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Bond misses David Arnold

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  • SharkySharky
    Posts: 266
    I think i'm in the minority here but i really like the score of Skyfall, it incorporated the Skyfall theme into the score, it complemented the film well. i loved the music in The scene where bond arrives at the casino and when M was reading the poem, with Bond racing to get to her. I loved the whole score actually but like i said it looks like i'm in the minority.
  • obin_gamobin_gam
    edited November 2012 Posts: 268
    I also liked the Skyfall score. For example the techno:ish bit when the camera arrives in Shanghai is pure brilliance.
    EDIT: This one:
  • UmustbjockingUmustbjocking
    Posts: 83
    Skyfall missed David Arnold. The music had no connection to previous Bonds. It could of been in any other film and that is not a good thing. Continuity is so important in these films
  • GetafixGetafix
    Posts: 11,425
    the music was very flat i thought.
  • MurdockMurdock The minus world
    Posts: 16,362
    For me Half the Skyfall score is good. The rest sounds like it came out of Tomb Raider and WALL-e.
  • quantumofsolacequantumofsolace England
    Posts: 279
    Newman's score is bad enough in the film... but on CD it's just an out and out racket. The endless cacophony of frenetic "video game" action muzak literally gave me a headache. I don't know how such an otherwise excellent composer could have dropped the ball so heinously on what is obviously the single most high-profile scoring assignment of his career. What's most galling is the fact that there are a few brief hints of just what he's capable of - most notably his lovely theme for Severine. I just hope that the producers see sense and ask David Arnold to take up the torch again for 'Bond 24'.
  • LicenceRevokedLicenceRevoked
    Posts: 204
    For the Skyfall soundtrack, the stand out tracks are 'Grand Bazaar' (though only for that brass hit when Bond appears right at the beginning...), 'Komodo Dragon' because it's the only track which quotes from the theme song, but most memorable are probably 'The Bloody Shot', 'Severine', 'Chimera' and 'New Digs'... they're the only tracks that really stood out for me like 'African Rundown' in Casino Royale. There's also a nice horn theme for 'M' which you hear in 'Voluntary Retirement', and at the beginning of 'Mother'.

    My honest opinion is that the Skyfall OST isn't one that sounds at it's best in isolation like other Bond soundtracks. It's less in-your-face than previous efforts so it works well in the context of the movie I think, but listening to it on it's own I can see how some might not like it...

    I don't hate it at all, not by a long shot, but I do miss David Arnold's efforts a bit!
  • MuddywMuddyw
    Posts: 198
    African Rundown is way more boring than any of the actionmusic in Skyfall. Skyfall has a thrilling and suspenseful soundtrack, way more powerful and original than Arnold with his ugly technodrums.

    Well, that's my opinion.
  • ZekidkZekidk
    Posts: 3,278
    One thing I do like about the SF-score is that it will probably never sound dated, like Conti and Serra's work. But it needed a reccuring theme, like most other Bond-movies have.

  • LotusEspritLotusEsprit
    Posts: 160
    The score for me, was the one true disappointment in Skyfall.

    I heard bits and pieces before I went to the cinema and was very underwhelmed but thought it may work in context of the movie. Now it's not a bad score but it just doesn't add anything special imo. There were so many scenes where I hoped the score would underline the moment or add to the drama and the excitement and it just did not happen.
    There was something missing in the PTS for me and I did not know what it was. I think now that it was the score.

    Now DA is not JB but he did some great stuff for Bond imo and "Time to get out" was stuck in my head after the movie and really added excitement and power to the car chase. I had not one piece of music stuck in my head after Skyfall...well, except the Adele Song ;-)

    I really only realised how much I missed it, when the
    DB5 is destroyed and Bond looks up
    , that was one moment where I got the feeling Newman woke up. I don't remember what it was...a glimpse of the Bond theme? Can't remember but at that moment I realised what was missing from Skyfall. It made the moment so much more significant.

    Is Newman a better composer than Arnold? Maybe. I kind look at it like I look at Campbell - to my knowledge he hasn't done many masterpieces and I think rather some really average action movies (though I may be wrong, surely don't know all of his work)...but when it comes to Bond, he just clicked. He just understood Bond.

    Somebody already said it, only because someone is a fantastic composer doesn't mean he is rigth for Bond. An A++ composer with a passion for Bond? Bring it on! But I don't get the feeling Newman had that passion.

    See I don't say DA has to return, but as for now, I rather have him back than Newman. I have the feeling Newman did it because of Mendes, not Bond. DA may be a bit weaker but made it up with a lot passion.

    That said, I am also very much willing to have someone totally different try his luck!

