NO TIME TO DIE (2021) - Discuss Hans Zimmer's Score

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  • Posts: 5,767
    DarthDimi wrote: »
    I don't follow some of the logic in this thread at all. People nostalgically want Arnold back because he used to be the guy doing the Bond scores. People want Arnold back because it would match Craig's last in some poetic way. People want Arnold back because of three minutes of old-school Bond fun in a commercial (so why not Alf Clausen because of his five minutes of Bond music in The Simpsons or Michael Giacchino because of his Incredibles scores?)

    IF Arnold returns, can it please be because he'd be the best choice for this film?

    As soon as a film score is fully integrated into the fibre of a film, it puts a definitive stamp on the overall mood of the film. Terrible scores can ruin an otherwise decent film and great scores can function as some kind of damage control. A great score for a great film is film heaven. Music is to a film what seasoning is to food. Few things are more important than to find the right tone for the right film. John Barry managed that essential match every time, but the others, including Arnold, weren't always an unmitigated success.

    Fukunaga may be working for Broccoli and Wilson and with several other Bond veterans, but having seen his work so far, I've got a feeling that NTTD will "carry the Cary" all over the place. Not just any tune will then be the right one for the film, I assume, even if it sounds great in isolation. The music has to tell a story after all and has to be more than just some cool, vintage Bond material. Am I saying that DA couldn't pull it off? No, that's not what I'm saying. Am I saying I have no confidence in DA? No, especially after CR and QOS that is not what I'm saying. But is DA some kind of guarantee for "perfect Bond music"? No, he isn't. And we who haven't seen a rough cut of the film yet, we who weren't involved in the establishing of the tone and direction of this film, haven't the faintest idea what the proper music for NTTD would be.

    And as some here have already said, perhaps we should first wait for confirmation that Romer has, indeed, left the production.
    We should definitely wait and see what profound information will emerge.

    These internet discussion threads are funny things. I think around the time CR came out, there was a majority of voices critisising Arnold, and some of them were really well-informed and had knowledge of music theory and knew what they were saying. Very few people defended Arnold at that time. Now it feels as if there´s an army of Arnold fans who couldn´t think of a better composer for Bond. I don´t know if just the people are other people nowadays, or if so many people´s opinions changed so drastically. In any case it shows how unreliable opinions off the internet are. And I don´t mean just the obvious clowns haunting these discussions.

  • Lol, Arnold “too good” for Hollywood. Okie dokie.

    Haha I am curious though, was john Barry completely uk based or he never really worked in Hollywood?

    Barry lived in the States from the mid-70s onwards.

    No I was actually asking if he worked more in Hollywood productions?
    Hollywood used to be good enough for Barry but it’s not good enough for Arnold or any decent composer. Nothing but nonsense superhero films and stupid fantasy/horror or agenda-pushing films that are Oscar bait.

  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,179
    boldfinger wrote: »
    DarthDimi wrote: »
    I don't follow some of the logic in this thread at all. People nostalgically want Arnold back because he used to be the guy doing the Bond scores. People want Arnold back because it would match Craig's last in some poetic way. People want Arnold back because of three minutes of old-school Bond fun in a commercial (so why not Alf Clausen because of his five minutes of Bond music in The Simpsons or Michael Giacchino because of his Incredibles scores?)

    IF Arnold returns, can it please be because he'd be the best choice for this film?

    As soon as a film score is fully integrated into the fibre of a film, it puts a definitive stamp on the overall mood of the film. Terrible scores can ruin an otherwise decent film and great scores can function as some kind of damage control. A great score for a great film is film heaven. Music is to a film what seasoning is to food. Few things are more important than to find the right tone for the right film. John Barry managed that essential match every time, but the others, including Arnold, weren't always an unmitigated success.

    Fukunaga may be working for Broccoli and Wilson and with several other Bond veterans, but having seen his work so far, I've got a feeling that NTTD will "carry the Cary" all over the place. Not just any tune will then be the right one for the film, I assume, even if it sounds great in isolation. The music has to tell a story after all and has to be more than just some cool, vintage Bond material. Am I saying that DA couldn't pull it off? No, that's not what I'm saying. Am I saying I have no confidence in DA? No, especially after CR and QOS that is not what I'm saying. But is DA some kind of guarantee for "perfect Bond music"? No, he isn't. And we who haven't seen a rough cut of the film yet, we who weren't involved in the establishing of the tone and direction of this film, haven't the faintest idea what the proper music for NTTD would be.

