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Comments
I think David Arnold's best scores so far have been TND and TWINE. No doubt about it...
TND was decent enough but I found overuse of the Bond theme (which I know many on here want) and too much scratchy electronica.
CR & in particular QoS came closer to what a Bond score should sound like imho (grand) but sounded creatively too derivative of Barry to me, while being noticeably inferior. Like the work of a fanboy rather than an established creative composer.
As I said earlier, I felt that Martin, Hamlisch and even Kamen brought the Bond sound while bringing their own creative touch/spin to it, and therefore I rank their non-Barry scores highest. Newman's SF sits just below that to my ears because while he brought his own creative spin (which I appreciate) it was just dialed down too much. He needs to amp it up for SP. Be bolder.
For us Bond fans, yes...but not for "huge hordes" of moviegoers, as described in the posts I was responding to.
"New Digs" may be a nice theme musically speaking, but frankly I've yet to understand why the oriental mood of the theme is so strong, given we had left Istanbul a few minutes before. In movie music language, IMO, this theme means we should hear again from Istanbul in the scene.
And to read after all these years so much credit put on the Awards to judge someone's work is surreal frankly. I think there's at least one common point in the franchise that many here agree upon, whether they love SF or whether they have another personal opinion, and it's Daniel Craig, Mr Zero Academy Awards Nominations. And yet I've never seen a fan asking Eon to replace him, by, say, Jean Dujardin :)
What is that supposed to mean, "Daniel Craig, Mr Zero Academy Awards Nominations"?
For me, it is not a problem at all.
But the fact that David Arnold never had a Academy Award nomination seems to be a relevant fact here for some. So I found it relevant to point out that Daniel Craig shares that "shame" with David Arnold...
Not for me :-). I think David Arnold never really deserved an Oscar. Daniel Craig however, I think he did! It's good you're pointing this out actually. For his portrayals in all his 3 Bond films he deserved an Oscar nomination.
Daniel Craig deserved to win the oscar.
It is telling to with the Oscars. In here there's a lot of criticism about current blockbuster films. They lack originality, charm and soul.
But when it comes down to the actual Award Ceremonies, like the Oscars, people in here want the big blockbusters ("Jurassic World", "Furious 7") to actually WIN an Oscar.
I find that a bit.......weird....to put it mildly.
Over this:
"Time To Get Out" lacks any bit of James Bond theme, whereas "The Bloody Shot" continues in a beautiful rhythmn, without unnecessary breaks or pace changes. "The Bloody Shot" sounds way 'richer', thanks to a larger orchestra and better in-time rifs and string sections.
Though I'd take
Over this.
For me....
"Time To Get Out" has tension and build up followed by a release along with a perfect balance between the elements of the orchestra meaning it gets loud without getting messy. The opening is wonderful and worked amazingly well with the visuals, while the latter parts are hectic and ballsy.
"Take The Bloody Shot" does have the Bond theme and it's a pretty good statement of it at the right moment - but it's a track that is let down by the repetitive loops and electronic rythms straight out of the Remote Control school of film scoring.
Newman uses Spectrasonics in a far less refined way than Arnold handled his electronic sounds, which made his orchestra sound less organic than it should have considering the size of the sections. That's why for me, the quieter sequences (Tennyson aside) of his score are the best.
Opinión. JUST an opinion. Which I wholeheartedly disagree with.
Not true. Listen to 1:00-1:13 and 3:11-3:18.
The length of the sentence isn't the issue. It's the fact that you felt the need to point out the blatantly obvious.. twice. Your last sentence to my comment would have sufficed. Furthermore as @Walecs pointed out, which btw is a fact, Arnold incorporates cues of the Bond theme in time to get out. So you saying it lacks any bit of Bond theme is factually wrong.
I think it's necessary to point out at times this "blatantly obvious". Because if I don't sometimes people get angry....plain irritated by me.
It's not that I hold you for dumb okay? What holds discussions together on many occassions like these are open and clear agreements on disagreements. That's what I wanted to point out. And sorry to say this, but if you get irritated by such things, by me pointing out that it's just an opinion, then also look back at yourself and what you posted.
I DO think that it's necessary to point out the length of your sentence. Because you basically had nothing to say. You stated one sentence that sounded like one big fact, devoid of any argumentation: "Time to get out wipes the floor with take the bloody shot. Easily.".
By the way, @Walecs is right. I am sorry for my mistake. I listened to it again. And indeed, they are queues from Monty Norman's theme in it. But forgive me, they are way less obvious as compared to "The Bloody Shot". I even had to re-listen to it.
One last thing: I prefer to communicate in a more elaborate way. I FOR INSTANCE get irritated by posts containing just one sentence. You can do better than that @doubleoego.
@Gustav, my initial comment was an obvious opinion. Simple and succinct. As I said, your last sentence in reply to my initial comment was all that was needed. You didn't agree with my comment and I respect and appreciate that. However, not all comments warrant a thesis-length contribution as is often the case with you and if that irritates you as you conceded then that's your problem to deal with.
I genuinely do believe time to get out wipes the floor with take the bloody shot. It sounds far more engaging, there's a frantic excitement and tension there that didn't even need the cues of the Bond theme to sound as great as it did because it was genuinely a well conceived piece of music to open up the movie which cannot be said for Newman's contribution. Furthermore, the music holds it's own with or without tge film's visuals which I can't say the same for take the bloody shot.
Disclaimer: This is my opinion and is not meant to be regarded as factual truth that should be unanimously agreed upon.
;)
Guys? Take. It. Easy. please. Thomas Newman IS the composer of "SPECTRE". Period! Despite all the criticism, both positive and negative, he received for "Skyfall", let's give the poor man a chance OK?? He only did one Bond film so far, and it will be so interesting to see/hear how different his 2nd Bond score is from his 1st.
Actually, this is a very similar discussion to all the stupid "Who's going to take over from Daniel Craig??"-gossip! And frankly I think it's disrespectful. We are Bond fans. And usually Bond fans stand out as being civilized gentleman-people no? So let's bring that more into practice. Thomas Newman IS James Bond-007-Composer!
Now I'm not saying we should not compare and discuss all these different spy-scores during this crowded "Year Of The Spy". I love it really :-). And IF Thomas Newman leaves after "SPECTRE", then perhaps Daniel Pemberton or Henry Jackman are my favourites to take over. Even more so than Joe Kraemer's OK-but-not-special-score for "Rogue Nation". But again, Thomas Newman IS James Bond-007-Composer! right now. Let's not forget that.
I disagree, Newman's track is immensely better. Arnold's track doesn't have a direction or a general theme or beat to it, it's just random noise that's way too synchronised to the picture.
I agree and also love "Enjoying Death". That cue really sets the scene - both exotic and extremely sadenning, conveying a sense of loneliness or abandonment that Bond has.