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Comments
Perhaps, but after Romer’s dismissal it was probably too short a notice. Part of why Zimmer got the gig is because he has a ton of collaborators within Remote Control Productions that can help him finish the score.
It would make sense that Zimmer would utilise the "Madeleine" theme, but outside of that I'm ready to hear an original soundtrack. While I did like the occasion track from Newman's last two efforts, overall I find them to be pretty weak additions to the franchise. I'd rather Zimmer take inspiration from Barry.
Like others have mentioned, it makes sense if there’s some “inspiration” by Newman. One of my biggest criticisms of the SF/SP scores is that Newman seemed to be attempting to evoke Zimmer at points and it ended up sounding generic and flat as it usually does when composers try to imitate his sound. His scores were at their best when Newman was being Newman. Not Barry, not Zimmer. My hope is that Zimmer maintains his originality and stays true to himself musically.
Yeah, Good points....but like other RCP composers, one thing Zimmer is so good at doing is, he can ape and still retain his style....very evident in 'The Lone Ranger' & recently what Lorne Balfe did with Mark Mancina's Bad Boy's theme....aping Mancina but still retaining his style....even if Mancina is a RCP composer as well....another thing is, if Newman sounded completely like Newman...we might have had an 'American Beauty' or 'Road to perdition' score....which are good scores, but can't fit in with Bond. Let's say like Zimmer, Newman couldn't ape & retain.
I know AB and RTP are two quintessential Newman scores but I think tracks like New Digs, Day Wasted, Skyfall, L’Americain, Crows Klinik, Secret Room, Sade House, etc. are all very “Newman” sounding while also being fitting for Bond. I think it’s entirely possible (and frankly beneficial) to make a Bond appropriate score without aping Barry or anyone else for that matter.
Yeah, true...I do like some Newman Bond tracks, I think Newman really got Bond in the track 'Old Dog, New Tricks', even if it was rejected by Mendes for being too suggestive...it's just that getting the balance right in all his tracks seemed to be what prevented him from doing well like other Non-Barry Composers. Just like George Martin's LALD score....it was so good, we didn't even feel Barry's absence.
THIS WOULD BE EXCELLENT! 🍸
Yes we want a great score, its only natural, but it will have very little impact on our final assessment of the film.
In fact, your comment lifts my mood :-).
+1
Yeah, all true...but it's just that am an avid soundtrack fan...especially with Bond music. I just feel it's better to have a very good score....just in case. I know movies like The Good, The Bad & The Ugly are so very good with it's original plot....but I can't help but wonder if the film would have been what it is today....if Ennio Morricone's Sublime & Universally Popular Score had not accompanied it. I just feel a great score makes even a strong or weak film better....even if it wasn't the score's initial intention. Sometimes one might be revisiting a film frequently....but don't know why, coz deep down they know they've had their fill visually....but it might just be the score....which of course, they'll end up knowing later. It just makes me wonder what might have been...had David Arnold scored SP & worked with a Rock/Pop Singer or Band on the title song....not that it was going to change the film's plot...but we would have felt something different & possibly better.
I would agree that something like Morricone's soundtrack to Once Upon A Time In The West was the main thing that drove the film visually, and sometimes we can't help but be moved by the music as much as we are moved by the images (Gladiator comes to mind).
But, I do think that the music of Bond, important though it is, doesn't effect us in the same way, despite its rich history. The title song grabs all of the headlines.
Anyway, a great score can lift the film but a middling score can also hamper - I feel like Spectre is the best recent example of it not quite firing on all cylinders. Finally, I was told some years ago that The Living Daylight title track is a Pallindrone structurally. I'm not massively musical but did reverse (play backwards) a digital copy and it does sound weirdly just as good.
I prefer TLD over LTK
What about Dirty Love by Tim Feehan? JOKING!!!
Me too. And one is miles and miles apart from the other, in every regard.
- MR is a terrible movie
- I don’t like either the film or soundtrack for GE
- I prefer TLD
Movie score do matter and they can make a good film great... a lot of the Golden period of JB in the 60s are good movies (based on better books), but elevated higher by score and Connery.
Barry truly went out on a high note. The Living Daylights is probably my second favourite of the Barry scores only topped by OHMSS. I love his use of sequencers during his principle arrangement of the themes during the action cues. Magnificent.
Same. OHMSS is my favourite, followed by TLD. Unbeatable.
These are interesting points for sure, but for me personally it does have an impact. I know you're just giving some examples above but it's unsurprising to me that I have had conflicting opinions on some of those comparisons before (for example, GE manages to be a good film in spite of some of Serra's scoring).
For myself, there is an interesting overlap between my favourite scores and some of the stronger songs featured in the series over 60 years, so I guess it's a two-hander in terms of importance for me. The link between the song and the score has been one of the most enduring arguments in this thread.
There's an obvious non-answer here - make a good film, with a good score. They should always compliment each other. I definitely think it will be taken into account when it comes to assessing the film, just look at some of the arguments that have been had about Newman and Spectre (less so Skyfall).
That makes three of us, then. TLD has some really great tracks.
Connery, Barry, Adam, Maibaum, Cubby, Harry, Bernard, Lois, Desmond. #dreamteam
So true. I wonder about Harry though
It’s no ‘Make It Last All Night’ by Rage.