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Comments
It was a terrific Bondian piece of music.
Hear hear! :-bd
2 minutes of sheer Bondian bliss! God i've missed Arnold!
I love Arnold, in this very thread I said that I believe his Independence Day score is among the best movie scores ever. I even like his QoS score more than half of Barry's scores. But that doesn't mean I must enjoy everything he makes. That would be bland fanboyism.
I never said anything about liking everything he produced. Even I don't like everything Arnold has done. But the complaints about him being "Too Pastiche" or a "Barry Copy" or "Not original" when all he's doing is being faithful to the Bond sound just perplex me. Arnold has been very original. He took the Bond sound and gave it a 21st century update, making it his own. And while that's not to everyone's liking. To call him a Barry clone or pastiche is ridiculous.
God forbid Bond fans can’t be critical of Bond stuff. ;)
Fans can like and dislike anything on their own prerogative, nobody’s telling you to do otherwise.
Then what's this supposed to mean?
It sounds like a dig at Arnold fans to me. For me Arnold brought something new to each Bond score. He wasn't copy and pasting himself. I call for his return because he was genuinely good at scoring for Bond. His music stands out far more than the droves of composers today who just imitate Hans Zimmer and fail to bring anything memorable to the table.
Arnold was a FANTASTIC composer for Bond films (since TND, I'll never let the Craig fanbase convince me that only his Craig era scores were good), and this piece is exquisite. I'll take his respect of the trademark Bond sound anytime over experiments.
Romer has a tall order ahead of him.
As someone more a fan of Craig’s run than Brosnan’s, I can agree to this. QOS and DAD are his richest scores, whereas CR, TWINE and TND have too much filler I find myself skipping when I listen to their albums.
How I’d rank his scores:
1. QOS
2. DAD
3. CR
4. TWINE
5. TND
WHAT?!
Oh well, to each their own. In music, film and, well, life, I guess.
For what's worth it, I think Arnold has his specific Bond sound. I can, in any day of the week, twice on Sundays, tell a Barry score apart from an Arnold score. One is not a pastiche of the other. But Arnold does understand the "Bond sound", as some directors do understand the "Bond iconography and style". I'm not saying he is the only man for the job. He's still miles away from Barry. But I do appreciate his scores, themes, and overall work. And I miss his music.
And he is a Bond fan like we all are. Calling him pastiche, cheesy, insipid, is just being mean, as he helped this franchise along like no other for years and years.
But hey, my opinion, of course.
By the way, can anyone here say with a straight face that the GoldenEye Overture is not cooler than anything Arnold has ever done?
GoldenEye Overture is a horrible track, IMO.
Exactly right @Univex
Arnold's scores fit each film beautifully. I really do think he was getting better and better until he was unceremoniously dumped by Mendes.
QoS and CR are both magnificent Bond scores. His best work IMO.
This latest bit of music just reinforces how good he still is.
If Arnold's use of electronica, drum and bass isn't the Bond Sound with a twist then I don't know what is.
I dunno if the ad is a good indication of how he would score a Bond film today, so I wouldn't use it against him. But if it is, then it really doesn't sound all that different from the usual flourishes he did from 1997-2008. Just the same over-orchestrated stuff. Maybe it's meant to sound the same as his Bond scores, or maybe Arnold just revels in sticking with that same sound because he's a big self-proclaimed Bond fanboy.
Whatever the case, I'm looking forward to Romer and any new composer giving their stab at a Bond score. Unless your name is John Barry, Bond scoring should not belong to just one composer.
Sad, but very true.