Spectre Composer Is Thomas Newman

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  • DarthDimiDarthDimi Behind you!Moderator
    Posts: 24,161
    I want Michael Giacchino for Bond 24. This guy has by now demonstrated what he can do, hasn't he? Two masterful Star Trek scores, two absolutely delightful M:I scores, ... At least he goes against the current trend of producing a mere one or two note theme that is subsequently rendered through computers. He's both old school and fresh, possibly the closest thing we have right now to John Barry's style. And I'm pretty confident he can do a Bond film.
  • doubleoegodoubleoego #LightWork
    Posts: 11,139
    Aw evidenced by his work on the incredibles.
  • pachazopachazo Make Your Choice
    Posts: 7,314
    Where Arnold actually got things right was in QOS... If Arnold is ever to leave on a high note after such a mediocre run, QOS should be the one.
    That's a bit harsh but I can't completely disagree. QoS has always been my favorite Arnold score.
    DarthDimi wrote:
    I want Michael Giacchino for Bond 24. This guy has by now demonstrated what he can do, hasn't he? Two masterful Star Trek scores, two absolutely delightful M:I scores, ... At least he goes against the current trend of producing a mere one or two note theme that is subsequently rendered through computers. He's both old school and fresh, possibly the closest thing we have right now to John Barry's style. And I'm pretty confident he can do a Bond film.
    I'd never thought of him in this way before but I think I agree with you @DarthDimi! He could definitely do a Bond film.
  • DarthDimiDarthDimi Behind you!Moderator
    Posts: 24,161
    Thank you, @Pachazo. I honestly believe he should be given a chance. I think he could do something great with the Bond Theme for instance, seeing how he's done the M:I Theme a lot of justice after Zimmer's noisy, guitar driven score for M:I 2.
  • I hope it is someone who can do a Bond score justice like George Martin, Marvin Hamlisch and maybe even Bill Conti. David Arnold?

    His music is very predictable. Just reading the titles: Welcome to Cuba and Bolivian Taxi Ride, I knew exactly how they are going to sound like. The action cues? Interchangeable. I mean, come on, throw a curve ball every once in awhile.

    Good movie music must be able to stand on their own, and often, Arnold's music cannot stand on their own without the visuals. They are adequate, but will never be considered as classic as the Bond scores pre-Licence To Kill. In fact, there isn't a good Bond score since The Living Daylights MAYBE with the exception of Casino Royale.
  • ThunderfingerThunderfinger Das Boot Hill
    Posts: 45,489
    All for Giacchino as welll. But if not, would not mind Newman or Arnold returning either, seeing that Barry is dead.
  • edited April 2014 Posts: 115
    I hope it is someone who can do a Bond score justice like George Martin, Marvin Hamlisch and maybe even Bill Conti.

    I think those three are the people who least understood Bond soundtracks (Conti wouldn't know what a proper Bond soundtrack was if it sat on him, Hamlisch just inserted some strange noises into a generic seventies soundtrack. George Martin wrote a good sountrack, but it wasn't very Bondy. At least Eric Serra conveyed the atmosphere of Goldeneye). The only person who's come close to understanding Bond in music like Barry did is Arnold.

    My opinion of course, but not one easy to argue against.
  • ThunderfingerThunderfinger Das Boot Hill
    Posts: 45,489
    The Serra soundtrack is underrated. Satan knows I HATE the film, but other than that despicable "song" at the end, I thought he did well.
  • MurdockMurdock The minus world
    Posts: 16,351
    The Serra soundtrack is underrated. Satan knows I HATE the film, but other than that despicable "song" at the end, I thought he did well.

    Here here!
  • doubleoegodoubleoego #LightWork
    edited April 2014 Posts: 11,139
    Experience of love is a master stroke of song writing. It's a song that should be ALWAYS used when about to seduce a woman into doing the deed.

