SPECTRE Production Timeline

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  • Posts: 5,745
    SaintMark wrote: »
    Murdock wrote: »
    SaintMark wrote: »
    Arnold produced his best score for QoS so I can only assume that he would continue his streak of improvement so I'd LOVE to have him back for Bond 24, especially if the score built upon his work for QoS.

    If anything QoS showed he had NO CLUE WHATSOEVER in what direction to go and really come up with anything not borrowed from JB and be really good. QoB showed his limitations as a composer.

    Newman or somebody new with real skills, please.

    Mainly because Forster kept interfering with him and he had only a few short weeks to compose the score, can't really blame Arnold for that as John Barry has a similar situation happen to him with TMWTGG.

    And still TMWTGG has a soundtrack with an identity and a sound of its own, which proves that a genius does not need so much time to create good material.

    Did you know that Ennio Morricone did write and conduct the soundtracks of OUTITW & TGTBTU before Sergio Leone started filming, he used the music to set a mood for his actors.

    I'm a tad late to the party, but I'll dance anyway.

    Trying to apply the same prerequisites and requirements to define a genius is possibly the most absurd thing I've ever heard. Different people work best in different conditions. That's why standardized testing doesn't work. Geniuses are so because they are the best in certain conditions. It'd be the same mentality to put an F1 racecar driver in a NASCAR championship and expect him to win. Same basic sport, different practices.

    If you put your two 'genius' composer examples in identical conditions, you would get drastically different results, and you most definitely would pick one over the other, and not equally appreciate them. It's impossible.

    Yes, it is impressive what John Barry did with TMWTGG. But he had a title track to rely on and essentially echo throughout the film. QoS did not, and thus Arnold had two weeks to start from scratch seeing as Forster rejected his proposed involvement with the title song.

    And the very fact that you bring up how Morricone was allowed to mold the film and characters to his music should show you how extreme of a contrast that is to Arnold being given a rough cut of a film and two weeks to do something. If Arnold had the opportunity to do some track work before the film was made, had Arnold been able to work on the title song, and had Arnold had more than 2 weeks to complete the soundtrack of a 1.5 hour long feature film, I'm sure it would have blown the roof off.

    But he didn't, and in return, we still get what you even agree is some of his better Bond work. You may not be convinced he's a genius, and I really don't think anyone else here is either, but he is not bad. He's done well with his time in the franchise. White Knight is a relatively popular modern piece of Bond music, and every title song he's worked on have been good enough hits (perhaps not among the fans, but in the general consensus).

    If I had to try and argue the genius of Arnold I would bring up these points:

    +Chris Cornell and You Know My Name. That was Chris and David in a studio with a guitar penning out a Bond song, and it's a perfect Bond song. Arguably the most popular among fans since Goldeneye, and maybe even The Spy Who Loved Me.

    +Saving the Bond theme for the end of Casino Royale. Goosebumps every time. What an epic scene, and perfect timing.

    +Silence. He knows when to let the sound of the action take over. He does it in many cases in all the films, notably QoS when the opening song goes quiet at the roar of the V12 Aston Martin.

    +Situational Sound. You can tell he is following the scenes, especially in the action. The trumpet blares to the beat of the punches, the tempo follows the pace of the actors, the intensity rises with the chaos on the screen. You could argue anyone could do that, but Arnold DOES do it, and it's noticeable in the best way. It helps everything flow.

    I'm not for a moment saying he's a genius. I wouldn't dare say he doesn't know what he's doing though. Gone are the days of the slower paced Bond movies, where the action was tempered and tense, and there was space to breath and for Barry's themes to swell. Now are the times of 4-5 action set pieces, break-neck pace, quick cutting and editing, more dialogue, and better sound design. Modern cinema just simply doesn't make room for a composer to go all out anymore.

