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Thomas Newman (stay/go)
my personal opinion is he has had his time. get someone else for bond 25. leave your opinion below
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Comments
Spectre's score is kind of a refinement of the Skyfall score, and the new cues he had added are pretty good. Yes, I would have liked more Bond theme but you can't have it both ways I suppose.
I love Newman's scores in general, like his Bond scores less... but what I don't like about them is what he does during the long action setpieces - the generic action score strings and percussion (David Arnold did this as well), his more lyrical passages and his more unusual cues (Bass flute playing the JB theme etc) are really nice.
I'd like to see the Bond films returning to a more classic 60s style of score. If they did that, then Thomas Newman would do it really well. But they won't, because studios seem to like the pounding scores to really drive home that it's an action film - it's a different way of doing things than the 60s (and the films are cut completely differently too).
So I'm going to say, to give a simple answer... Stay. But if he were to go, I'd like to see them moving in a different direction. I suspect that what people don't like about the scores is not Newman's decision but what's reached at with the producers, Mendes and the studios.
One of the best things about past composers, such as John Barry and David Arnold, is that each score, while retaining the composer's unique signature, have had their own personalities and their own dynamics, related directly to the subject material. Such has not been the case with the score of SP, sad to say.
Most of us have thoroughly enjoyed SF and SP, so maybe it is time to exalt these works for what they are and move on to something fresh and exciting.
While Arnold, seems to know ( only my opinion) what is needed in
a Bond film, when to have soft reflective music and when to belt out
a fantastic action set piece.
An understatement if ever there was one.
I'd go one further - he doesn't CARE about Bond, either, besides just not 'getting' it.
David Arnold lacked the talent to construct layered scores with subtle orchestration, but he could never be accused of not CARING.
Mendes and Newman come as a package. Judging from Babs comments at the premiere she is going to fight hard to keep Mendes so if she succeeds we are stuck with Newman again.
If EON dont manage to get Mendes back then we'll get someone else because I think Newman has no love of Bond and only does it because Mendes wants him to (exhibit A his phoned in SP soundtrack which is the laziest effort in a Bond film since Sean in YOLT) and wouldnt be that bothered if he wasnt asked back.
Whatever you think about his efforts Arnold 'gets' Bond and loves the job. After this kick up the arse missing out on SF and SP he will come back firing on all cylinders. Give him control of collaborating on the title song as well and we could get another CR which for me is the best post Barry score and song.
Head of nail firmly hit.
Surely you're not that naive. I have no wish to offend anyone here but do you honestly believe that everyone who works on these films cares about their work? Sloppy work is everywhere, those who do their utmost in their jobs are few and far between.
'Contemptuous' pretty much perfectly describes the kind of score a very talented composer has given us for something that deserved a grandiose piece of music.
'Utter indifference' a term you could settle for then? Perhaps 'contempt' is (slightly) too harsh, but I don't hear a craftsman giving it anywhere near his all when I listen to either of his scores.
Arnold may not be to your liking (I find him overrated yes, if not obnoxious) but he was always in it with all his heart. He just didn't have more to offer, talent-wise.
I'm sure Brendan was trying his hardest not to turn Liverpool into the new Villa too but that doesnt mean he wasnt serving up unacceptable dross.
In my job I can get away with keeping my head down, being idle, booking my holidays on the internet and generally turning in shoddy work.
But in a multi million dollar industry there is something called pressure and expectation to deliver. It comes with the job and if you dont deliver its brutal and you are axed. And with SP Newman has delivered about as dismally as Postman Pat with a hiatus hernia.
You have to bring your A game to Bond and if you dont you should go - its that simple. When so much of the score is blatantly copied from SF and the rest utterly uninspired I think we are justified in criticising Newman. Perhaps accusing him of having contempt for the series is a bit strong but is copy/pasting your work like a teenager passing off someone else's homework as your own whilst pocketing a massive cheque any more honorable?
But if it makes you feel better accusing Mendes of "not caring", go right ahead. I'm done discussing that.
If Mendes doesn't come back, Newman won't come back. That much is pretty much guaranteed, so I wouldn't worry too much about it.
What we need, unfortunately, are some other franchises to show Bond how it's done......and they have actually done just this in 2015 (Man from Uncle, MI-RN & Kingsman come to mind, and even SPY). Pride then may cause a much needed rethink at EON.
Perhaps after Mendes is booted/shown the door we can have one of those composers brought in to take Bond to the level it deserves to be at as the mac daddy of spy franchises.
Very good!
And apt as the SP score is shocking. Positively shocking.
I would say he has a Grammy on his shelf that says otherwise:
What have you proven here, exactly, other than the fact you attach too much importance to populist awards?
What sound would fresh blood make? ;)
" Why do I look so fat". " You don't love me any more " ....
..... That kind of thing. :D