    And as some here have already said, perhaps we should first wait for confirmation that Romer has, indeed, left the production.
    We should definitely wait and see what profound information will emerge.

    These internet discussion threads are funny things. I think around the time CR came out, there was a majority of voices critisising Arnold, and some of them were really well-informed and had knowledge of music theory and knew what they were saying. Very few people defended Arnold at that time. Now it feels as if there´s an army of Arnold fans who couldn´t think of a better composer for Bond. I don´t know if just the people are other people nowadays, or if so many people´s opinions changed so drastically. In any case it shows how unreliable opinions off the internet are. And I don´t mean just the obvious clowns haunting these discussions.

    May be a generational thing. The Star Wars prequels were heavily maligned a decade ago as most internet users were of an older generation that were more critical of Lucas’ decisions. The kids that grew up and loved the prequels didn’t start expressing their affinity for them until this decade and have become a louder voice these days as they’re now adults. Likewise, we now have a lot of Bond fans here who grew up with Arnold as the regular composer and value him as someone that should be a mainstay. Not that there weren’t any fans back then who loved Arnold’s work, but they may have been less vocal because at the time Arnold’s work was pretty divisive, especially after the electronica heavy DAD.

    Just my theory.
  • talos7talos7 New Orleans
    Posts: 8,195
    What made his scores for CR and QoS so effective was that he was released from the constraints of having to sound like Barry. Wasn’t it mandated that he not use the Bond theme and other established motifs?
    I absolutely love these two scores and would love to hear him build on them and close out Daniel’s tenure.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,179
    talos7 wrote: »
    What made his scores for CR and QoS so effective was that he was released from the constraints of having to sound like Barry. Wasn’t it mandated that he not use the Bond theme and other established motifs?
    I absolutely love these two scores and would love to hear him build on them and close out Daniel’s tenure.

    My understanding is that he didn’t necessarily have constraints put on him in the Brosnan era. All instances of using the Bond theme was on his own accord, and his general approach was “if Bond does something Bondian, I throw in the theme” which he did A LOT in Brosnan’s run. It was Campbell that told him to hold back on the theme so that when it would appear full blast at the end it would truly feel special, which I think Arnold learned for QOS.
  • talos7talos7 New Orleans
    Posts: 8,195
    talos7 wrote: »
    What made his scores for CR and QoS so effective was that he was released from the constraints of having to sound like Barry. Wasn’t it mandated that he not use the Bond theme and other established motifs?
    I absolutely love these two scores and would love to hear him build on them and close out Daniel’s tenure.

    My understanding is that he didn’t necessarily have constraints put on him in the Brosnan era. All instances of using the Bond theme was on his own accord, and his general approach was “if Bond does something Bondian, I throw in the theme” which he did A LOT in Brosnan’s run. It was Campbell that told him to hold back on the theme so that when it would appear full blast at the end it would truly feel special, which I think Arnold learned for QOS.

    To a degree, and I like the Brosnan films , the entire franchise of that era was guilty of cranking up the “ look how Bond we are” elements, all culminating with DAD.
    Arnold was not the only “guilty” party.
  • talos7 wrote: »
    talos7 wrote: »
    What made his scores for CR and QoS so effective was that he was released from the constraints of having to sound like Barry. Wasn’t it mandated that he not use the Bond theme and other established motifs?
    I absolutely love these two scores and would love to hear him build on them and close out Daniel’s tenure.

    My understanding is that he didn’t necessarily have constraints put on him in the Brosnan era. All instances of using the Bond theme was on his own accord, and his general approach was “if Bond does something Bondian, I throw in the theme” which he did A LOT in Brosnan’s run. It was Campbell that told him to hold back on the theme so that when it would appear full blast at the end it would truly feel special, which I think Arnold learned for QOS.

    To a degree, and I like the Brosnan films , the entire franchise of that era was guilty of cranking up the “ look how Bond we are” elements, all culminating with DAD.
    Arnold was not the only “guilty” party.

    Valid point.
  • Posts: 198
    Frankly, after all the months of people deciding that they hate Dan Romer and that he will definitely do a bad Bond score because they half-listened to one of his tracks for a different movie once and that only the sacred David Arnold should ever be allowed to work on this franchise, I'm almost hoping he never gets hired again.