  • Posts: 7,653
    @Murdock I am not going through the DA soundtracks to tell you which song I dislike, simply because I fancy my time to much to listen to 2 soundtracks that are not worth the time. I do occasionally play the DA Brosnan soundtracks but before GE lies my interest mostly. Yes and I have every single soundtrack since DN, some are just for collectors issue others are enjoyable. CR & QoB are musical disappointments overall and specifically they lack any Bondian or original sound to me. Surprisingly DA does pretty well with Sherlock but does not seem to be able to apply the same skill for the 007 franchise when not copying Barry.

    And gone are the days of the slower paced Bond movies?? SF was really jampacked with action?? Flipping heck even the earlier mentioned Star trek movies have a better soundtrack and they make the recent 007 movies look like paint dry when it comes to action. It proves that a skilled composer still can make a difference.

    DA had nothing to do with the mentioned CGI mess, I do not believe I blame him for it at any point. I mentioned that poor CGI could be given the booth.
    DA's composing for QoB was just poorish, the movie being a mess I do not blame him for, just for his little part in it.
  • chrisisallchrisisall Brosnan Defender Of The Realm
    Posts: 17,801
    JWESTBROOK wrote: »
    +Chris Cornell and You Know My Name. That was Chris and David in a studio with a guitar penning out a Bond song, and it's a perfect Bond song. Arguably the most popular among fans since Goldeneye, and maybe even The Spy Who Loved Me.
    Okay, THAT was genius. So was Surrender. The intended song for QOS was very good too.

    And Newman has never composed a single soundtrack that has ever stayed with me no matter how many times I saw the movies.
  • DaltonCraig007DaltonCraig007 They say, "Evil prevails when good men fail to act." What they ought to say is, "Evil prevails."
    Posts: 15,718
    Newman's score worked great while watching the movie, however I found Arnold's soundtracks more engaging when listening to them alone than SF's soundtrack.
  • edited August 2014 Posts: 5,745
    SaintMark wrote: »
    And gone are the days of the slower paced Bond movies?? SF was really jampacked with action?? Flipping heck even the earlier mentioned Star trek movies have a better soundtrack and they make the recent 007 movies look like paint dry when it comes to action. It proves that a skilled composer still can make a difference.

    1. David Arnold did not compose Skyfall. I thought that was obvious. I was talking specifically about CR and QoS, hence the example I gave. Seeing as it was relavent to me defending Arnold.

    2. The Star Trek movies stand out because a) Michael Giacchino is far better than David Arnold, no contest b) There is character development and honest relationships c) the pacing allows for some nice melodies. You can't compare CR and QoS with the two recent Trek films.

    They are completely different in direction, pacing, and storytelling. Arnold was given two fast-paced, action heavy films, and Giacchino was given something that took its time and told its story. Blame the filmmakers more than Arnold, for as you even said with your Morricone example, a composer needs to be involved and needs to be given space in the film. I'd argue Arnold's latest two didn't do that (CR slightly, QoS hardly), and Skyfall gave Newman room but he dropped the ball. And when CR did give him space, we got some VERY lovely and lovey themes, and a cracking Bond song.
  • Posts: 908
    Shardlake wrote: »
    I actually think his QOS score is his best but Saintmark has such loathing for QOB as he calls it, he's unlikely to acknowledge anything good about it.

    I'd watch it over a good few entries in a heartbeat personally. I much rather see Arnold coming up with his own ideas as opposed to fire up the JB theme when he's lacking ideas. Both CR and QOS saw him without his safety net and he didn't do too badly.

    Are there better composers out there to score Bond, I would say yes but EON like their family and Arnold is one of them and he will return no doubt.

    Anyone thinking that we'll get scores like the genius of John Barry again are dreaming.
    Barry was a one off and a musical genius, there is only a handful of film composer that can be mentioned alongside him.

    He not only influenced film music but informed popular culture full stop, his sound influenced the likes of the Beatles, his sound has pretty much seeped into most musical genres, his legacy is untouchable, no film composer today will ever do that again.

    Rarely you read so much truth in so few lines.
    Thumbs up. Both of them!!!
  • Posts: 4,619
    A lot of people here believe that a great score has to be melodic and any score without a theme is bland and generic. Guess what? These people are wrong.

