berne and is just as tense.
Not like Serras racket in a steel drum that permeates the film,
Are there any professional musicians on Mi6?
Wow. A bit harsh don't you think? Lol.
Actually anyone with some musical knowledge will tell you GE's soundtrack is more complex, multi-layered, etc. than CR. I happen to have studied music and played in an orchestra for several years and I can analyze partitions... it don't need to study rocket science to see that CR's score is very, very poor. I am not saying GE's soundtrack is a masterpiece, but it is better than CR's.
The bottom line is that CR is a very, very poor soundtrack. But please understand I am not saying people aren't allowed to love this soundtrack... I am just saying some statements around this score are false.
Oh I am only having a laugh with/at him. Its quite fun.
I am the one laughing here, judging by your OTT statements on music.
I understand you love Arnold's CR soundtrack. But please admit it's far from being the masterpiece you're saying it is. If you can find the partitions on a few tracks of the score, please go see a musician/music teacher to analyze it for you... they'll tell you it's a poor soundtrack. Good sounding music maybe, and I admit a few cues sound great... but musically speaking it's a very poor soundtrack.
Well, at least you admit its rubbish.
I hear that the Royal Philamonic are throwing out Purcell and Britten this year and chosing the score for GE. Of course they will have to get scratchy eighties stylophones in to play it or book the screeching cats.
.
Then they should consider Alicia Keys and Jack White ;)
Again you say some nonsense. GE's score contain very interesting cues. The music itself is better than CR's soundtrack. Many would rather play interesting music like Serra's GE than poor, simplistic music like Arnold's CR, which would bore musicians very quickly.
The fact is GE is a quite good soundtrack, and CR a very poor soundtrack. Whether you like one score or the other is up to personal opinion and taste. But the fact is GE is the better soundtrack, musically speaking, by a fair margin.
That's not a fact. That's an opinion.
Musically speaking it's a fact. Just go read partitions of GE and CR, and compare the two... you'll see that CR is a poor soundtrack. That's not an opinion, that's what every single musician and music teacher would tell you after reading a few partitions of CR's soundtrack.
I am not saying CR's score doesn't sound nice, or that you can't love it... but it just is a poor soundtrack.
It's like saying a cooking recipe book is better litterature than a book from Hugo or Verne...
Yes, some cues from CR sound nice... but the bottom line is that CR is, musically, one of the poorest soundtrack of the franchise. But that doesn't stop you from liking it... Heck, I can love some bad music myself, but I don't go telling everybody it's the best album ever.
I'd agree with Arnold's CR being the best since TLD if the score was more like that. Deliberate and stirring. Instead, it's filled to the brim with forgettable and at times plain obnoxious action and suspense cues. Looking for decent music in that score is like searching for a needle in a haystack.
Nah. For the most part, it's more like
Bland
Generic
Pastiche
Soulless
Chaotic
Wallpaper
Toilet water
Ugly
Brosnan 2.0
The CCTV cue is almost a note-for-note rip-off of Don Davis's cue for when Neo is being operated on in THE MATRIX.
It does its job in the film, I don't deny that, but it's nowhere near as evocative as anything Barry's penned, let alone the iconic underscore for Gumbold's safe.
Meh. It's Arnold's stock atonal stuff. Compared to real avant-garde pros like Elliot Goldenthal, Jerry Goldsmith or Don Davis, it doesn't add up to much I'm afraid.
Eh? You're aware there's a good amount of lush orchestral music in GOLDENEYE for the Monte Carlo casino, and Bond's scenes with Natalya? It's not all dark industrial.
=))
By the sounds of it, you'd be able to create the exact same score, but better, than Arnold has done, as he just does a rip-off of what other, better, composers do.