It looks like you're new here. If you want to get involved, click one of these buttons!
^ Back to Top
The MI6 Community is unofficial and in no way associated or linked with EON Productions, MGM, Sony Pictures, Activision or Ian Fleming Publications. Any views expressed on this website are of the individual members and do not necessarily reflect those of the Community owners. Any video or images displayed in topics on MI6 Community are embedded by users from third party sites and as such MI6 Community and its owners take no responsibility for this material.
James Bond News • James Bond Articles • James Bond Magazine
Comments
Well, many hadn’t heard of Kubrick before 2001, or even Spartacus. Many others had been following his earlier works.
One can hope...
Lovely stuff.
Beasts of no Nation is great though.
TD is too long but has greatness.
And many don't care for his films before or since 2001.
Anyhow, Kubrick has nothing to do with Bond.
I agree. I think that the Mathis and Leiter characters should, in the films, be used as friendly exposition machines. They arrive, help Bond out, fill in the back story a bit, and leave. That's not to say that they're unimportant or that they shouldn't be well cast.
Was about to make a similar intervention. Thank you, @bondsum.
Otherwise as a filmmaker I prefer John Glen, any day and twice on Sunday. :)
Reviews of Maniac seems very divided – either praising the show, or completely slamming it. One newspaper review here in Norway, summed up Maniac like this:
«Damn, how fun it would be if Maniac was any good.
And damn, how unfunny and bad it is.»
I really love the work Fukunaga did on True Detective, but to call him The Great Fukunaga long before Bond 25 hits the cinemas is a bit early. I remember being very excited about Mendes directing Bond, but his two films are at the very bottom of my list.
I will never badmouth Mendes on account of Road to Perdition. IMO, it's still a masterpiece. Not gonna talk about his Bond flicks, but they were fun times to be a Bond fan, no doubt about that. I respect the man as a filmmaker. Always will.
I've seen all of Fukunaga's films and shows and I have lots of respect for the man as a filmmaker as well. He is a true artist with an undeniable vision. Maniac was very good, IMO. But its his Jane Eyre that impressed me. He was very young when he directed it and it was flawless. Besides, I love hearing both of these directors talk about their art. Mendes and Fukunaga will carve their place in history. Mendes already has.
I rarely comment here but this comment really has been click bait for me.
He was the composer for all the original music for London 2012 olympics and the musical curator for the closing ceremony which was a celebration of British Music.
And he's done the (award winning) Sherlock series amongst many other TV credits nd he's just recording another series. To ignore all this would be like ignoring Fukanaga's majority of work on TV.
Maybe he's been choosy in his work. Maybe it's Panchito's ears that are second rate.
I would ask, if the "great" fukanaga has earned the right to the privilege of having David Arnold do the work for him. He would be fortunate if he does. David Arnold has a great passion, respect and knowledge on Bond in terms of the film making as well as the scoring. Fukanaga would do well just to talk with him about his experiences on the previous movies.
David Arnold has always said he "has a especially sharp pencil to score with if ever he gets the privilege to do so for Mr Bond again". I for one hope that the (yet to be proven great on a Bond scale) Fukanaga at least has the sense to pick up the phone to him. When it comes to movie scores, Arnold is proven as great. He's got a Grammy on the shelf to prove it.
The only thing second rate about this is Panchito's comment on David Arnold. Very poorly qualified comment, sorry.
Just wanted to ad that.
The score for QOS is definitely no reason why Arnold shouldn't have come back for SF, but Sam Mendes insisted on someone else who used a minimalist approach.
Arnold usually worked meticulously to observe the scenes and use his scores as part of the story-telling experience.
Well said. Arnold was excellent and I think he'd still bring the goods.
However, I think EoN will at least give Fukunaga the freedom to suggest other options. And I think he will make persuasive arguments for his choices.
I expect another composer for B25, but would be very happy to have Arnold back.
Comment of the month.
Bravo indeed!
Apples to oranges.
It has been ten years since Arnold's last Bond film. It's been three for Craig. So...no, doesn't work. I'm surprised those applauding this post didn't realize that glaring difference.
In any case, every few weeks this thread turns into a romance over Arnold or Campbell or both. It's as if some fans are saying, "Gee, if we could just return to the good ol' days of Campbell and Arnold." Ahhhh. How swell.
But no. And thankfully no.