    And I love David Arnold, I felt his scores were much better than Newman's but so many people on here have been so insufferable about revelling in their glee that Dan Romer MIGHT be fired, which MIGHT mean that David Arnold POSSIBLY could come back that it makes me sick.

    David Arnold had a good run of five Bond films over more than a decade, he is not lacking for regular paying work (even if it is on a smaller scale) why not take a chance on something new?

    And as for all the people moaning on about how there aren't any great film composers anymore, grow up. There are plenty of great film and tv composers doing good work out there, just because you haven't heard of them before and they aren't the people who were around when you were younger doesn't mean they are bad.

    My first choice would probably be Daniel Pemberton, his Morricone and Barry influenced score for the Man from U.N.C.L.E. would be a great trial run for work on a retro-inspired Bond film like Fukanaga says he wants to make.



    Nice! Daniel Pemberton would be refreshing. More jazzy sound.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,179
    talos7 wrote: »
    talos7 wrote: »
    What made his scores for CR and QoS so effective was that he was released from the constraints of having to sound like Barry. Wasn’t it mandated that he not use the Bond theme and other established motifs?
    I absolutely love these two scores and would love to hear him build on them and close out Daniel’s tenure.

    My understanding is that he didn’t necessarily have constraints put on him in the Brosnan era. All instances of using the Bond theme was on his own accord, and his general approach was “if Bond does something Bondian, I throw in the theme” which he did A LOT in Brosnan’s run. It was Campbell that told him to hold back on the theme so that when it would appear full blast at the end it would truly feel special, which I think Arnold learned for QOS.

    To a degree, and I like the Brosnan films , the entire franchise of that era was guilty of cranking up the “ look how Bond we are” elements, all culminating with DAD.
    Arnold was not the only “guilty” party.

    Certainly, but it’s telling even in GE with all of the “greatest hits” thrown in that Serra still managed to do his own thing without Campbell telling him “no no no, use the theme more for this and this!” Unless Arnold has stated that he was pressured to use the theme more, it was always on his own accord.
  • ResurrectionResurrection Kolkata, India
    Posts: 2,541
    Lol, Arnold “too good” for Hollywood. Okie dokie.

    Haha I am curious though, was john Barry completely uk based or he never really worked in Hollywood?

    Barry lived in the States from the mid-70s onwards.

    No I was actually asking if he worked more in Hollywood productions?
    Hollywood used to be good enough for Barry but it’s not good enough for Arnold or any decent composer. Nothing but nonsense superhero films and stupid fantasy/horror or agenda-pushing films that are Oscar bait.

    I do wonder when it is good enough, i think we are not just talking about Hollywood but Oscars as well which has always been biased . Things wasn't much different back then as well, i mean how many films which deserve award has gotten over the years. I am an Indian when slumdog millionaire won the Oscars I was literally laughing while watching it. That film was all right but not for Oscar imo.
  • talos7talos7 New Orleans
    Posts: 8,195
    talos7 wrote: »
    talos7 wrote: »
    What made his scores for CR and QoS so effective was that he was released from the constraints of having to sound like Barry. Wasn’t it mandated that he not use the Bond theme and other established motifs?
    I absolutely love these two scores and would love to hear him build on them and close out Daniel’s tenure.

    My understanding is that he didn’t necessarily have constraints put on him in the Brosnan era. All instances of using the Bond theme was on his own accord, and his general approach was “if Bond does something Bondian, I throw in the theme” which he did A LOT in Brosnan’s run. It was Campbell that told him to hold back on the theme so that when it would appear full blast at the end it would truly feel special, which I think Arnold learned for QOS.

    To a degree, and I like the Brosnan films , the entire franchise of that era was guilty of cranking up the “ look how Bond we are” elements, all culminating with DAD.
    Arnold was not the only “guilty” party.

    Certainly, but it’s telling even in GE with all of the “greatest hits” thrown in that Serra still managed to do his own thing without Campbell telling him “no no no, use the theme more for this and this!” Unless Arnold has stated that he was pressured to use the theme more, it was always on his own accord.
    And while he did have a couple of interesting concepts, for many, including myself, it was a very unsatisfying score, with another composer being brought in to re-score the Tank sequence.