    I am gonna watch Skyfall soon again for a second time and will see if I am wrong on Newman. But as for now, that is my impression.
  • SaintMarkSaintMark
    Posts: 7,653
    Having seen the movie I can only say that the soundtrack was great, and for the 1st time in some Bondmovie I felt that the music added something to the images. Glad DA was not involved.
  • GetafixGetafix
    Posts: 11,425
    LotusEsprit wrote:
    The score for me, was the one true disappointment in Skyfall.

    I heard bits and pieces before I went to the cinema and was very underwhelmed but thought it may work in context of the movie. Now it's not a bad score but it just doesn't add anything special imo. There were so many scenes where I hoped the score would underline the moment or add to the drama and the excitement and it just did not happen.
    There was something missing in the PTS for me and I did not know what it was. I think now that it was the score.

    Now DA is not JB but he did some great stuff for Bond imo and "Time to get out" was stuck in my head after the movie and really added excitement and power to the car chase. I had not one piece of music stuck in my head after Skyfall...well, except the Adele Song ;-)

    I really only realised how much I missed it, when the
    DB5 is destroyed and Bond looks up
    , that was one moment where I got the feeling Newman woke up. I don't remember what it was...a glimpse of the Bond theme? Can't remember but at that moment I realised what was missing from Skyfall. It made the moment so much more significant.

    Is Newman a better composer than Arnold? Maybe. I kind look at it like I look at Campbell - to my knowledge he hasn't done many masterpieces and I think rather some really average action movies (though I may be wrong, surely don't know all of his work)...but when it comes to Bond, he just clicked. He just understood Bond.

    Somebody already said it, only because someone is a fantastic composer doesn't mean he is rigth for Bond. An A++ composer with a passion for Bond? Bring it on! But I don't get the feeling Newman had that passion.

    See I don't say DA has to return, but as for now, I rather have him back than Newman. I have the feeling Newman did it because of Mendes, not Bond. DA may be a bit weaker but made it up with a lot passion.

    That said, I am also very much willing to have someone totally different try his luck!

    I am gonna watch Skyfall soon again for a second time and will see if I am wrong on Newman. But as for now, that is my impression.

    The sound effects in the PTS were very flat. When they take the bikes across the roofs you don't get any cracking or smashing tiles. It looks like pure CGI even though it's just the faces that have been CGi'd. I found the whole chase strangely lifeless. The fact they'd shown most of it in the PTS didn't help.
  • ShardlakeShardlake Leeds, West Yorkshire, England
    edited November 2012 Posts: 4,043
    I would have to say for me that Arnold was not missed, I thought Newman score was very good, Arnold for me delivered his best score with QOS but that was his 5th film as the composer. It was time for a rest and hopefully if he comes back he'll be more reinvigorated.

    Giving him the job time after time with no rest was giving him no challenges now he's had someone else step into the role and what has widely been regarded as many but not all as one of the best Bond's ever he will come back fighting for Bond 24.
  • bamberbarrybamberbarry
    Posts: 3
    Interesting discussion. A film without a soundtrack to enhance and embolden is like toast without butter. Sadly Mr Newman's compositions do nothing for me. David Arnold's work on CR and QOS delivered in so many ways. I know everything is personal taste but having seen SkyFall 4 times now the lack of a gripping theme really does disappoint me.
  • ShardlakeShardlake Leeds, West Yorkshire, England
    Posts: 4,043
    I would disagree, Arnold just bored for the most and although CR had it's moments QOS was definitely his best Bond score, Brosnan Bond was too much of firing for the JB theme far to ofter plus Arnold has never been able to incorporate the JB theme into a cue like Barry effortlessly did.

    Newman's score just felt fresher and while he took influence from Arnold I saw subtle hints of Barry, that theme where M looks over the coffins which was reprised again later in the film reminded me quite a bit of Barry,

    I'm not saying Newman is anywhere Barry's standard, quite frankly not many film composers are he's one of the all time best but it was nice to listen to someone else have a go after listening to Arnold's patchy repertoire for 5 films.
  • sirseanisbondsirseanisbond
    Posts: 2,189
    I think Arnold's first score from TND is like the perfect generic Bond movie score because for the most part all the music is derived directly from the Bond theme. For me the score is the best part of TND because it's so full of the Bond theme, but really it is quite generic though. I've yet to see Skyfall so I can't say how I feel about Newman's score but from what I've heard in samples and from other's reviews, it's a bit too unique. It's great that each film has its own feel and flavor because of their different soundtracks but the Bond theme should always have an abounding presence.
  • petergreenhill5petergreenhill5
    Posts: 824
    I've just seen the movie and didn't miss David Arnold at all. Thomas Newman has done a fantastic job on this score. His music gives the film a unique voice, moody, atmospheric and exciting whilst still keeping it very Bondian. The James Bond Theme is quoted throughout the score.

    Arnold has run his course, five scores are enough.