    [/sarcasm]
  • edited April 2014 Posts: 86
    I hope it is someone who can do a Bond score justice like George Martin, Marvin Hamlisch and maybe even Bill Conti.

    I think those three are the people who least understood Bond soundtracks (Conti wouldn't know what a proper Bond soundtrack was if it sat on him, Hamlisch just inserted some strange noises into a generic seventies soundtrack. George Martin wrote a good sountrack, but it wasn't very Bondy. At least Eric Serra conveyed the atmosphere of Goldeneye). The only person who's come close to understanding Bond in music like Barry did is Arnold.

    My opinion of course, but not one easy to argue against.

    The irony is the the song or soundtrack by Conti and Hamlisch won Oscar nominations.
    Their Bond soundtrack have stood the test of time while Arnold will probably only known for having replaced John Barry rather than his actual music. Hard to argue against THAT.
  • ThunderfingerThunderfinger Das Boot Hill
    Posts: 45,489
    doubleoego wrote:
    Experience of love is a master stroke of song writing. It's a song that should be ALWAYS used when about to seduce a woman into doing the deed.

    [/sarcasm]

    "Experience of bleeding ears" is a better title.
  • royale65royale65 Caustic misanthrope reporting for duty.
    Posts: 4,423
    Michael Giacchino

    I've said it before, but his work on Alias was incredible. The way he works in the main theme tune, and in a variety of different ways, makes it a must!
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,207
    Clint Mansell would be an interesting choice. Granted he hasn't done anything particularly Bondian yet (but neither had Newman), but in my opinion he's one of the top 5 or so composers working today.






    Check this out for Bondian. I think this is a cracking soundtrack. Plenty of Goldfinger influence throughout.



  • MayDayDiVicenzoMayDayDiVicenzo Here and there
    Posts: 5,080
    I hope it is someone who can do a Bond score justice like George Martin, Marvin Hamlisch and maybe even Bill Conti.

    I think those three are the people who least understood Bond soundtracks (Conti wouldn't know what a proper Bond soundtrack was if it sat on him, Hamlisch just inserted some strange noises into a generic seventies soundtrack. George Martin wrote a good sountrack, but it wasn't very Bondy. At least Eric Serra conveyed the atmosphere of Goldeneye). The only person who's come close to understanding Bond in music like Barry did is Arnold.

    My opinion of course, but not one easy to argue against.

    The irony is the the song or soundtrack by Conti and Hamlisch won Oscar nominations.
    Their Bond soundtrack have stood the test of time while Arnold will probably only known for having replaced John Barry rather than his actual music. Hard to argue against THAT.

    Why do you feel the need to to announce that your "opinion is better than anyone else's"?
  • I hope it is someone who can do a Bond score justice like George Martin, Marvin Hamlisch and maybe even Bill Conti.

    I think those three are the people who least understood Bond soundtracks (Conti wouldn't know what a proper Bond soundtrack was if it sat on him, Hamlisch just inserted some strange noises into a generic seventies soundtrack. George Martin wrote a good sountrack, but it wasn't very Bondy. At least Eric Serra conveyed the atmosphere of Goldeneye). The only person who's come close to understanding Bond in music like Barry did is Arnold.

    My opinion of course, but not one easy to argue against.

    The irony is the the song or soundtrack by Conti and Hamlisch won Oscar nominations.
    Their Bond soundtrack have stood the test of time while Arnold will probably only known for having replaced John Barry rather than his actual music. Hard to argue against THAT.

    Why do you feel the need to to announce that your "opinion is better than anyone else's"?

    Because it is! :-w
  • MurdockMurdock The minus world
    Posts: 16,351
    Because it is! :-w
    giphy.gif[/quote]
  • MayDayDiVicenzoMayDayDiVicenzo Here and there
    Posts: 5,080
    I hope it is someone who can do a Bond score justice like George Martin, Marvin Hamlisch and maybe even Bill Conti.