  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,179
    talos7 wrote: »
    talos7 wrote: »
    talos7 wrote: »
    What made his scores for CR and QoS so effective was that he was released from the constraints of having to sound like Barry. Wasn’t it mandated that he not use the Bond theme and other established motifs?
    I absolutely love these two scores and would love to hear him build on them and close out Daniel’s tenure.

    My understanding is that he didn’t necessarily have constraints put on him in the Brosnan era. All instances of using the Bond theme was on his own accord, and his general approach was “if Bond does something Bondian, I throw in the theme” which he did A LOT in Brosnan’s run. It was Campbell that told him to hold back on the theme so that when it would appear full blast at the end it would truly feel special, which I think Arnold learned for QOS.

    To a degree, and I like the Brosnan films , the entire franchise of that era was guilty of cranking up the “ look how Bond we are” elements, all culminating with DAD.
    Arnold was not the only “guilty” party.

    Certainly, but it’s telling even in GE with all of the “greatest hits” thrown in that Serra still managed to do his own thing without Campbell telling him “no no no, use the theme more for this and this!” Unless Arnold has stated that he was pressured to use the theme more, it was always on his own accord.
    And while he did have a couple of interesting concepts, for many, including myself, it was a very unsatisfying score, with another composer being brought in to re-score the Tank sequence.

    I can’t say I’m a big fan of the replacement score, but at the same time I don’t think Serra’s original cue was all that great either.
  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    talos7 wrote: »
    talos7 wrote: »
    talos7 wrote: »
    What made his scores for CR and QoS so effective was that he was released from the constraints of having to sound like Barry. Wasn’t it mandated that he not use the Bond theme and other established motifs?
    I absolutely love these two scores and would love to hear him build on them and close out Daniel’s tenure.

    My understanding is that he didn’t necessarily have constraints put on him in the Brosnan era. All instances of using the Bond theme was on his own accord, and his general approach was “if Bond does something Bondian, I throw in the theme” which he did A LOT in Brosnan’s run. It was Campbell that told him to hold back on the theme so that when it would appear full blast at the end it would truly feel special, which I think Arnold learned for QOS.

    To a degree, and I like the Brosnan films , the entire franchise of that era was guilty of cranking up the “ look how Bond we are” elements, all culminating with DAD.
    Arnold was not the only “guilty” party.

    Certainly, but it’s telling even in GE with all of the “greatest hits” thrown in that Serra still managed to do his own thing without Campbell telling him “no no no, use the theme more for this and this!” Unless Arnold has stated that he was pressured to use the theme more, it was always on his own accord.
    And while he did have a couple of interesting concepts, for many, including myself, it was a very unsatisfying score, with another composer being brought in to re-score the Tank sequence.

    I can’t say I’m a big fan of the replacement score, but at the same time I don’t think Serra’s original cue was all that great either.

    Agreed, I think they're both kinda meh, but Altman at least works in the context of the scene, Serra's is just completely out of place and sounds as if it were written for the GoldenEye videogame (which actually had a much better score than the movie).
  • talos7talos7 New Orleans
    edited November 2019 Posts: 8,195
    The catch 22 is that no one will ever be Barry , but with his music he created a element that is an integral part of the cinematic James Bond ; but, when a composer employs these established motifs they are often accused of aping Barry.
    All I know is that I want a Bond score to sound like a Bond score; and to a degree that will sound like someone trying to be Barry. I can live with that.
  • Posts: 17,740
    talos7 wrote: »
    All I know is that I want a Bond score to sound like a Bond score; and to a degree that will sound like someone trying to be Barry. I can live with that.

    Very much agree with this.
  • mtmmtm United Kingdom
    edited November 2019 Posts: 16,344
    Lol, Arnold “too good” for Hollywood. Okie dokie.

    Haha I am curious though, was john Barry completely uk based or he never really worked in Hollywood?

    Barry lived in the States from the mid-70s onwards.

    No I was actually asking if he worked more in Hollywood productions?
    Hollywood used to be good enough for Barry but it’s not good enough for Arnold or any decent composer. Nothing but nonsense superhero films and stupid fantasy/horror or agenda-pushing films that are Oscar bait.

