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
I was just thinking this recently. SP had more info by this time, If we don't hear news soon there could be cause for concern.
No.
All signs point to full steam ahead.
If it were up to the public, I can say with near certainty that Hans Zimmer would be scoring the film. He's the most recognisable name to most people, even with Michael Giacchino being more popular than ever. There are barely any composers who are recognisable to casual movie-goers so I'm not sure why it should be taken into consideration - I don't really think the public really care about the music or who composes it once the obvious expectations are met. Nobody I knew in my day to day really cared that Newman was scoring Bond til he got his Oscar nomination for SF - most of the buzz went towards Adele.
If Eon are thinking that way, I would hope that they'd change that way of thinking and just pick the person best suited for the gig.
Bond has a pretty wide open time in fall and can still stay and succeed even when the really big event pics, be it Harry Potter or Star Wars, comes out. It's always a good alternative when those have sold out.
And I'm not worried about B25 going up against Wonder Woman 2. Different types of pics and enough to see both if one is so inclined.
Good.
As for Arnold I suppose it would be his Bond resume that would bring him back. He was only replaced in the last two, as far as I know, because Eon gave Mendes pretty much whatever he wanted. I'd prefer Arnold over anyone else these days. Be interesting to see what he would come up with after an 11 year break.
Yeah, ridicolous. Has a Bond movie ever been delayed this far into pre-production? 3 mere months before the press release?
Though never Arnold's biggest fan I found his QOS score his best yet and some of the cues are terrific especially Time to get out but overall the score is one of the strongest elements of the film.
I think and I've said it before that Arnold will come back with something to prove, he's been away for 2 films and also one of those garnered an Oscar nomination for the score.
Arnold does know Bond so if he was announced I'd feel safe we were at least getting a Bondian sound. That being said I think Pemberton would approach the job injecting that sound we want once again in a Bond film that has been absent in the previous 2.
GE was delayed late in the game due to script re-writes. I believe the rewrites were to avoid similarities to TRUE LIES which had just been released. GE was initially set for a summer 1995 release, then pushed back to autumn. I always felt had GE not been delayed the Bonds would have continued to open in the summer.
EON certainly are thinking that way when it comes to the title song, as evidenced by that misbegotten suicide inducing tripe we were shovelled last time. Given Newman has recently (rightly or wrongly) received recognition for his SF effort, I can see them trying to go for a more recently known (or critically famed) name for composer. Pemberton is gaining traction and has composed quite a few films lately, so he seems like a more contemporary pick at this time.
Yes, that's certainly possible. As I said earlier, this film is likely to have the usual compressed post-production and editing timeline which puts added pressure on a composer. So Arnold may have an easier time of it in comparison to a franchise newbie.
Back on May 25, the official announcement about Boyle, Hodge, etc. said production would begin Dec. 3. While a delay is possible, it would be embarrassing if you delayed after announcing a production date.
I'm sure Bond 25 is well on track to start as planned but I'm not expecting news to be released that aligns the same way it was for SP.
Yep. And two more: Arctic Monkeys.
…And two more: Yes, please! :-D
Edit: Here is the link
I think you catch a glimpse of them at one point but not much is made of it apart from him gouging the eyes of the Spectre assassin.
It's fine but does sound like Barry pastiche, which is sort of what Arnold does any way.
I'm a firm believer that while the Barry sound needs to be respected, it would be nice to think there are great composers out there who could give us something new that isn't just a tired rehashing of what came before.
I think Arnold began to achieve something interesting with CR and QoS. Newman was a total disappointment for me on all fronts - but I suspected this would be the case from what I knew of most of his other Mendes scores.
This guy who scored the Incredibles seems talented and would probably rise to the occasion but please don't just ape Barry.
Great recommendation. Pemberton can do classy stuff, but The Game was the first instance where I felt he could be a good Bond composer.
A lot of people cite The Man From U.N.C.L.E. as an example of why he would do a good job and I'm not sure why. It's a good score and I listen to it often but it was a bit too far into the parody realm for my liking to be an example of Bondian music. The Game was straight up classy.
The Game score is terrific – as is the series itself too. If you're a le Carré fan, this is the series for you. Need to rewatch it again soon.
The UNCLE score isn't really that Bondian, IMO - more a homage to the continental Eurospy films, Morricone – with a hint of The Ipcress File(?).
If you have Spotify, you can check out his UNCLE: Mood Board playlist. I think that gives an insight to what inspirations he had making the score.
Guy Ritchie specifically didn't want Pemberton to do a Bond sound. Interview from 2015:
https://hmssweblog.wordpress.com/2015/08/03/daniel-pemberton-u-n-c-l-e-score-avoids-007-sound/
This is an interesting quote; I'll have to give "Into the Lair" a listen.
Guy was very insistent it DIDN’T sound like Bond which I think is the template for any sort of spy cliche these days. So that was good. It meant we probably didn’t use as much brass as I originally thought we would but I think it gives our film a very different sonic palette. There’s one cue ‘Into The Lair’ which Guy was like, ‘It’s a bit Bondy – but I’ll let you have it,’ as it was all the big tremolo strings John Barry was so great at.