    I think those three are the people who least understood Bond soundtracks (Conti wouldn't know what a proper Bond soundtrack was if it sat on him, Hamlisch just inserted some strange noises into a generic seventies soundtrack. George Martin wrote a good sountrack, but it wasn't very Bondy. At least Eric Serra conveyed the atmosphere of Goldeneye). The only person who's come close to understanding Bond in music like Barry did is Arnold.

    My opinion of course, but not one easy to argue against.

    The irony is the the song or soundtrack by Conti and Hamlisch won Oscar nominations.
    Their Bond soundtrack have stood the test of time while Arnold will probably only known for having replaced John Barry rather than his actual music. Hard to argue against THAT.

    Why do you feel the need to to announce that your "opinion is better than anyone else's"?

    Because it is! :-w

    Riiiiiiight...
  • edited April 2014 Posts: 824
    David Arnold has had his run. Enough is enough.

    Just bring back, Thomas Newman. If not Alexandre Desplat would do a great job.
  • WalecsWalecs On Her Majesty's Secret Service
    edited April 2014 Posts: 3,157
    I hope it is someone who can do a Bond score justice like George Martin, Marvin Hamlisch and maybe even Bill Conti.

    I think those three are the people who least understood Bond soundtracks (Conti wouldn't know what a proper Bond soundtrack was if it sat on him, Hamlisch just inserted some strange noises into a generic seventies soundtrack. George Martin wrote a good sountrack, but it wasn't very Bondy. At least Eric Serra conveyed the atmosphere of Goldeneye). The only person who's come close to understanding Bond in music like Barry did is Arnold.

    My opinion of course, but not one easy to argue against.

    The irony is the the song or soundtrack by Conti and Hamlisch won Oscar nominations.
    Their Bond soundtrack have stood the test of time while Arnold will probably only known for having replaced John Barry rather than his actual music. Hard to argue against THAT.

    Which is not some scientific prove that Arnold is bad. All you're saying is evidence about the composer's success, but what I want is a good composer (and Arnold is a very good one), not a mediocre one with an oscar nomination. @delticminer is completely right, Conti and Hamlisch did not understand Bond at all. Conti's score is not bad as a stand alone, but doesn't work well in the context of the movie.

    Which other composer (other than Barry of course) composed a beautiful love theme such as "City of Lovers" or the second half of "All in a day's work"? Or great action cues like "White Knight" and "African Rundown"? Or suspenseful music such as "Pipeline" or "Dirty Martini"? Or awesome and triumphant Bond theme renditions, like "The Name's Bond, James Bond", second half of "Whiteout", final part of "Antonov"? Or other beautiful pieces like "Night at the Opera", "Field Trip", "Dinner Jacket"?

    Norman, Martin, Hamlisch, Conti, Kamen, Serra and Newman never did something as good as Arnold.
  • 4EverBonded4EverBonded the Ballrooms of Mars
    Posts: 12,480
    Plenty of people, including plenty of members here, would be happy for Arnold to return.
  • Posts: 7,653
    Walecs wrote:
    [
    Norman, Martin, Hamlisch, Conti, Kamen, Serra and Newman never did something as good as Arnold.

    Martin, Hamlisch, Conti, Kamen & Serra all gave a movie an identity with their music, and it is from that music you can easily guess the movie. All did a splendid job but there was one better composer that inspired them all and that was John Barry.

    Normans claim to fame is a totally rearrenged piece of music by the superior composer Barry, I have heard the original piece and am still surprised any court did grant Norman anything. There have been recent plagerism cases that were clearer and no compensation was given.

    Newman did most certainly not bring his A-game to SF, which is a shame.

    DA did bring some nice musical pieces over his 5 007 movies, the first three were basicly John Barry drum 'n bass. His album Shaken and stirred was in my humble opinion his nicest work to do with 007, after that he failed to come up with anything remotely original. And he was the "composer" who got the shot to reinvent and reinvigourate the music for the franchise, and we got two incoherent soundtracks that had their moments but failed as a whole. Suddenly the great musical quality of the 007 franchise was reduced to the level of elevator musac.

