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And I am surprised that no one mentioned Mansell's High Rise:
Clint Mansell, on the other hand, might be the best suggestion yet. Just checking out his bigger scores, such Sahara, it does sound pretty good in a David Arnold kind of way.
And definitely agree on Zimmer - his work on Dunkirk was quite superb, and really highlighted the sense of urgency of the film.
That does sound very similar to an Arnold track. There are so many good composers out there. I am really hoping for someone new. Somebody who can ape the Barry type sound but with a fresh spin. A tall order I know.
That being said I would take Arnold over Newman any day of the week.
CJF will bring in a composer who fits his vision and style. So I think that rules out Arnold coming back, but not Newman. I also can't see heavy-hitter Hans Zimmer getting the call eiher. And while CJF seems to like Dan Romer, too, he isn't a fit for Bond.
So here's who I see on the shortlist...
1. Ramin Djawadi (Why? He and CJF worked on separate projects at HBO, at roughly the same time, and likely know a lot of the same people.)
2. Rupert Gregson-Williams (Why? Rupert composed for the CJF-produced The Alienist and has come into his own in recent years, especially with DC universe.)
3. Harry Gregson-Williams (Why? He's better than his younger brother.)
4. Clint Mansell (Why? Has that Indie street cred that appeals to CJF. And, like the Gregson-Williams brothers, he's a Brit.)
5. Trent Reznor and Atticus Ross (Why? Two of the hottest composers working today: have both Indie cred, with Fincher, and action feature experience, Patriots Day. And it may help that CJF's Maniac star Jonah Hill had hired Reznor/Ross for his directorial debut.)
6. Daniel Pemberton (Why? See #4.)
7. Thomas Newman (Why? With Madeleine's return, CJF may opt to keep some other things in place, including the composer of her very compelling theme.)
Much has been made by the anti-Newman crowd about his music being too atmospheric. I have to argue that 75-80% of any Bond score is atmospheric. Even David Arnold's best Bond work, imho, is "atmospheric": "Night at the Opera, "CCTV," and the themes of Vesper and Solange. Music written for action scenes is far more visceral. And I don't usually listen to that for enjoyment. And I'm not sure it's meant to be.
A terrific example of this is John Williams' Jaws score. The main theme is what is most memorable, but it is not good music for just listgening to (not usually). The very BEST music in that film is atmospheric:
Newman's scores were at times more ambient and tonal, which you could describe as atmospheric. Those Jaws tracks sound more melodic to me than tonal.
I think Night At The Opera has a really strong melody in it, it's repeated over and over. Whereas the second part of Eternal City is pure ambient (and I must say I like that part and it fits the scene well).
Otherwise, I'd just go outside. ;)
What??? Not once have I read any post here claiming Newman´s Bond Music were too atmospheric. And there is not "the" anti-Newman crowd. Different People have their different reasons.
Interesting. I find a lot of Newman's Bond music to be quite melodic, especially the themes for Lucia and Madeleine in SP. The Severine theme is beautiful, as well, and the tracks "Komodo Dragon" and "Someone Usually Dies" (played when Bond enters the casino and then meets Severine) are two of my faves. Just gorgeous music. My Daniel Craig era Top 10:
1. Night at the Opera (QoS, Arnold)
2. Severine (SF, Newman)
2. Madeleine (SP, Newman)
3. Someone Usually Dies (SF, Newman)
4. Vesper (CR, Arnold)
5. Brave New World (SF, Newman)
6. Komodo Dragon (SF, Newman)
7. Donna Lucia (SP, Arnold)
8. Close Shave (SF, Newman)
9. Camille's Story (second half of the song, played when Bond and Camille walk to the bus) (CR, Arnold)
10. Los Muertos Vivos Estan (SP, Newman)
Arnold has other pieces that I like very much but they are just too damn short. The track "Bond in Haiti" in QoS is a perfect example.
EDIT: Donna Lucia (SP, Newman) Whoops
Nothing beats this one, IMO:
Don’t disagree with any of those Newman selections. Those are his strength. But he does a lot of ambient stuff too and I think that’s not so popular round here.
He’s hit and miss on action for me.
Port Au Prince Is another strong cut. There is a portion, beginning at the 5:00 mark that is magically hypnotic as it segues into a familiar Bond sound.
https://www.imdb.com/name/nm0834199/
(movie directed by Marc Forster)
It is a chilling piece of music, with the shot behind Bond, overlooking London, from the rooftop.
That score is very very underrated. Kraemer should've been brought back to MI. Balfe's score is too formulaic and too Zimmer-like. I know it was recorded by a live orchestra, but it seemed a bunch of samples stuck one behind the other.
There's a fair amount of creativity and variety throughout the MI series when it comes to composers and approaches to the music, while still retaining the essential MI core.
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I don't know much about him, but both of these pieces aren't bad.
Great track!
https://m.imdb.com/name/nm1190889/
Guillaume Roussel (France)
I think he was good in the 80s, but his later scores feel as if he never evolved since then.
Holmes has done some outstanding work, including the "Oceans" films
This song alone would have improved my assessment of SPECTRE by several points ;)
It really is a great song. Noel Gallagher is making some very enjoyable music these days, and I'd be a very happy man should he get the chance to do the title track for B25. Maybe with Paul Weller?
Only know David Holmes' work from the Oceans films unfortunately. Do like those scores though.