    But James Bond films are good enough? They're not nonsense at all?
  • ThunderfingerThunderfinger Das Boot Hill
    Posts: 45,489
    talos7 wrote: »
    What made his scores for CR and QoS so effective was that he was released from the constraints of having to sound like Barry. Wasn’t it mandated that he not use the Bond theme and other established motifs?
    I absolutely love these two scores and would love to hear him build on them and close out Daniel’s tenure.

    It was Campbell that told him to hold back on the theme so that when it would appear full blast at the end it would truly feel special

    And it did. The payoff was immense, for that particular film.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,179
    talos7 wrote: »
    The catch 22 is that no one will ever be Barry , but with his music he created a element that is an integral part of the cinematic James Bond ; but, when a composer employs these established motifs they are often accused of aping Barry.
    All I know is that I want a Bond score to sound like a Bond score; and to a degree that will sound like someone trying to be Barry. I can live with that.

    Most composers like Bill Conti did a good balance of the Bond sound and their own, which is all I ask for. Another issue I have with Arnold is that he has a tendency to overwrite and turn drama into melodrama. For example the scene with Bond and Paris at the hotel. It’s way too over the top when another composer like Barry or any other composer would have had a more delicate hand in writing it.
  • mtmmtm United Kingdom
    Posts: 16,344
    talos7 wrote: »
    All I know is that I want a Bond score to sound like a Bond score; and to a degree that will sound like someone trying to be Barry. I can live with that.

    For me Newman showed the right kind of path: being modern, sophisticated and rich in the way that expresses what Bond is all about without just trotting out old Bond elements all the time, but still with an eye on some of those essentials like a bit of brass here and there. Whether or not you liked the scores themselves I still think that's the best way to go.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,205
    mtm wrote: »
    Lol, Arnold “too good” for Hollywood. Okie dokie.

    Haha I am curious though, was john Barry completely uk based or he never really worked in Hollywood?

    Barry lived in the States from the mid-70s onwards.

    No I was actually asking if he worked more in Hollywood productions?
    Hollywood used to be good enough for Barry but it’s not good enough for Arnold or any decent composer. Nothing but nonsense superhero films and stupid fantasy/horror or agenda-pushing films that are Oscar bait.

    But James Bond films are good enough? They're not nonsense at all?

    Plenty of good to great composers have scored superhero films in the last twenty years, too.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,179
    mtm wrote: »
    talos7 wrote: »
    All I know is that I want a Bond score to sound like a Bond score; and to a degree that will sound like someone trying to be Barry. I can live with that.

    For me Newman showed the right kind of path: being modern, sophisticated and rich in the way that expresses what Bond is all about without just trotting out old Bond elements all the time, but still with an eye on some of those essentials like a bit of brass here and there. Whether or not you liked the scores themselves I still think that's the best way to go.

    BUT, BUT, MELODIES!! MUZAK!! :(

    ;)
  • talos7talos7 New Orleans
    Posts: 8,195
    talos7 wrote: »
    The catch 22 is that no one will ever be Barry , but with his music he created a element that is an integral part of the cinematic James Bond ; but, when a composer employs these established motifs they are often accused of aping Barry.
    All I know is that I want a Bond score to sound like a Bond score; and to a degree that will sound like someone trying to be Barry. I can live with that.

    Most composers like Bill Conti did a good balance of the Bond sound and their own, which is all I ask for. Another issue I have with Arnold is that he has a tendency to overwrite and turn drama into melodrama. For example the scene with Bond and Paris at the hotel. It’s way too over the top when another composer like Barry or any other composer would have had a more delicate hand in writing it.

    It funny that you use Conti as an example; his score almost makes FYEO unwatchable for me .
    Oh well, different strokes for different folks.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,205
    talos7 wrote: »
    talos7 wrote: »
    The catch 22 is that no one will ever be Barry , but with his music he created a element that is an integral part of the cinematic James Bond ; but, when a composer employs these established motifs they are often accused of aping Barry.
    All I know is that I want a Bond score to sound like a Bond score; and to a degree that will sound like someone trying to be Barry. I can live with that.

    Most composers like Bill Conti did a good balance of the Bond sound and their own, which is all I ask for. Another issue I have with Arnold is that he has a tendency to overwrite and turn drama into melodrama. For example the scene with Bond and Paris at the hotel. It’s way too over the top when another composer like Barry or any other composer would have had a more delicate hand in writing it.

