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
Yeah, I think if Arnold does another Bond score now it would be interesting, because we might notice a slight change in his style. Just like how John Barry changed and started heading towards melancholic and more romantic sounds...which I think started with his MR score. A style I really enjoyed too. Not that Arnold would change into that exact same style, but it's almost certain that slight evolution would be showcased, if Arnold does another Bond score.
It’s possible, I couldn’t speak for what he may do or not do.
Oh, Yeah. But I think I also remember him saying his pencil is always sharp for 007....in case, he comes calling. Like us, Arnold is obsessed with James Bond. He never gets tired of answering when asked about James Bond. So I can't envisage him turning down a Bond score, even if I can't speak for him.
So this has just arrived, shipped from US to UK. It's taken about 3 weeks and I'm back to being 17 years old. It's great to finally, get some of the more musical cues from the film and to appreciate just what a great soundtrack this was.
LaLa Land records are selling all 5,000 of the limited run and I can really recommend grabbing a copy.
I should add, it's been a pain to get the CD into my Mac, and had to hunt out an old external drive just to fire up iTunes/Apple Music for the first time in about 3 years.
bring arnold back for Bond 26.
Yeah, no contest at all, I agree. I wish Arnold could return. TND was awesome. TWINE and DAD had a few issues to deal with, but overall they were still good fun. And CR as well as QOS is where I find Arnold maturing and doing amazing work. Vesper's theme is hauntingly beautiful. I too want Arnold back for Bond 26, let there be no mistake about that.
I wholeheartedly agree with you guys.
In that case, I prefer Newman’s to Arnold’s obnoxious score in TND, which I find way overrated by fans.
I think DAD and QOS are his stronger efforts. If he had more of those under his belt I would be wanting him back.
But I rather hear a new composer offer something to Bond. There’s so much talent out there. It would be extremely wasteful to just give it to only one guy just because he’s a fan favorite. I’d love to hear Alberto Iglesias have a crack.
For me it's 'Come in 007, your time is up' from TWINE. An absolute blast of Bondian music!
Love the way it builds with cool little flourishes thrown in as the sequence progresses.
+1
- The last part of the album track "MI6 / Launch the Fleet" (the Bond theme heard when Bond, M and Moneypenny are in the car) has a ride cymbal. The film version removes this instrument.
- The opening of the album track "Shaken but Not Stirred" has no percussion, but the film version does.
- In the film, a segment of the track "Stealth Shoot Out" has the orchestra dialed out, with only synths and percussion remaining.
That's it. Incidentally, I put together film versions of these tracks, by combining the album tracks with the film audio as necessary. I also must say I'd gotten used to listening to certain tracks in their edited film versions, tracks such as Backseat Pilot and Escape to Hotel. I took the album tracks, recreated these edits and added these edited versions as alternates on my playlist.
I knew about Stealth Shoot Out, but not those other tracks. Thanks for the information.
It's the part from 2:04 to 2:22 on the album track. That's after the electric guitar bit. In the film, the 2:04-2:22 section is a few seconds shorter, and the orchestra is inaudible.
thanks mattjoes ,much like yourself been trying to create the film versions ,though being a dinosaur i favour minidisc over playlists for chronological constructions.have to say finding white knight ,sinking of devonshire and underwater discovery difficult to assemble.
Out of those, I only made an edit of The Sinking of the Devonshire, because for the film, at the end of that track, they added music taken from Underwater Discovery to score the bit where the sailors are shot, and it's quite noticeable. From what I remember, the other two tracks have less radical edits, which are more about cutting some bits here and there instead of flat out adding music like with Sinking. Incidentally, that's why I placed the edited version of Sinking in the main section of my playlist, rather than relegating it to the end as a bonus, like I did with the film edits of Backseat Pilot and Escape to Hotel. I sometimes find that it can be quite complicated to reach a consistent logic in making these small decisions.
For all other purposes, I have a rip of the 5.1 isolated score track that came with the DVD. I also think the expanded La-La Land Records album is not a full substitute for this track, because it is, of course, in stereo, so while lossy and full of cuts, the isolated score track does an advantage in the larger amount of channels.
It might be helpful for those of you in the UK who didn't want to pay shipping from the US.