I am not a big fan of Campbell. I am OK with Arnold, but as @PanchitoPistoles pointed out: he's pretty much second rate. He doesn't register anymore. That doesn't mean he can't or won't do a score for Bond 25, but I just don't see it. And the fact that he keeps lobbying for it, in the most passive-aggressive ways, just reeks of total desperation...and also demonstrates that the man has nothing else...
Not sure why CJF would want him.
Musical tastes are purely subjective. But in the most objective terms there are, Newman's SF score exceeded everything Arnold had done in the previous five films. Newman was nominated for an Oscar and won a Grammy (those are his peers speaking). And his soundtrack for SF was the highest selling in 27 years and made it on the album chart (that's the public speaking).
This doesn't mean that fans of Arnold's can't prefer his music. But it does mean they're in no place to look down their noses at Newman or those who prefer his work. Call it minimal. Call it boring. Call it whatever. But you can't call it unaccomplished. Regardless, as much as I like Thomas Newman, he's not my favorite Newman...
I suppose Cary will bring another writer to work alongside purvis and wade. Another interesting thing is will they use some part of Danny Boyle and john hodge script then titles will be like
Screenplay by-
Purvis & wade
Boyle & Hodge
Fukunaga & some other writer
If fukunaga bring another writer into the fold that would be a great way to introduce a new writer for future bond films.
Were Young, Hunt & Glen given that much control? If not, they are looking at the wrong sort of directors. Some fans are acting like we dodged a bullet with Boyle. To me, it feels like we have dodged one bullet, and stepped in to the path of another.
Seriously? That's your take on it—Oscars and awards as your yardstick? By your own lofty standards that means none of John Barry's Bond scores were good enough because they weren't nominated for an Oscar or a Grammy. Next you'll be telling us that only critically lauded movies have any merit.
As for using The US Billboard chart success of the SF album as the most successful Bond score in 27 years, that's really reaching. The fanfare that was trumpeted for its digital sales were a miserly 5,000. The article that you drew your information was inadequate because it failed to compare the actual sales, only chart positions. Let me give you a comparison of today's sales by yesteryear's—Queen sold 60,000 records for Bohemian Rhapsody in one single day back in 1975. That sale for one day alone would've kept a current song at the number one position for 12 weeks! In other words, using an older record's chart position and trying to compare it today's market is just smoke and mirrors. It's something a record executive dreams up to hoodwink the ill-informed.
https://getyarn.io/yarn-clip/01a6224a-e878-4a80-b1b4-95aafccc7452#ByOr-Rkm6Q.copy
Happy Sintmaarten ? Everyone this Sunday..!
https://en.wikipedia.org/wiki/St._Martin's_Day
14 February 2020
Almoost 3 months later..
What happend..
That's because you completely missed the point of my post. What I meant is that Arnold is the right man for a Bond score because he already proved he's capable of great things with the CR and QoS score. You should judge him upon that, not upon the extra-Bond stuff he did.
But then again I'm arguing with someone who thinks a work's quality should be judged upon the oscars it received.
Thanks ClarkDevlin. I never knew any of that about Mr Lord. Sounds like EON had no choice but to recast. No actor is bigger than the franchise. As much as I like the MI films, without Cruise they wouldn't exist. Maybe too much star power? With Bond the franchise will continue whoever the actor is.
It's an interesting point that I hadn't thought of before. On the one hand, you could argue that the script is where everything begins, and it gives EON the most control over what follows.
On the other hand, surely jobs like cinematographer or composer (etc) are also terribly important, but they're open.
1. I think we already have plenty of David Arnold appreciation or DA vs. Thomas Newman threads.
2. It's not, period. We had threads about that and they're pointless.
Bond, on the other hand, is established as a man who would take care of problems - or eliminate them. The franchise has an identity to go with, whereas the M:I films are about Cruise performing stunts himself while portraying a fictional spy. His spy character hasn't gained ground as a cultural icon and a man who does specific things, whereas Bond has them all. There are no specifics to identify Hunt by. But, when you see a tuxedo, a dry martini, a Walther PPK sidearm, combat skills and suave womanizing habits, you'd instantly know that's Bond. Hunt doesn't have those. He just has Tom Cruise doing stunts by himself. That's the difference between Ethan Hunt and James Bond.
The only way Mission: Impossible could exist without Cruise is by getting out of his shadow and bringing in a set of team players, like the original television series, of significant traits, playing mind games with the enemy and beating them. That was the specialty of M:I before Cruise, as much as I love him as a filmmaker, turned it into "The Ethan Hunt Show", and now Lalo Schifrin's theme for the franchise is Ethan Hunt's theme. It shouldn't be like that.