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And for sure the writer(s)!
I enjoyed it, of course still like the absence of music then Arnold's score kicking for the film.
Which is what I thought Newman did, yeah.
My feelings exactly. And one of the few things I found lacking in Craig's era. The writing and the music post QOS were poor, IMO.
Arnold had a tendency to just kind of go straight to banging the pots and pans at the jump, sometimes at inappropriate moments. The one that sticks out to me is just after Bond is informed by the banker about Vesper withdrawing the money. After Bond hangs up the phone, the music just becomes over the top as if it was a cue meant for a big shoot out, but it’s just Bond rushing to the bank, looking for Vesper in the crowd. I always felt there could have been a better way of having the music reflect Bond’s emotional state of portrayal. I’m thinking of something like Barry’s “Koskov Escapes”, but with the Vesper theme played with more sinister undertones. Just an effective suspense piece underlining the tension rather than “BAM-BAM-BAM!!!”
The PTS of Skyfall is where Newman's talents start and end for me. The rest is dull.
Hans Zimmer I think was a step up on Newman in that respect.
Because we like it, for the reasons stated.
That's fair enough, I think he outstrips him. Yes, I'd like a couple more outright uses of the Bond theme (in Spectre the plane chase, and the boat rocketing out of the MI6 building both could have used it I think), but Arnold was hardly doing that anymore in the Craigs either- even in QOS where there's no thematic reason not to.
Me neither, but the primary purpose of a film score is to work in the film, and for me it more than does that. For you it doesn't, and that's fine.
The weird thing for me about that score is the Matera track, in that it sounds to me like it comes directly from the pen of Arnold. I don't know if they took City of Angels as a direct inspiration or something, but it's weird to me how similar it sounds to Arnold, there's quite a few of his recognisable techniques in there.
I’m not overly eager to see either back, but less so Arnold. I think there are more interesting choices of composer out there.
Like Ludwig Goransson? Especially if he wins his third Oscar for Nolan's The Odyssey.
Oh I’d definitely be interested if Gorgsnsson was picked for Bond at some point.
Moving forward, as much as I like Arnold's work, particularly his two Craig scores, I think some new blood is called for; Michael Giacchino remains a favorite candidate.
It's the bottom of the pile for me too.
Whoever they choose for the music, I hope they manage to get some swing beats and melody-driven blasting horns in, to remind us of the Bond musical heritage. I've had enough of the moody soundscapes of the last three movies.
Don't be scared to swing it!
That's a fun edit. Michael Giacchino remains my top choice for a fresh composer.
It’ll be interesting seeing what the next composer does. I think they’ll want something that feels distinct about the music - even somewhat idiosyncratic to the film/new Bond - while making it Bondian. Don’t know what that’ll be in practice.
My other pick would be Martin Mcdonagh.
A big yes from me for Sam Hargrave! I’ve suggested him.