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Hey... John Barry was signed to score The Incredibles, but pulled out early on due to not wanting to go over old ground! Brad bird basically want Barry to bring all his Bond sound to Pixar, and Barry didn't!!
Also.... The 2nd trailer is scored by Rich Douglas, who also scored the 1st!! And was asked to incorporate Barry's OHMSS main theme! Rich done a good job I think.
Tom is working harder than most are giving him credit for, and is all apparent to the legacy/respect that comes with that! Expect bigger, and bolder than before! Bond with brassy balls!!!
x.
But I also don´t think anybody can predict what the new score is going to be like when the trailer music was not by him.
A Hack composer!? Hey...11 oscar nods, and countless others! And a bafta win on SkyFall!
Newman is about as musically capably as a real composer gets! Able to write via a pen and manuscript, and not relaying on a Mac!? To be able to play, arrange/conduct his compositions!
And as you guys write him off, his working his butt off crating a Score fit for this film! Bond is not ever going to have John Barry write for us again...and sadly, as we all know why!
And really, John had the chance to score other Bond films after The Living Daylights, but turned them down, so get over it!
We all love what John gave us, and my goodness his contributions to Bond and film is general is beyond words, but what if Lalo Schifirin had scored mid sixties Bond, or Jerry Goldsmith, we'd be in a different place? And in some ways I'd wish the composing duties had been passed about more over the years! It's a tough tough job composing, and especially when there's such a legacy like with the Bond musical scores. George, Marvin, Bill, Michael and Eric all had a go, and all put in great shifts for there eras! David Arnold of course stayed longer than the others, and got some right old slagging for ripping off JB? Did he, or does a screaming brass section, lush strings and high end woodwind only belong to Barry!?
But in a year where we've lost the likes of James Horner, a composer in the mould of Newman, a composer who is somewhat old school, able to write black notes on a page, and conduct those notes standing in front of a 100+ peice orchestra, that's real talent, real skill and right know, the man charged with ripping up the road with composing for Spectre, a Bond film which has all the elements you've all been wanting from the Craig era!
Tom has a brief which will surprise many on this mission, and having the legacy the Bond scores have, plenty to incorporate into this much larger 2nd outing!
Over and out!!
x.
An homage to the "007" theme.
An homage to "Capsule in Space."
An homage to "Bond sneaking around Auric Enterprises."
and lastly some action music.
Awards mean nothing to Bond. Newman's score was average. Bond music shouldn't be average. Get a composer who understands the Bond sound, not someone who ignores it and has to be forced to incorporate the JB theme.
However, like I mentioned I'm looking forward to what he gives us and i'm hoping he does a great job. I havn't written him off as a no-hoper. If he does have a brief then here's hoping it's a blueprint for capturing the Bond sound and makes use of the title theme as well as the Bond theme in full. Best of luck to the chap. I hope he doesn't cock it up.
Couldn't agree more. I don't like Arnold's scores that much. He's trying to be someone he's not. Pretty much like so many young composers are trying to imitate Hans Zimmer. I'd take Eric Serra's soundtrack over almost any of Arnold's any day. I like more what he's doing for the TV series Sherlock than anything he's ever done for Bond.
No one can be John Barry. It's better for us to understand that.
Yes that's true. Newman refused to incorporate Adele's theme in his 'masterpiece' (utterly forgetable) score until EON basically forced him to include it. He was 'too busy' to do it himself so got one of his arrangers to do it for him. The result is one of the few highlights in Newman's otherwise very bland score
Having said that, I'll take Giacchino over both of them in a second.
Totally agree EON should aim higher though. Sadly Mendes comes with baggage.
So I think it is only in his sophomore outing (SP) that we will get to see what Newman can do. From watching these trailers (irrespective of who did the music) it looks like EON will ensure that Newman has time to give us a great score........as they appear to be channeling/evoking OHMSS which arguably is Barry's best.
And this scene from Skyfall, the score in this scene is perfect.
And the pts score was also magnificent
My problem with the Newman score for SF is that the individual tracks feel quite disparate, lacking some thematic cohesion. If you take the Tennyson track above and place it next to, 'New Digs', or 'Shanghai Drive, or 'Voluntary Retirement', they feel to me like they could be from different scores. I like it when a Bond soundtrack has a distinctive tone to it. Barry did it so well, because the theme and the score were unified, with variations dotted throughout the film. I understand Newman can't/won't incorporate the theme into his score in such a way, but it's still feasible for him to create his SP theme/s. Arnold did it with QoS adeptly imo.
And Arnold's only good score for Bond is Casino Royale, QoS was not so great.
And to doubt about the ability of Thomas Newman, one of the best composers around, is as close to blasphemy as one could get. His scores are unmistakeable, iconic, special. He has his own sound. And works great with the Bond sound.
From my perspective, he delivered a perfectly adequate score. Not brilliant, but there were elements of excellence in it from my point of view (the above Tennyson track, New Diggs, The Chimera, the brilliant and all to short lived Severine, and Shanghai Drive, along with the pretitles score which was very Bondian to me).
Music and composing is a creative endeavor. Like all things creative, I personally appreciate and respect reinterpretation and new conceptualization, as opposed to inferior imitation. I don't wear a replica Omega for a reason, and I did not like (for the most part) Brosnan's amalgam of Connery/Moore for a reason. I liked Moore's reinterpretation of Bond because it was a new take. I like Craig because he too brings something new to the table imho. Same with Dalton. Similarly, with the Bond composers, I think Martin did it best outside of Barry (he did not attempt to ape or hack Barry, but reinterpreted the Bond sound for LALD). I liked Hamlisch in the same way that I like Newman (moments of absolute brilliance in the TSWLM score but it was inconsistent). I find it telling that many here find Arnold's Night at the Opera (QoS) and African Rundown (CR) to be his best work, and those are both direct copies of Barry's style. From my point of view, outside of those tracks and maybe a few more, he was a terrible Bond composer - what he brought of his own to the table was not up to par imho.
It's interesting that the comparisons here are between Arnold's 5th shot (QoS) and Newman's first, especially when Newman had less budget than Arnold did.
As I've said numerous times here, I think it is appropriate at this juncture to wait for SP before slamming Newman further. If he disappoints with this film, then by all means, slam away.
I didn't say disconnected, I said disparate and lacking thematic cohesion. Whether they tell the story is open to interpretation, but my point is that you could listen to a Barry score, OHMSS, TLD, GF, what have you - and cherry pick several moments from various points in the movie and know which film it is by the tone, style and thematic cues. That's what I love about Bond scores and that's personally what I would like to see from Newman in SP. It's as important as any of the other tropes in the series. The framework is there, what the composer chooses to do within that framework is up to them. Even for those who berate Serra's GE, it's undeniable that it has a strong aural language to it. I don't see that in SF.
Having said that, I actually preferred hearing it in that Incredibles teaster that M_Balje posted above.