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No, because it's part of the Brosnan era, which MontyshiftPython hates. :))
With his music, I'm able to enjoy them... enough.
Plot twist: I actually like his QOS score.
Yeah, because he was allowed to be more Bondian with it than CR. And it was Craig, not Brosnan. ;)
Certainly better than his pastiche crap in TND.
You say 'pastiche crap' like it's a bad thing.... ;)
QOS
DAD
CR
TWINE
TND
Don’t you mean that with CR they told him to not use the Bond THEME? Because I still hear plenty of the “Bond sound” in CR.
Bond sound without Barry's themes? And if you hear plenty of what you label Bond sound, why do you dislike the score so much?
Error... error...
Faulty.... must ster-il-ize!
:P
My general answer: Really not much...and probably less than in about ten or twelve other Bond films. One always finds some stupid or illogical scenes or plot holes in Bond movies, and TND is certainly not an exception. But overall it's just as much middle-of-the-road popcorn fare as many other of the franchise's films. I like it, and I don't worry about its shortcomings. It's definitely better than its two successors, which always form the bottom two on my ranking lists. One of the two better Brosnan films.
Oh yes, and David Arnold's score is one of the best that are not John Barry's, or George Martin's.
It’s not the Bond sound, mate. It’s how you use it. ;)
I’d elaborate more, but I’m at work. In short, however method Marc Forster had Arnold score the film, it GREATLY helped! And I’m not really a fan of Forster’s contributions, but as far as music goes, he did good.
Here's a question (that I don't want to start a whole thread for): someone says they're gonna put on a Bond move & gives you the choice: TMWTGG or TWINE- which do you choose?
TWINE, but I do find more rewatch value in TMWTGG.
I picked those two because I like them equally for very different reasons.
TMWTGG. In spite of its many MANY flaws, it still has a John Barry score and a measure of levity to it. TWINE just flat out bores me.
I’m just not a fan of how he utilizes the Bond sound, he has a tendency to do what’s known as “overwriting” and a lot of his action/tension cues feel more generic than riveting. It’s frustrating because there are a few cues that I think he does excellent work with, complimenting scenes like Bond breaking in and out of the facility in Hamburg. When I listen to his scores I too often find myself skipping over a ton of tracks so I can just get to the ones I like.
The only score I listen start to finish is QOS. It feels more fleshed out. He still does his typical flourishes here and there (during the roof top chase), but for the most part it feels more organic. It’s hard to explain (plus I’m drunk now). He’s doing the Bond sound, but it’s not just him riffing Barry like he did with previous scores. “Inside Man” feels Bondian but without being reverent to the old 60s sound like TND. I really dig how he utilizes Vesper’s theme in a way that makes it sound more haunting.
If QOS turns out to be the last piece of Bond work Arnold has done, then he left on very good terms just like how Barry did with TLD.
Agree with every word.
Yeah I watched DAD again recently and I was surprised how much I enjoyed that scene. A lot of it is filmed from half a mile away, but it does look unlike anything in any other film, and it's good fun stuff. Arnold's music really powers it through too. Honestly, even though it's not a great sequence, I'd still rate it above the NTTD Norway car chase (which occurs at about the same point in the film).
Yeah, the editing in TWINE is a lot worse than in TND and even DAD, I'd agree.
I will never not be amazed by the shoddiness of this sequence, where Bond appears to watch his own stunt double.
Yes, please. Count me in. TMWTGG any day, and every day over TWINE (Moore is a far superior James Bond; there’s a better villain, a better score, better henchman…)…
Oh and not using KD Lang's Surrender as the title track is one of the worst things that has happened to the franchise.
+1
I agree with that. There’s something about Arnold’s scores for those Brosnan films that feel so “by the numbers” and generic. I think that comes from Sierra/GE creating such a unique atmosphere for that film that doesn’t get recreated again in any of the following films, so it feels to me like a bit of a letdown going into TND’s score, the big constant blaring of the Bond theme to make up for that lack of Bondian sound in Goldeneye.
I myself tend to prefer what Arnold did for both Casino Royale and Quantum of Solace, the latter, as you mentioned, is probably his best work with the series. The only negative to that is I got kind of sick of hearing “The Names Bond, James Bond” from Casino Royale play in about every film that followed, albeit perhaps in slightly different arrangements. Having Hans Zimmer for NTTD was a huge breath of fresh air, even after having Thomas Newman, who didn’t really do much for me personally.
On the other hand, I wish Zimmer did a full rendition of the theme for NTTD. Big missed opportunity there. Maybe he’ll make up for it if EON hires him again.
Disagree with every word.
As you asked this question in response to my own posting, I think I owe you a belated answer, and it is:
Definitely TMWTGG at any time, although it is only (but exactly) in the middle of my Roger Moore Bond ratings, and that's not too good overall. But the dismal TWINE was the only reason why I found the first half or so of DAD so promising initially, only to end up being even more dramatically disappointed after the first half. Still leaves TWINE as the second-worst.
Although to be fair to Zimmer, there aren't really any scenes in NTTD in which a full version of the Bond theme would work- Bond is never swaggering triumphant in a way that would suit the theme. The Cuba bit is the only spot really, and even then it's Paloma who actually does the Bondy thing by crashing the car.