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I mean that I remember a scene and the music was very much part of that impact. CR and QOS are full of moments like that. And when you hear the score seperatley it evokes those moments in the films.
I've listened to bits of the SP and SF scores and they evoke nothing. I have no recollection of what they were accompanying in the film. Plus in they're own right they're just really boring.
If the music does nothing for ya, yeah, I can see how you wouldn’t connect the music with the scenes when isolated.
Are there any rhythmic/ambient scores you do enjoy and find memorable?
The thing is.....Arnold has been away from the franchise now longer than he ever worked on these films. it'll be close to 12 years by the time Bond 25 arrives.
For those reasons, I think it better for the series and (most importantly) Arnold to move on.
The other issue is that Arnold has not presented a compelling case in those 12 years for returning. he has scored maybe one prominent film in the interim.
It's Arnold's fault as much as Eon's that he was not invited back..........................
But, first of all, it must fit in film. If it fits film, but doesnt sound great as piece on YouTube that it's great. It's bad when it sounds great on Youtube or Vinyl but doesnt work with movie.
True, Arnold has barely done films since the start of the decade. Everything else has been TV productions. Anyone know why he’s largely stepped away from big film projects?
That sounds contradictory. A great piece of music should be able to do both seamlessly. I'd rather a piece of music be both fitting for a film and be listenable outside of a film. There's a reason I listen to the majority of Bond film soundtracks outside of watching the movies. I can listen to the likes of John Barry, David Arnold, Michael Kamen, George Martin, Bill Conti and Eric Serra's scores all day long. Even other composers like Jerry Goldsmith, James Horner, John Williams, Alan Silvestri and many others are able to make great pieces of music that not only fit a film but are repeatedly listenable outside a film. A great film score should be both.
I think large film projects have stepped away from him
With Arnold you'd also get to hear the music surge up and down several times in a single track and each high would be greater than the last. Romer on the other hand seems to focus on capturing the atmosphere, which is perfectly fine for establishing shots or for characters' themes, but it's just not going to ever be viscerally exciting or epic.
You mean to say you didn't like his scores for CR and QoS..? Talk about hard to please!
And it’s a perfectly valid way to score action, as we’ve had even Barry in the past score action scenes with a slow tempo rather than try to compete with what’s on screen. It’s called scoring “on top”, whereas Arnold went for the approach of having the music match with what’s on screen which is what John Williams does.
It depends on professional scecifics of Cary and Dan collaboration. Many directors start to work intensely with composer during production (some even start in pre-production). Most common, of course, in post-production but question is will Cary and Dan create music parallel with editing or they start creating concrete music after rough cut is ready. If first then we can hear some Dan's work in trailers.
Sure but even then, early work from Romer showing up is extremely unlikely. None of the Craig era trailers to date actually featured any of Arnold's/Newman's scores.
Unless we're talking about a film that's already long in the can by the time the marketing campaign begins (usually smaller indie films) or a case like Nolan/Zimmer or Fincher/Reznor/Ross where not only there's a ton of early demos they want to pull from but they're keen to compose a bespoke thing entirely, trailers featuring music work from the film's composers is very rare.
Willing to bet Jeff Pfeifer is working on something as we speak...or the trailer editors have found something fresh to use in his sure-to-be-massive library of Bond trailer scores :D
Yes, Barry was a master at doing it that way, but I don't think that the distanced nature of 'on top' music is the best method for scoring a Bond film today.
The only good thing to come out of Romer's hiring is that my expectations are so low that (technically speaking) he can't disappoint me.
Agree. Maybe Cary and Dan decide to record kind of musical theme for trailer. Anyway it's not something critical for B25 marketing strategy. But definitely Dan Romer's music we won't hear in first teaser-trailer.
I agree! I've no idea who Romer is, so don't know what to expect. However, Arnold's scores were always weighed down by layer upon layer of percussion and over-orchestrated by Nicholas Dodds.
He has rejected offers. At least he said so in a radio interview. But for Bond "the door is always open" as he puts it.
He is perfectly content with doing series like Sherlock, presently Good Omens and the coming Dracula-series. His OST for 'Good Omens' shows how brilliant a composer he is.
It's funny that someone mentioned Elliot Goldenthal on the previous page, because that's exactly what he has been doing since about 2007/08, too - focusing on a lot of television, concert works and theatre collaborations. And he's a real talent, as well.
Maybe he's made his money and the stress of a big movie is not for him?
Well, to be fair, it's not like that many Bond movies came out in the interim. By the time Bond 25 comes out, he'll have been away from Bond for 3 movies.
I did like those and yet I am not forgetting his score's in brosnan films. It's time for someone new to take the rein , not interested in these Arnold comment anymore.
And yet you can stick on a John Barry album and listen to in complete isolation - and it still sounds great. Hell, even some of Arnold's work sounds great in isolation.
The same cannot be said of Romer from what we have heard so far.
Ridiculous comment, and you know it.
All John Barry stuff sounds excellent on YouTube, as does John Williams, Jerry Goldsmith, Ennio Morricone, even Hans Zimmer. You can listen to pretty anything these guys do in isolation, and it sounds great.
So by your reckoning, all of these composers therefore must be bad, because they sound great on YouTube and vinyl...?
Bond has just found out that Vesper has betrayed him.
He’s not arguing a Goldsmith score sounding great outside of a film is terrible.
Agreed. The entire Venice sequence is beautifully scored.