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But I'm also weak for 60's/70's Italian movie scores, and Pemberton sure makes good use of that "sound" in UNCLE.
I don't particularly like him. I mean, I find Creed's and Black Panther's scores to be ok. But just ok. I'd rather have Pemberton, Murray Gold, Joe Kraemer, or Thomas Newman.
At this stage though I'll be happy with anyone new, just to give us a fresh sound for this series.
He'd be great, and he's already done an OK Bond soundtrack.
Which one are you thinking of?
OK Connery
As @bondjames points out, Pemberton's scores can be a little intrusive, but that complaint could be levelled at the vast majority of modern movie scores today. For some time now, audiences have been complaining about the music or sound effects being too loud. It's nothing new. This has more to do with modern sound mixing than it has to do with the composer.
Not avaible for Bond 25, but for Bond 26.
James Newton Horton to bissy for Fantastic Beast 2 for this year, but no movie yet for 2019. Avaible for Bond 25, before he started with Fantastic Beast 3. Also David Arnold and Craig Armstrong are avaible. Steven Price only have one movie for 2019.
Daniel Pemberton did the music of Danny Boyle movie about Steve Jobs and is avaible for 2019, will he work again will Boyle with Bond 25. He also be composer of The Man from U.N.C.L.E. (2015), Molly's Game and All The Money In The World. And going to do the score of Ocean's 8.
Badnews be that also Thomas Newman don't have any movie yet for this year and 2019.
I'd really love to see someone with a jazz touch do the Bond score once there is an eventual recast with a new actor.
I think they'd bring something fresh to the Bond sound. Quincy Jones as an example infused Michael Jackson's Off The Wall, Thriller and Bad albums with something special from the jazz environment, and as this is my favourite musical genre I'd appreciate seeing it back as an influence for Bond.
It's interesting that you bring up the jazz element. The other day myself and friends were talking about one of the less-talked about strong qualities of LOGAN - Marco Beltrami's score.
It's chock full of western and jazz elements and it very subtly adds a lot to a very melancholic film. He often has a tendency to pound on the percussion too much during action scenes, but I think he'd do a good job with Bond if given a chance. He did a fine job with Kamen's themes for Die Hard so he knows how to respect a legacy - in fact his music was the only really "Die Hard" worthy trait about number 5.
Quite right @boldfinger
A lot of the emotional kick from T3 came from the music. In fact, I'd wager that a majority of it came from Beltrami.
The best example of incorporating a jazzy sound into a suspense score of late was of course Michael Giacchino's highly praised (rightly so) homage to Barry for The Incredibles. Daniel Pemberton also brought in elements for The Man From Uncle. I personally love Dave Grusin's jazzy piano work for The Firm too.
Did you get a chance to see Red Sparrow yet? If so, what did you think of James Newton Howard's score?
Pretty good at doing the more exciting stuff also:
I enjoyed the Bourne Legacy score, although I preferred John Powell's work for the main series (I think his main theme and some of the other tracks, including when Bourne is running on the beach in Goa in Supremacy, are first class).
Absolutely lovely piece by Mancini, the one you posted. Love the melody that opens the theme and is then heard throughout, played by marimba and bass. The string melody is also enchanting in those big leaps it takes.
Speaking of Mancini, this is one of my favorites by him. At 1:16, the combination of glockenspiel and zither playing on different octaves is exquisite.
You're right about Barry going for a more sweeping and symphonic sound with his later Bond scores. I always thought that was partly because he was mirroring Roger's aging, but then realized it was apparent in his later non-Bond scores as well. So it must have been because Barry himself was aging.
I'm with you on Old Dog, New Tricks. One of my absolute faves from SF. I actually found this very site while searching for samples of Newman's score online prior to the film's release. I was anxious to hear what he would come up with and when I heard that track I knew I would like the score, and I did.
The reason I'd rather they incorporate that light jazz quality with a recast is because I think it better suits a younger actor. Here's hoping they hear us.
https://youtube.com/watch?v=Rou3-kBVo1A
I will be able to comment more when I get round to seeing Ready Player One, which I believe he also scored.
@Satorius, I must say those examples from Bourne Legacy and Salt are quite convincing.
I´m not sure how he would fit Bond, but I enjoyed his Ready Player One score a lot!
I wouldn't want Silvestri for a Bond flick. Don't know why, I like the composer, but I just don't see it turning out right.
Regarding JNH's score for Red Sparrow, I loved both the ambient part and the lush, Russian-ballet-like parts.
Me too.
That was a really good track! That last part would fit a Bond soundtrack like a glove. :-)
The cimbalom --a form of zither-- was also used by Barry in the theme of The Persuaders. He did several pieces in the seventies with a similar sound: the themes of The Adventurer and Orson Welles' Great Mysteries, as well as arrangements of This Way Mary (from Mary Queen of Scots), We Have All the Time in the World and Diamonds Are Forever.
Presumably, Mancini also used a cimbalom for the title theme of Charade. I'm not sure I hear it, myself-- only the electric guitar, though it's possible and logical they blend together all too well.
Absolutely. Barry underwent a general change of style during the 70s. In my opinion, in Bond, the first clear step of that transition was in TMWTGG, followed by MR and culminating in OP, after which his Bond scores had a similar sound, certain instruments aside (electric guitars in AVTAK, drum machine in TLD). There was a certain frenzyness to Barry's brass passages that he started to abandon in the 70s, replacing it with a more stately sound. This was probably not only related to the evolution of Barry's own compositional style, but also to changing trends in film music, considering that Star Wars had brought back the symphonic film score in full force after some years of it having been out of fashion. From what I've heard, the last Barry score in his old style may have been for 1978's Game of Death, with its brassy, energetic main theme.
I would add that it can convey a sense of elegant playfulness that suits cinematic Bond very well.