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But yes, I find the music very enjoyable, for any Bond film. I often listen to the soundtracks purely for fun. :)
I think the most important thing is that it isn't an either/or situation. Before the "There can be only one!" arguments start, you can have both a good score and bad film, or bad film with good score, or both bad or both good.
EG- I love Skyfall (it's in my top 10), but I really don't like the score much at all.
However, I rate Moonraker very lowly but I love the score and I think that has one of the best soundtracks of the series.
I agree with you @dkem91. Without Barry, I fear we'll always be lacking and never reach the heghts of the earlier films. Almost as if, one of the best Bond films of all, can never be made now.
I place GE and CR in my top tier of films, but GE loses a few places largely because of the mediocre score, whereas with CR it neither hinders nor helps it. In contrast, OP is another of my favs largely because the score glues the film together and amongst other elements hides its inadequacies.
so i guess i am 50/50 on scores.... i love SF, but i find the score average... i dont care for DAD, but i think it's score is above average......
the only film i am unanimous on both is TMWTGG - i dont really care for the film that much, and i think the score is lazy for Barry's standards (funny enough, Barry would actually agree with me on that one lol.)
I am going to really listen and analyze the scores more closely than ever presently, especially Barry's scores that I want to give the deep attention to that they deserve. At the end of the day, the great thing about the music in these films (and in cinema in general) is that they can make a great scene that much better. I can assure you: Skyfall's Tennyson scene wouldn't be quite as emotional for me as it is if Newman's powerful score was absent. The track complements M's recitation of Ulysses and places that much more weight and importance on Bond getting to her as fast as he can, though he is already exhausted and battered. The music is a brilliant addition to the onscreen action/visuals and can sometimes be what makes them memorable or that much more special (as seen in the Tennyson scene), and for that I find it absolutely essential and forever welcome.
the amount of time a track is used throughout a film is not a decision made by the producers... that boils down to whoever is composing the score, and the director..
every bit of music used in the film must first go through the director, if he doesn't like it - then it's up to the composer to arrange something that works.