    I want a great name with real skills to bring back the power to the music in the franchise. DA had his shot and did not deliver time for another composer. If EON is real about going somewhere new and exciting. With Adele they showed insight how to recreate a powerfull Bond titlesong now all we need is the rest.

  • edited April 2014 Posts: 157
    Brian Tyler ?



  • Posts: 130
    renno61 wrote:
    Brian Tyler ?
    I very much like it!
  • edited April 2014 Posts: 86
    SaintMark wrote:
    Walecs wrote:
    [
    Norman, Martin, Hamlisch, Conti, Kamen, Serra and Newman never did something as good as Arnold.

    Martin, Hamlisch, Conti, Kamen & Serra all gave a movie an identity with their music, and it is from that music you can easily guess the movie. All did a splendid job but there was one better composer that inspired them all and that was John Barry.

    Thank you! Thank you! ^:)^

    Walecs wrote:
    .
    Which other composer (other than Barry of course) composed a beautiful love theme such as "City of Lovers" or the second half of "All in a day's work"? Or great action cues like "White Knight" and "African Rundown"? Or suspenseful music such as "Pipeline" or "Dirty Martini"? Or awesome and triumphant Bond theme renditions, like "The Name's Bond, James Bond", second half of "Whiteout", final part of "Antonov"? Or other beautiful pieces like "Night at the Opera", "Field Trip", "Dinner Jacket"?

    Norman, Martin, Hamlisch, Conti, Kamen, Serra and Newman never did something as good as Arnold.

    As I say David Arnold's scores for all his Bond film are mostly interchangeable... especially his action cues. Telling you have to point the SECOND HALF of Whiteout and the FINAL PART of Autonov.

    But in general, they are too long, too alike, and you listen to a whole bunch of noise for a little payoff (like the melody to Surrender for All In a Day's Work is near the end instead of throughout the piece).

    He has moments like Backseat Driver, the BEGINNING of African Rundown and the BEGINNING of Miami International, Field Trip and Dinner Jacket but they are few and far between.

    As for Norman. Martin and Hamlisch never did something as good as Arnold?

    At least Martin incorporate the song in his score, and wrote a theme for Solitaire which is instantly recognizable.

    Hamlisch? Nobody Does It Better. Nuff say.

    Conti? For Your Eyes Only. Oscar nominated and even the casual movie goer can hum its opening bars.

    Serra? Ladies First, We Share the Same Passion and the theme he wrote for Severnaya.

    Arnold? Again, he is known for replacing John Barry...other than that, just hardcore fans know his music.

  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,207
    All of the anti-Arnold points are easily rebuffed.

    Walecs wrote:
    .
    Which other composer (other than Barry of course) composed a beautiful love theme such as "City of Lovers" or the second half of "All in a day's work"? Or great action cues like "White Knight" and "African Rundown"? Or suspenseful music such as "Pipeline" or "Dirty Martini"? Or awesome and triumphant Bond theme renditions, like "The Name's Bond, James Bond", second half of "Whiteout", final part of "Antonov"? Or other beautiful pieces like "Night at the Opera", "Field Trip", "Dinner Jacket"?

    Norman, Martin, Hamlisch, Conti, Kamen, Serra and Newman never did something as good as Arnold.

    As I say David Arnold's scores for all his Bond film are mostly interchangeable... especially his action cues. Telling you have to point the SECOND HALF of Whiteout and the FINAL PART of Autonov.


    The similarity there comes from those sections being based around the Bond theme.

    But in general, they are too long, too alike, and you listen to a whole bunch of noise for a little payoff (like the melody to Surrender for All In a Day's Work is near the end instead of throughout the piece).