    Hopefully Sam Mendes and Thomas Newman will be back for Bond 24!!
  • SharkShark Banned
    edited December 2012 Posts: 348
    Zekidk wrote:
    And here's something from the "non-quality"-composer:


    Shite, third rate OUT OF AFRICA pastiche. Sometimes being a John Barry fanboy isn't enough.

    Loved what Newman gave for SKYFALL. The best Bond score in 17 years. Unlike Arnold, he understands what made the Barry scores work. Streamlined composition, economy of orchestral resources, playfulness, wit, repetition, restraint, and packing a huge punch only when needed. Less is more.
  • echoecho 007 in New York
    Posts: 6,411
    CraigMooreOHMSS wrote:
    Newman is the better composer overall but he missed the mark this time, only really getting into high gear in a very small number of cues.

    Bingo.
  • 0BradyM0Bondfanatic70BradyM0Bondfanatic7 Quantum Floral Arrangements: "We Have Petals Everywhere"
    Posts: 28,694
    I am still on the fence on the score. My favorite track I have heard is this:


    Everything from the sudden beginning to the ethnic music that sets the Turkish atmosphere is great, and it really pulls the punches and you feel the action going on. I will keep listening, but for right now it is good, but hasn't reached legendary standards like say...a Hans Zimmer Bond score might. :D
  • JimThompson45JimThompson45
    Posts: 803
    billy wrote:
    Having just watched Skyfall, as good as it is, I can't help but feel it greatly misses the Arnold effect.
    I just can't agree. That's not taking away anything from Arnold; I very much enjoy his work. But I am coming to love the Skyfall soundtrack. It is getting better, for me, each time I listen to it.

  • LofqvistLofqvist
    Posts: 56
    Does anyone know the name of the score played when M is reading Tennyson and Bond comes to rescue?
  • LofqvistLofqvist
    Posts: 56
    What about Tennyson? :) Sorry.
  • LofqvistLofqvist
    Posts: 56
    OMB (Oh my Bond) this is good. 1.33 and forward. Pure magic. Almost as good as Zimmer :).

  • MalloryMallory
    edited December 2012 Posts: 2,171
    Tennyson is a standout in a soundtrack that is choc full of standouts.

    The part where Bond is running down the street, towards Whitehall, combined with M's reading and this score, is brilliance.
  • GetafixGetafix
    Posts: 11,425
    Shark wrote:
    Zekidk wrote:
    And here's something from the "non-quality"-composer:


    Shite, third rate OUT OF AFRICA pastiche. Sometimes being a John Barry fanboy isn't enough.

    Loved what Newman gave for SKYFALL. The best Bond score in 17 years. Unlike Arnold, he understands what made the Barry scores work. Streamlined composition, economy of orchestral resources, playfulness, wit, repetition, restraint, and packing a huge punch only when needed. Less is more.

    Is restraint something that most people really associate with a Barry Bond score? I thought he said something along the lines of 'there is no place for subtlety in a Bond score'...?
  • RC7RC7
    Posts: 10,512
    Getafix wrote:
    Shark wrote:
    Zekidk wrote:
    And here's something from the "non-quality"-composer:


    Shite, third rate OUT OF AFRICA pastiche. Sometimes being a John Barry fanboy isn't enough.

    Loved what Newman gave for SKYFALL. The best Bond score in 17 years. Unlike Arnold, he understands what made the Barry scores work. Streamlined composition, economy of orchestral resources, playfulness, wit, repetition, restraint, and packing a huge punch only when needed. Less is more.

    Is restraint something that most people really associate with a Barry Bond score? I thought he said something along the lines of 'there is no place for subtlety in a Bond score'...?

    No restraint is not something associated with a Barry score, it is anything but. I pointed out on another thread that Barry's music tends to accentuate the action, unlike Newman's. I'm sure people can dig up tracks to the contrary but on the whole the bulk of his scores are completely bombastic.
  • FromCanadaWithLoveFromCanadaWithLove Canada
    Posts: 612
    Bond might miss David Arnold, but I don't.
  • JimThompson45JimThompson45
    Posts: 803
    Lofqvist wrote:
    OMB (Oh my Bond) this is good. 1.33 and forward. Pure magic. Almost as good as Zimmer :).

    It's a standout in a very enjoyable soundtrack, I think.

  • BAIN123BAIN123
    edited December 2012 Posts: 11,201
    JimThompson45 wrote:
    Lofqvist wrote:
    OMB (Oh my Bond) this is good. 1.33 and forward. Pure magic. Almost as good as Zimmer :).

    It's a standout in a very enjoyable soundtrack, I think.

    My favourite track in SF. Love it.

    Flat? :))

    I'm guessing if Shark dislikes Arnold's soundtrack from TWINE he also hates this:

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