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
The car chase music was absolutely terrible and fit the tone of the scene like the unfortunate OJ Simpson murder glove. I.E it didn’t fit at all.
Cheap 70’s German porn music.
Then I would say JB soundtracks are timeless and (ignoring the tones and locations of the films) could fit in in any Bond movie. I don't think GE's transplants well. Of course some do not think that is a bad thing.
I disagree with this sentiment. Most Bond films have scores that are perfectly suited to the films they’re made for. TB and MR have great Barry soundtracks, but neither would work for the other if you swapped them.
That is why I said "ignoring tones and locations." Either could have fit in a water or space Bond 10, 20, or 30 years later.
I agree and that's why I feel GE's score works so well. It is very fitting for the theme of the movie. While for instance TND, TWINE and DAD could be swapped around and it wouldn't change much.
I'd say TND, TWINE, and DAD are more forgettable than anything. Which may or may not be worse depending on what you remember the other for.
I'd say none of the non-Barry outings are as good as most all of the Barry outings.
I saw a YouTube video recently where Serra's music for the scene was replaced by Arnold's 'Backseat driver' and it made it so much better! 👍
Fits the tone of the movie? You mean like in bland and tasteless?
I am not Goldeneye´s biggest fan myself, but I´m not that harsh...
What do you think of his QoS score? I read somewhere that was the only score he had to compose without already seeing the scenes, and that gives the score a much more evocative feel rather than imitative. I really like his score for that film.
I largely agree with you about Arnold, but I'm warmer on him than you are I think in the end.
+1
These could be interchangeable. There are many examples.
I'd argue that of the Brosnan era soundtracks from Arnold that Die Another Day was his best, IMO.
I think QOS is his best one. I'd even say it's my favourite non-Barry score after my beloved GE.
His other scores, however, don't impress me all that much. He does some fine work in each one of them, but he also loses himself in total musical chaos on numerous occasions. Especially climax cues like Submarine, Antonov and Fall of a House in Venice are particularly poor.
I think Sir Roger Moore looked his BEST in A VIEW TO A KILL.
He's lean, mean, has cool clothes and is as dashing as ever.
Although I don't think he looked his best in AVTAK, I definitely think he still looked the part.
My AVTAK related controversial opinion: the criticisms of the Stacey Sutton character (or Tanya Roberts for that matter) is massively overrated. I actually really like that character.
On the other hand, I really like Mary Goodnight.
Controversial opinion:
(I mean the cars not the actors)
Agreed on Sir Roger, but not on the Aston’s.
I’d like to see a modern Bond film where his personal car is a Bentley Continental GT.