    He has moments like Backseat Driver, the BEGINNING of African Rundown and the BEGINNING of Miami International, Field Trip and Dinner Jacket but they are few and far between.


    City of Lovers, Welcome to Baku, No Interest In Dominic Greene, Night at the Opera, The Seduction, HaLongBay/Boarding the Stealth...etc.

    As for Norman. Martin and Hamlisch never did something as good as Arnold?

    At least Martin incorporate the song in his score, and wrote a theme for Solitaire which is instantly recognizable.


    Arnold did this on multiple occasions too. 3 out of 5, in fact - and the other two (DAD with its techno wavey crap and ANWT for just being awful) were hardly capable of being implemented.

    Hamlisch? Nobody Does It Better. Nuff say.
    Granted, one of the best, if not THE best Bond songs. However, YKMN and Surrender are up there too.

    Conti? For Your Eyes Only. Oscar nominated and even the casual movie goer can hum its opening bars.

    I've never met anyone who couldn't hum You Know My Name.

    Serra? Ladies First, We Share the Same Passion and the theme he wrote for Severnaya.

    Now there's a soundtrack that fits your description of "has its moments but they're few and far between."

    Arnold? Again, he is known for replacing John Barry...other than that, just hardcore fans know his music.

    He's also known for Stargate, ID4, Godzilla..etc.



  • Posts: 7,653
    All of the anti-Arnold points are easily rebuffed.

    The similarity there comes from those sections being based around the Bond theme.

    Yet in QoB & CR he did no variations at all and did deliver no coherent theme throughout both soundtracks, he did write the odd good track but overal they were forgetable elevatormusic.
    The main critism is that DA got a shot at leaving his mark on the franchise with original ideas and he did fail spectacular. A conti, Martin & Hamlish did deliver better products. imho :D
    But in general, they are too long, too alike, and you listen to a whole bunch of noise for a little payoff (like the melody to Surrender for All In a Day's Work is near the end instead of throughout the piece).

    He has moments like Backseat Driver, the BEGINNING of African Rundown and the BEGINNING of Miami International, Field Trip and Dinner Jacket but they are few and far between.


    City of Lovers, Welcome to Baku, No Interest In Dominic Greene, Night at the Opera, The Seduction, HaLongBay/Boarding the Stealth...etc.

    Repeated no cohesion between the whole of the soundtrack, a few nice tunes do not make a great soundtrack.
    As for Norman. Martin and Hamlisch never did something as good as Arnold?

    At least Martin incorporate the song in his score, and wrote a theme for Solitaire which is instantly recognizable.


    Arnold did this on multiple occasions too. 3 out of 5, in fact - and the other two (DAD with its techno wavey crap and ANWT for just being awful) were hardly capable of being implemented.

    DAD was at least recognisable Bondmusic, with QoB & CR DA delivered nothing special or outstanding that will be remembered in a decade. Everybody will know Martins work for LALD.
    Hamlisch? Nobody Does It Better. Nuff say.
    Granted, one of the best, if not THE best Bond songs. However, YKMN and Surrender are up there too.

    Conti? For Your Eyes Only. Oscar nominated and even the casual movie goer can hum its opening bars.

    I've never met anyone who couldn't hum You Know My Name.

    Really time to expand your circle of friends ;) But you really want to compare an oscar nominee and worldwide nr.1 hit from from FYEO with a fairly unknown rockballad outside of Bond fandom?? A touch of realism whould be added here. Your taste is different from the factual difference, which is huge.
    Serra? Ladies First, We Share the Same Passion and the theme he wrote for Severnaya.

    Now there's a soundtrack that fits your description of "has its moments but they're few and far between."

    Serra's soundtrack is an aquired taste I agree, but bloody recognisable and different in the Bond franchise. That said I do prefer Serra's soundtracks of teh Besson films, with Le Grande Blue being magical.
    Arnold? Again, he is known for replacing John Barry...other than that, just hardcore fans know his music.

