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I hope so. I am looking for a little more oomph to his action scoring. Not sure if he will do it, but I really would like to hear it, because he has the ability. I too am going to avoid listening to anything more from SP until I see it with the film.
On an unrelated note, I always wanted the late Wojciech Kilar for Bond. He was never on the radar but I always found his scores very memorable and melodic.
He may very well do that indeed. I just saw Bridge of Spies yesterday, and his scoring for that film, while sparse (it was underscored in places, perhaps deliberately) is incredibly seamless with the action on screen, almost like an extension of the acting. I remember thinking that as I watched it because I knew he did the score and I was listening intently to it in anticipation of/for clues to SP.
You are correct - he is a sort of chameleon. I like the SF score with the film but it's one of the few Bond soundtracks I don't own, and I have no intention of purchasing it. With the film however, it goes hand in glove, never competing with what's on screen, but rather, supporting it.
If you liked Tinker Tailor Soldier Spy you should listen to The Skin I Live In. Probably his best work. Magnificent
Well this is a Bond fan forum. Dismissing something because it's too Bondian and favoring something that is more a generic crowd pleaser could get well in a general movie or box office fan forum, but not here :)
Are you telling me you can't hear David Arnold's indebtedness to John Barry (and not just his work in Bond) in cues ranging from African Rundown, Aston Montengero. Vesper, City of Lovers, The Bitch's Dead, Time to Get Out, Talamone, Night at the Opera and so on? To say otherwise so seems a bit disingenuous.
I won't deny that Arnold has his own sound (and some recurring gestures I find annoying, like A, B and C - brass pileups on the dominant that always lead up to a cut or sync point, and present in almost every Arnold action cue) but it's hardly as unique and influential as Newman's.
Short interview with Newman for BBC.
Thanks for posting. they were having a fun chat. sounds like Newman put in a lot of work on the film.
Absolutely. Regardless of what people think or don't think of Newman's music - he seems like a nice bloke.
Arnold's 'action' cues were very tiresome on the ear. The 'White Knight' opening on TND score was his best attempt at a decent action cue, and was quite good. The less said about the rest of his uptempo efforts the better really...
You mean great stuff like "Backseat Driver", "Come In 007, Your Time Is Up", "African Rundown", and "Time To Get Out"?
I don't really rate any of those, no. I find I zone out completely (from the background music) watching TND to QoS when Arnold ups the tempo on his scores.
Arnold's action scoring improved dramatically to my ears during the DC run. However, he is still quite subpar compared to every other one-off Bond composer (Newman still needs to prove himself in SP) imho, and quite unmelodic, Those who complain about Newman being generic and hold up Arnold as an alternative are like a pot calling the kettle black, again imho.
I've said before I admire Arnold's dedication to the series and Newman's artistic expertise. BUT I really don't like either one.
Would have been keen to know how Newman has incorporated it into the film.
The only morsel of new info is Mendes saying the songs helps with the storytelling, which is perhaps a tiny indication it will appear during the film, a la WHATTITW.
What part of that sounds like confirmation?
Arnold isn´t the definition of original, but his action cues express a lot more enthusiasm and joy than those of most other contemporary composers, and that despite many arrangements sounding a bit sterile. Newman on the other hand seemed many times out of his depth in SF´s action scenes. Arnold is generic, yes, but he sounds at home there, he manages to make even generic tunes sound great.
Doesn´t mean I wouldn´t be happier with another composer ;-).
He spoke of Newman incorporating WOTW as a certainty.
I didn't get that sense at all. I think he just means the song itself helps the storytelling because it is very much a song about the movie.
I fully agree. It's something I'be always looked forward to in a Bond movie and the Craig era has been particularly weak when it comes to this.
In Casino I first didn't like the lack of it during the film, but then I realised what a perfect timing it was to play it in that epic final scene.
It didn't feature in Quantum and thus time using it for the end credits didn't work.
In Skyfall we got snippets of it, but never the full Da Da Da Daaaaa Da Da Da, which to me is the crucial point in the theme. The perfect moment would've been when Bond uses the digger to change carriages. Those typical Bond moments are the difference between an action sequence and a Bond action sequence and they deserve the use of the best piece of music on earth.
If we get the full theme in SPECTRE, I will melt because of excitement in my cinema seat.
Agreed. Though I do like it being musically 'hinted at' in the PTS and perhaps one or two of the early scenes.
But the full-on Bond Brass section & guitar should only be used once, in one triumphant scene. Otherwise it just feels forced & amateurish.
TND had way too much of it, it just irked.