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Comments
Music is so critically important to the success and reception of a Bond film. Vastly underrated, IMO, even as appreciated as it generally is.
It's not an area to be screwed around with lightly, so if indeed Romer's work wasn't up to par then kudos to the filmmakers for making a decisive (and no doubt difficult) decision.
But let's just see what happens here. If Romer's truly out, you gotta believe Arnold's in. Or at least has a leading chance.
Precisely.
SP showed how lazy scoring can be noticed and affect the film massively.
Certainly. I would gladly take both Arnold and Newman back, but curious to see what someone new can do.
I hope to God they don't go for Newman again !
David Arnold all the way,if this is Dan's last film then they need someone who loves composing for Bond,is a BIG Bond fan,knows how the films work in production,and the quality of his work on the Bond films speaks for itself.
I remember reading that when Romer was initially chosen Hurwitz was in the final group. I was rooting for him but was just on board for new ques and sound.
oh ffs
Perhaps Romer's score thus far was bringing back bad memories of Eric Serra?
Perhaps Romer was using Michel Legrand's NSNA music as a role model not realizing NSNA isn't an official Bond film?
Just kidding.
Whatever the reason, Eon still have time to sort things out.
?
Throwing in my support for Arnold return, I'll be ok if any other composer joins production though!
I'd love to see him back, but again we are "debating" something for over 5 pages based only on one "source".
Interesting. I am not sure how that would play out, given that SP included parts of the SF score, and posters here have been bitching about it ever since. LOL
But back to the issue at hand: I trust CJF. It is his film. EON is likely giving him creative control, and they will not make significant demands on the composer. The fact that Romer was chosen in the first place should signal whose film this is.
So from that standpoint, some of you need to calm down. Even if Romer has left, it is unlikely that CJF would bring in Arnold. First of all, he knows better; secondly, and more importantly, he doesn't want his film's creative components connected to Bond films of old. He's making his own film.
LOL. I am sorry: pointing out Arnold's lack of work is a fact. And if you were to dig a little deeper, you'd see that I enjoyed much of Arnold's work on CR and QoS. I consider "NIght at the Opera" to be one of the single greatest Bond pieces ever composed. But his time and style have passed. I simply disagree that he is "the" composer this series needs now or in the future. He's been put out to pasture, so the speak. Keep him there.
More like bad decision from Mendes' part.
*User criticizes Skyfall or SPECTRE* > *TripAces dismisses it as unfair criticism with no arguments*
*User shows appreciation to Arnold* > TripAces dismisses it as unfair appreciation with no arguments*
We're so lucky we have the truthful and infallible TripAces on our boards and I'm glad for that.
Grow up.
Nothing to preach.
Do we need to see SF & SP criticism in EVERY thread I ask thee?
Or about any other Bondmovie?
There is melody, there is air, there are foreign/exotic instruments, there is dynamics, but never ever Barry produced a wall of sound. His music breathes, all of his romantic pieces as well as his action pieces.
Many action pieces by Arnold are a complete ugly wall of sound and full of ugly cheap pc games electronics. His more easy or romantic pieces are rare, but never touches the brilliance of Barry.
So no, please no Arnold. His sound is absolete. Get us Hurwitz or a likewise composer.
Here here. It's getting obnoxious at this point. I get they're just trolling, but seriously...
+1 this, people here really need to calm down and stop behaving like a child.
You're too stupid to even understand what I meant. LOL
“Promises to be the best Bond ever.”