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Comments
As expected, his music fits the associated scenes like a glove.....almost imperceptibly flows with what one sees on the screen.....I liked that.
I'm open to him staying but I'm not wed to the idea. He didn't disappoint but perhaps we need new talent to take this forward.
I just don't know if EON have the ability to figure it out though. Arnold was a Barry recommendation and they stuck with him for ages (even through some pretty shabby scores during the Brosnan era imho) and then they went with Newman because he was Mendes' man.
So they may just go with whoever the next director recommends rather than search out a suitable best-in class composer. It looks like they are placing more priority on the title song these days (to get a hit for marketing purposes) than on the scoring, and that's a shame.
As I said above, I thought Newman was ok with SP & with SF. I am not disappointed with his work. The action scoring could have been better but everything else was fine to my ears.
Nowadays, until they find the next Barry, if he even exists, it might be wise to allow each director to bring the composer he feels most comfortable working with. A different composer for each movie might at the very least keep things interesting... ;-)
Nope.
Whilst I know this is ostensibly a production decision, if Thomas Newman either doesn't see himself as a songwriter or prefers to leave the task of the theme song to other, more bankable popular artists, then he should go.
Yes in it own right it was. What wasn't inoffensive was the overall laziness in copying his own SF cues.
Yes Barry repeated the Bond theme and 007 but as Murdock points out he always rearranged them.
In addition to recurring motifs though, in each film he always crafted some new action cues - the track that accompanies the beach and bobsleigh fight in OHMSS, He's Dangerous from AVTAK or the Necros theme in TLD.
The problem with Newman for me is his action cues are the weakest part of his (decent) SF score for me. Apart from the moment where the Hagia Sophia mosque comes in to view the rest of the action is scored very averagely. It's with tracks like Tennyson, New Digs and when the yacht is approaching Silva's island that he really delivers so if you were going to repeat anything repeat those Thomas not your bland action music.
Bottom line if you are going to copy something make sure it's worthy of repetition. Just off the top of my head if we had had He's Dangerous for the helicopter fight, a full blown orchestral rendition of the Bond theme for the plane crash and the OHMSS theme used in the trailer for the climax on the Thames then I would have been happy.
I can't see us discussing some of Newman's SF action cues as classics in the coming years so if you can't come up with something original at least steal from Barry rather than yourself mate.
Thomas Newman's score, while certainly bland in the action sections, is the least of the issues with the film imho. The pretitles score in itself is up there with the best that any composer has offered up in the 50 yr history of this franchise.
It would be a good idea to bring some new blood in. Maybe there is a "John Barry II" somewhere... since the franchise is taking steps towards the more traditional Bond films, there should also be some room for more classical Bond music, in a Barry style.
Don't I wish! Unfortunately, there's no new Barry out there that I know of.
Unless anyone knows better...
I can only hope that the 18th December Star Wars will kick of an exciting bombastic and original soundtrack and that it for EON will be a wake-up call to hire an exciting new composer that brings back the excitement that used to be the trademark of teh EON soundtracks.
I am quite sure that had Barry still lived they had already had him back and the fans would be going bananas. (in a positive way)