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Zimmer today is so Bland, his music is just loops that go on and on and on with the ocassional horn blow DUN DUNNNNNNN! It's so themeless. I could do the same thing in 10 seconds.
The question remains is that would Arnold's music be good enough for a script of John Logan's/Sam Mendes's caliber? We saw some hints in Casino Royale (particularly with the Vesper scenes) but I would be happy to see him return.
But if Newman is back on board I hope he makes the necessary adjustment in attitude and effort. Theme song woven in at times, Bond theme at times. We shall see.
Then I hope Arnold is back - or a new composer - for Bond 25. :)
I agree though- overall, Newman's score was nothing special, though I do like the music when Bond operates the excavator and knocks off the <a href="http://www.vagcom.org/wp-content/uploads/2013/02/volkswagen-das-auto.jpg">Vee-Dubs</a>.
Challenge accepted.
Now compare that to something like this.
I just want music with memorable iconic themes! Is that too much to ask? Step it up Newman!
~ He has the talent.
~ He has been talked to/enlightened about expectations for a Bond film.
So if he chooses otherwise, it is up to Mendes and producers to be firm.
But he will probably want to be rather different in Bond 24 from what he did in Skyfall, so he may just rise to the challenge/expectations. One can hope.
I´m still not getting how people can complain about Arnold and at the same time praise Newman´s SF score.
I felt like listening to Arnold´s Bond scores again lately, and right now they feel a bit like blown up tv scores. But they still make a point.
Newman´s SF score felt more cineastic, but beside having many moments that could be outtakes from Zimmer and Powell, it also doesn´t really make a clear statement. And I´m not talking about the half-assed SF CD compilation.
Without a a doubt.
Same.
I've said it before and I've said it again: If David Arnold had scored SF, and it had sounded exactly the same as Newmans score, he wouldn't have gotten nominated. Newman got the Oscar nod because of who he is, it was undeserved and I'm really glad he didn't win.
This.
Apart from that, Skyfall's score is the least memorable to date.
Although I would prefer Arnold over Newman, I would like to see a new composer take the helm of Bond 24.
Yeah, it doesn't really confirm Newman's return but it does confirm that David Arnold won't be the composer of Bond 24. Which is enough reason to celebrate.
I thought he was really onto something with his QOS score and for me was his best yet
CR has it's moments but all round Solace has the edge with more consistency.
While I'm a big fan of SF and Newman's score in parts was great, I can sympathise with those who thought it generic and not entirely memorable.
I'd say that Arnold's non involvement doesn't guarantee his return and we might get someone new but I think with all likelihood we are going to get him back, I guess we'll see.
Or as I say boring in the extreme. Newman (in SF at least, since I don't really know much of his other works) - just like Mendes (each and every time) - is all about pretense not substance.
Again, just clarifying. The OP doesn't state a confirmation either.
I'm wondering- was there even music in SF? I don't really remember any...
;) ;)
You must really hate David Arnold's music since none of his scores at least equal Eric Serra's.
Exactly my point. I wasn't really trying to bring Zimmer into this, but Newman clearly ripped him off at times during Skyfall. (When Bond is hanging from the Elevator for example.) My point was, If I could do something just as similar, It just makes it generic and lame. Standards for Bond music is very high. John Barry will never score a Bond movie again unfortunately. But at least David Arnold tried to stick with his distinct sound and complex and enjoyable compositions. Newman's score. (While good in the action department.) Just wasn't all there. It's like the score to The Spy who Loved me or For Your Eyes only, they had some good ques, but were otherwise subpar scores. I'd say bring Arnold back or get Michael Giacchino.