    It funny that you use Conti as an example; his score almost makes FYEO unwatchable for me .
    Oh well, different strokes for different folks.

    Yup. This. Conti had a few nice moments peppered throughout but his score is way down the list for me.

    Different strokes for different folks.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,179
    You’ll never convince me that a cue like “Runaway” ruins the ski chase!
  • talos7talos7 New Orleans
    Posts: 8,195
    mtm wrote: »
    talos7 wrote: »
    All I know is that I want a Bond score to sound like a Bond score; and to a degree that will sound like someone trying to be Barry. I can live with that.

    For me Newman showed the right kind of path: being modern, sophisticated and rich in the way that expresses what Bond is all about without just trotting out old Bond elements all the time, but still with an eye on some of those essentials like a bit of brass here and there. Whether or not you liked the scores themselves I still think that's the best way to go.

    I actually like much of Newman’s SF score, not so much SP; with roughly 10% more “Barry” , and a bit more integrating of the title track’s music, SF would have been a classic.
  • talos7 wrote: »
    It funny that you use Conti as an example; his score almost makes FYEO unwatchable for me .
    Oh well, different strokes for different folks.

    I re-watched FYEO yesterday, and the music sounded very dated. Much more than the visuals, and it did take me 'out of the film' several times. Newman, despite his lack of memorable melodies, never did that.
    I'd like Daniel Pemberton too. I do enjoy the Arnold scores, but would like to see someone new. And yes, jazzy. Swing it like Barry, in places.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,179
    Conti’s score definitely feels like it belongs in 1981, just like how Barry’s use of the moog synths in 1969 belonged in that era, and Arnold’s use of electronic in Brosnan’s. That doesn’t make it a bad thing, they’re just scores of their time.
  • mtmmtm United Kingdom
    Posts: 16,344
    talos7 wrote: »
    talos7 wrote: »
    The catch 22 is that no one will ever be Barry , but with his music he created a element that is an integral part of the cinematic James Bond ; but, when a composer employs these established motifs they are often accused of aping Barry.
    All I know is that I want a Bond score to sound like a Bond score; and to a degree that will sound like someone trying to be Barry. I can live with that.

    Most composers like Bill Conti did a good balance of the Bond sound and their own, which is all I ask for. Another issue I have with Arnold is that he has a tendency to overwrite and turn drama into melodrama. For example the scene with Bond and Paris at the hotel. It’s way too over the top when another composer like Barry or any other composer would have had a more delicate hand in writing it.

    It funny that you use Conti as an example; his score almost makes FYEO unwatchable for me .
    Oh well, different strokes for different folks.

    I used to find that myself but I've grown to like it. It's of its time. It's certainly more energetic, and to be honest more exciting than most of Barry's stuff from around that period.
    Whenever I'm skiing fast down a hill I try to hum OHMSS, but it's always Runaway that I actually hear! :D
  • talos7talos7 New Orleans
    Posts: 8,195
    Conti’s score definitely feels like it belongs in 1981, just like how Barry’s use of the moog synths in 1969 belonged in that era, and Arnold’s use of electronic in Brosnan’s. That doesn’t make it a bad thing, they’re just scores of their time.

    I agree 100%

  • edited November 2019 Posts: 3,274
    talos7 wrote: »
    talos7 wrote: »
    The catch 22 is that no one will ever be Barry , but with his music he created a element that is an integral part of the cinematic James Bond ; but, when a composer employs these established motifs they are often accused of aping Barry.
    All I know is that I want a Bond score to sound like a Bond score; and to a degree that will sound like someone trying to be Barry. I can live with that.

    Most composers like Bill Conti did a good balance of the Bond sound and their own, which is all I ask for. Another issue I have with Arnold is that he has a tendency to overwrite and turn drama into melodrama. For example the scene with Bond and Paris at the hotel. It’s way too over the top when another composer like Barry or any other composer would have had a more delicate hand in writing it.

    It funny that you use Conti as an example; his score almost makes FYEO unwatchable for me .
    Conti is a great composer (he scored 'Rocky'), but like so many others in the late 70's/early 80's he used "modern sound", meaning 1st generation synthesizers that soon sounded dated. 'Scarface' is another cringeworthy example. And TSWLM in large parts, btw.
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