    He's also known for Stargate, ID4, Godzilla..etc.

    Mr David had a carte blanche with the mentioned titles, but have you listened to them completely? The main themes are fairly decent but the variations on the main soundtrack leave a lot to be desired.


    For me personally DA had 5 movies with three he came with his Drum 'n Bass John Barry soundtracks and admittently they are easy to listen to and have some catchy tunes, but even they lack some cohesion for me over the total album and stand alone. With CR & QoB he came up with some nice tunes but there was nothing that showed the greatness and originality that I want in a 007 soundtrack. After Barry it seems that EON never took any risks with a new original composer, and played it save with a homely one and a composer that came with the director but did not bring his A-game.

    There is so much talent out there they should have a reality show in which the various composer so re-score QoB & CR and call it: SO YOU THINK YOU CAN SCORE A 007 MOVIE. And pick the winner. ;) :D
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,207
    SaintMark wrote:
    All of the anti-Arnold points are easily rebuffed.

    The similarity there comes from those sections being based around the Bond theme.
    Yet in QoB & CR he did no variations at all and did deliver no coherent theme throughout both soundtracks, he did write the odd good track but overal they were forgetable elevatormusic.
    The main critism is that DA got a shot at leaving his mark on the franchise with original ideas and he did fail spectacular. A conti, Martin & Hamlish did deliver better products. imho :D

    We weren't talking about those, were we?

    No, and the reasons for his non-usage of the theme are well known.You must spend your days on some pretty interesting elevators, @SaintMark.

    You've brought my personal taste into the equation even though I stated I had never met any other person who hadn't liked or at least heard You Know My Name. That's quite a large number of people, considering my place in my community. My taste on the song isn't a factor. I never directly compared the two, either. Read things more carefully next time. ;)

    Yes, I have heard Arnold's work on those films in their entirety. I own the 2 CD complete version of ID4. It's a fantastic soundtrack, no matter what way you cut it. And in the film score community, it's regarded universally as a great soundtrack - if you want to talk facts and realism.
  • Posts: 7,653
    SaintMark wrote:
    All of the anti-Arnold points are easily rebuffed.

    The similarity there comes from those sections being based around the Bond theme.
    Yet in QoB & CR he did no variations at all and did deliver no coherent theme throughout both soundtracks, he did write the odd good track but overal they were forgetable elevatormusic.
    The main critism is that DA got a shot at leaving his mark on the franchise with original ideas and he did fail spectacular. A conti, Martin & Hamlish did deliver better products. imho :D

    We weren't talking about those, were we?

    No, and the reasons for his non-usage of the theme are well known.You must spend your days on some pretty interesting elevators, @SaintMark.

    yes I do! ;)
    You've brought my personal taste into the equation even though I stated I had never met any other person who hadn't liked or at least heard You Know My Name. That's quite a large number of people, considering my place in my community. My taste on the song isn't a factor. I never directly compared the two, either. Read things more carefully next time. ;)

    Damn, I would be hardpressed to even hum YKMN, and that is besides me not being impressed with the song at all. Cornell and his song is rather small potatoes when it comes to the Bond theme songs. As it is most of them since TLD are rather forgetable. You were rebuffing arguments and folks knowing or humming YKMN said absolute nothing about the quality of the song. It is just not a very iconic tune and nor is the soundtrack that should go with it. As it is YKMN is not even on the soundtrack.
    Yes, I have heard Arnold's work on those films in their entirety. I own the 2 CD complete version of ID4. It's a fantastic soundtrack, no matter what way you cut it. And in the film score community, it's regarded universally as a great soundtrack - if you want to talk facts and realism.

    I looked up the 2cd version, I had a one cd version in my defense and that one does not get a great press, so I must obtain the 2 cd version when I run into it. I did look it up on one site so far and the 2cd gets all the credit.
  • Best stick with Newman for Bond 24. Arnold, nice guy, but enough is enough.
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