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Comments
Legend. He's still got the goods.
Thought you guys were chatting about David Arnold for a second there. But yeah, Morricone would be a big score for the series.
I think he quit years ago unfortunately.
Not just his work in GOT but also Westworld, my Wife and I watched Dracula Untold (don't ask me why) and his score was by far the best thing about it.
I say he'd be brilliant, he can give you a memorable rousing theme like GOT but something very different in WW.
The guy shows his versatility with both shows plus RD is a big Radiohead fan, not that I'm saying give them the theme but he shows he has taste (smiley emoji not used).
@bondjames also mentioned Jeff Beal who did the HOC theme again some great music there, very memorable, there are some talented people working in TV and not forgetting
Abel Korzeniowski that some have already mentioned his work on Penny Dreadful really atmospheric and rich sound.
Pemberton I liked what I heard in the game but haven't suffered any of the films he's done.
Also of course getting one of the masters like Moriconnie would be a dream. apart from a two the common factors seems to be they are European. Also some have mentioned
he late great Wojciech Kilar, I see some mentioned some of his other scores but no one referenced his Bram Stoker's Dracula score.
Alongside Oldman by far and wide the best thing about the film, just wanted to say as it seemed people had forgotten he'd enriched this rather flawed film greatly.
One of my favourite scores of the last 30 years, hoping it gets a vinyl reissue at some point, it's a glourious selection of music and quite varied.
As much as I wouldn't start a riot if DA returned bearing in mind I've never been his biggest fan, Barry will always be the boss and anyone even trying to compare Arnold's work to him is having a laugh.
We've had the guy who is trying to emulate Barry, we've had the guy who couldn't really be that bothered to even make his score sound like it was for a Bond film. I think it's time we had a new approach and a composer who could bring back the rousing memorable element and also the romantic and sinister. One of the element that Barry so excelled at and no one else who scored a Bond film has been able to get near,
RD & AK for me seem guys who could do this or I still think Desplat would do a great job. I'm open to Zimmer, I've heard his versatility even if others haven't but Newman again would be a big mistake especially after the copy paste approach of SPECTRE, even if that was Mendes fault his SF score has moments but we don't want here and there we want a full complete score that we as Bond fans can be proud of.
Time for someone to become a composer that stamps there style on the series without it becoming parody or tribute act but also not audio wallpaper.
If you've not seen Nocturnal Animals I recommend it. The tune which opens the film (along with some rather unusual imagery) is wonderful. I posted it a few pages back.
The Dracula score is an outstanding piece of work. Darn shame we had to endure Arnold while Kilar was still alive. He would have truly elevated Brosnan's output.
I'd go farther and say it's an insult to Barry to make such comparisons, which is why I get upset when I read such comments.
Absolutely correct. Time to clean out the old (and stale) and bring in someone fresh for an inspired turn worthy of this accomplished franchise.
Though if you note who he used for his debut 71 and also noticing what a great job again for Soderbergh that David Holmes has done for his score for Logan Lucky.
I know out of those 2 I'd rather see score Bond 25, I think Holmes could return that melodic element the scores have been missing really to be honest since Barry gave us his superb swansong for TLD.
Also Holmes can definitely propulse the action along as well as providing something that is memorable and exciting, he's already done a decent arrangement of the JB theme for his terrific second and best album Lets Get Killed.
Hope if Yann is the man he considers DH over TN, I think as much as I don't mind DA possibly returning would like to see what Holmes could do with Bond.
I could see her replicating moments of Barry's beauty ("Mountains and Sunsets," "Wine With Stacy," "Bond Lured to Pyramids," etc.)—and I think the first track above is a particular indication of that—but I'm less sure about the action side (due to lack of evidence). Perhaps bring in a collaborator?
Honestly, Barry's genius was so complete that in order to get anything close to his work I'm almost certain we'd need a couple of heads tackling the score, just to fill in the gaps of each other's weaknesses. Unfortunately the prevailing attitude now seems to be that film music is a tertiary consideration, so I can't see it happening.
@Strog, I think the guys who can get closest to Barry out there among the big names are Michael Giacchino, Alexandre Desplat, Henry Jackman and Ramin Djawadi. For an offbeat suggestion they should seriously consider Abel Korzeniowski. In fact I believe they should shake it up with the composer every other film precisly because it's unlikely anyone will be able to duplicate Barry's genius, as you correctly note.
It's a darn shame EON don't seem to have an appreciation for how important music is to the Bond films, and what's been missing for over 20 years now. I am frankly sick and tired of the mediocrity.
I will have to check out Henry Jackman and Abel Korzeniowski as I'm not familiar. But I agree re: the others. I've long been aboard the Giacchino train. I'm actually willing to give pretty much anyone who seems competent a shot just to see what they turn out.
I also agree concerning bringing in a new composer for each film/every other film. It would differentiate the film score from the rest simply based on the new composer coming in. Where Barry was able to give each score a sense of its own (giving it that sense of place/time) simply because he was brilliant, in order to accomplish the same now it might be necessary to just bring in someone new and get that result as a default.
Yes in terms of a new composer each time, it just keeps everything fresh. As I've commented before, I've really enjoyed the first scores of all the non-Barry composers (including Serra and Kamen). It's just like having a new director from time to time. It just injects some much needed freshening. As you noted, Barry had the ability to give each film a distinctive feel due to his brilliance, but I can't imagine other composers being able to do that so readily.
Been enjoying Sky Captain's expanded score immensely as well. Shearmur also produced a wonderful and far, far darker genre score for Reign of Fire, dishing out some excellent Goldenthalian brass for those apocalyptic landscapes with dragons. He's been active since then, but not on the scale of pictures like those.
Some great stuff there though obviously very obviously of its time - it's hard to tell how it would fit Bond now. Also, isn't Doldinger pretty much retired from the scoring business now?
Touché! ;)
For that very film he composed this masterpiece:
But Pemberton has already worked in another spy-genre flick: Man From UNCLE. For that film, Pemberton adopted a Morriconesque style with several influences from the 60s.
Personally, now that I have thought of him as a possible Bond film composer, I don't hate the idea. It might work. He could try and be a little more Barryesque instead of Morriconesque. He's got the potential, and I can only think of one score of his that I haven't liked: King Arthur.
Still, he's not a bad suggestion, and I wouldn't be averse to him being given a shot. I'd certainly take him over Arnold.