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
My feelings exactly. Very positive here. And about those tons of new posts, well, at least miraculously they have been interesting and civil. A true Christmas miracle, I'd say ;)
Yesh Univexsh. Connery is still my fav Bond, but my love for Dalton hasn't died.
Arnold is still my number 1 choice, but failing that I would like the guy who did the First Man soundtrack, as that sounded very much like Barry (particularly the moon landing sequence.)
After that, I would be ok with Zimmer or Balfe too.
I'd love to know too. I wonder if we'll ever find out.
Not baiting at all, It’s obvious that he’s being intentionally a bit over the top while making a valid point. the “Barry sound” is part of the character’s film legacy and should be the foundation for any score. Now with that , a creative, talented composer can bring fresh elements .
All I know the use of the words “aping” and
“ pastiche “ has become ludicrously pretentious.
I think maybe @mtm is having a bad day. Let's cut him some slack.
I wouldn't mind someone playing Bond (close to) as Sean Connery did it – if it's the right kind of actor. Same with a composer sticking close to Barry.
A throwback sound isn't necessarily a bad thing in a present day set film, if you ask me.
Not a bad choice either. Justin Hurwitz is Damien Chazelles main composer, and since Cary and EoN got a lot of Chazelles crew for NTTD, they might as well go that extra mile and get him on board as well. Would be a much more inspired choice than RCP too.
I'm all for retro nods, just the way Arnold did it in QoS, reminiscent of DAF/Walkabout, circa 1971 John Barry. I'm also definitely up for an actor in the Connery/Lazenby mould too for the next Bond.
Both of these things – retro score and a Connery-esque actor – would put a big grin on my face at the cinema, and that's what I want from a Bond film.
You and me both pal. Throw in a few closely adapted Fleming scenes too and I'm an ecstatic customer. B-)
I never go into the cinema expecting the films to feature closely adapted Fleming scenes, but I wouldn't be against it if they did!
I don’t entirely agree with the idea that Barry didn’t have a sound, but you’re obviously welcome to your opinion: I’m just not going to claim you’re not a Bond fan because we have different opinions. That was kind of the point; it’s silly and it’s just there to bait an argument.
Some things, however, clearly are ;)
I just tend to think that if Martin was aiming for the established ’Bond sound’ as you put it, it’s more likely that he drew inspiration from the past and scores which had avtually been written, than things from the future which hadn’t been made yet and no one had heard ;) We really can joke about our differences!
I’ve kind of lost track of your argument here: it doesn’t really make sense. If you’re saying he made a score which fitted the Bond sound, it can only be the Barry sound you’re talking about. He was the only one up to that point.
Those really are just... words. You’re clearly not a Bond fan if you disagree ;)
I’m talking about a Connery impersonation though. You seriously think that would be a way to move this series forward!? The lead raising his eyebrow, saying ‘but of course’ and ‘surely’ all the time with a sexy Scottish speech impediment? You don’t think that would be stale and a terrible self parody? You’re obviously welcome to think that but I’m just a bit... I don’t get it. It can only be worse than someone doing their own best rather than trying to copy someone else’s.
-1
They know they have something special with this film. After the false start with Boyle, solid decisions have been made. If the rumors are true, it’s obvious that Romer’s vision did not compliment the film.
I have faith that Barbara and Cary will continue to make the right choices to bring home a winner, and that includes the person doing the score.
Very well said. EoN understand how to move Bond forward now. Tired tropes aren't for me. Denis Villeneuve needs to direct the next installment. He brought such fresh and innovative ideas to an existing property, whilst respecting what came before. I'd love a completely clean slate for Bond 26. Maybe PW-B can stay on, assuming No Time To Die zings in all the right places.
Difficult to say for certain of course, but given Romer scored Cary's last two projects, which were incredibly different in genre and tone, I would imagine the issue would be more on EON's side.
Especially since the rumour is that they are specifically bringing in Zimmer/RCP, who are very much a safe choice when it comes to current blockbusters given their popularity and ability to work on very fast deadlines.
Very true.
But I think Beasts of No Nation and Maniac are very different from a Bond score. Perhaps, Fukunaga agreed with Eon. Maybe he wanted Romer because of his connection and then realised it wasn't a fit for NTTD.
It happens. Denis Villenueve realised that his regular composer Johan Johannson wasn't right for Blade Runner till late. Perhaps the producers gave him a nudge in realising that.
I watched Gemini Man recently and thought to myself, this is a great score and who's name turned up at the end.............Lorne Balfe.
Just hire him already.
Agreed @talos7 ... I know you've watched Cary's Jane Eyre-- and you're a fan.
I'd love to hear what you think of BEASTS OF NATION and TRUE DETECTIVE.
I think they’re probably not very related. If they have got a singer they’ll be sticking with them. I guess if the score is delivered later than usual there may be more of a chance that the song melody will be incorporated into the score, for those who like that.
Well, I'm a big Barry fan. And yeah, he had a distinct "voice". But he also coined a style within his own, regarding Bond films. Still find his Out of Africa score his best, though.
And I don't think @jetsetwilly was being serious about that "not a Bond fan" remark.
Whatever way you want to read it, buddy. That's entirely on you. No condescension here, only nitpicking on the use of an irrevelant hypothetical to prove a point. ;)
You're confusing the Bond "sound", a phrase that I didn't use, with something I've been stressing considerably in my comments; it's possible for a composer to make an unmistakably Bond score while not copying Barry's sound. That is what Martin did. I don't feel he copied Barry sonically at all, but you seem to. That is possibly where your confusion lies. The insistence on only comparing it to Barry's previous six only made it worse. That was something you insisted on, not me. If you're confused, have a read back to what was originally being said before the conversation was muddied.
Hamlisch also managed it. I don't particularly like that score, but a lot of it is unmistakably Bond. Same goes for Conti. I didn't like the disco era of scoring, but the structure of the scores was the same as Barry's.
So no, not style.
Structure. A word that was repeatedly stressed. Hope this clears it up for you.
You don't think the composer and main song is related, @mtm?
Thank you for explaining it far better than I did. That was exactly what I was aiming to say. Well done.
I think what you're saying is definitely possible but keep in mind, just because a director says he loved the changes suggested by a producer, doesn't always mean he's telling the truth.
Most likely, Cary and EON agreed on most of the movie's creative decisions and when they just didn't like the score, he figured it wasn't a hill worth dying on.
Keep in mind, his IT project blew up due to frequent disagreements with the producers, and I think he realized that this was his biggest and possibly last shot at a major movie career.