    Newman created a very rich and modern score for Skyfall but it seems like most people here are stuck in the 70s and think John Williams is the greatest movie composer of all time.
  • edited August 2014 Posts: 7,653
    JWESTBROOK wrote: »
    SaintMark wrote: »
    And gone are the days of the slower paced Bond movies?? SF was really jampacked with action?? Flipping heck even the earlier mentioned Star trek movies have a better soundtrack and they make the recent 007 movies look like paint dry when it comes to action. It proves that a skilled composer still can make a difference.

    1. David Arnold did not compose Skyfall. I thought that was obvious. I was talking specifically about CR and QoS, hence the example I gave. Seeing as it was relavent to me defending Arnold.
    My refference with Sf was towards the action laden movies of today not as much to DA whose actionmusic is somewhat bland and annoying in both CR & QoB

    2. The Star Trek movies stand out because a) Michael Giacchino is far better than David Arnold, no contest b) There is character development and honest relationships c) the pacing allows for some nice melodies. You can't compare CR and QoS with the two recent Trek films.
    CR was a reboot not unlike the new ST, so lets compare. CR did try to reinvent 007 as did ST with the new direction. The pacing in both movies is casual to frantic and yet ST's soundtrack is the far better beastie. As is the soundtrack of the Incredibles with which Giacchino did a job that outdid anything DA has done, imho. QoB can not be compared with anything except as being a halfmistaken Bourne version of a Bondmovie, as a movie it is not finished or fully developed and that is noticable. So one would expect the music to be better as DA had nothing to do with the unholy mess. And he could have taken more time for development of the music even before he was on the job.

    They are completely different in direction, pacing, and storytelling. Arnold was given two fast-paced, action heavy films, and Giacchino was given something that took its time and told its story. Blame the filmmakers more than Arnold, for as you even said with your Morricone example, a composer needs to be involved and needs to be given space in the film. I'd argue Arnold's latest two didn't do that (CR slightly, QoS hardly), and Skyfall gave Newman room but he dropped the ball. And when CR did give him space, we got some VERY lovely and lovey themes, and a cracking Bond song.
    CR does have the better moments in music but as said before both ST & CR were reboots and as such musically DA showed his limitations and Giacchino did NOT. You can blame the composer, and the director for accepting the work. The song might be the best about CR musically but it is still an average rock ballad of which far better have been written. It is just not that memorable.

  • 4EverBonded4EverBonded the Ballrooms of Mars
    Posts: 12,480
    JWESTBROOK wrote: »
    SaintMark wrote: »
    Murdock wrote: »
    SaintMark wrote: »
    Arnold produced his best score for QoS so I can only assume that he would continue his streak of improvement so I'd LOVE to have him back for Bond 24, especially if the score built upon his work for QoS.

    If anything QoS showed he had NO CLUE WHATSOEVER in what direction to go and really come up with anything not borrowed from JB and be really good. QoB showed his limitations as a composer.

    Newman or somebody new with real skills, please.

    Mainly because Forster kept interfering with him and he had only a few short weeks to compose the score, can't really blame Arnold for that as John Barry has a similar situation happen to him with TMWTGG.

    And still TMWTGG has a soundtrack with an identity and a sound of its own, which proves that a genius does not need so much time to create good material.

    Did you know that Ennio Morricone did write and conduct the soundtracks of OUTITW & TGTBTU before Sergio Leone started filming, he used the music to set a mood for his actors.

    I'm a tad late to the party, but I'll dance anyway.

    Trying to apply the same prerequisites and requirements to define a genius is possibly the most absurd thing I've ever heard. Different people work best in different conditions. That's why standardized testing doesn't work. Geniuses are so because they are the best in certain conditions. It'd be the same mentality to put an F1 racecar driver in a NASCAR championship and expect him to win. Same basic sport, different practices.

    If you put your two 'genius' composer examples in identical conditions, you would get drastically different results, and you most definitely would pick one over the other, and not equally appreciate them. It's impossible.

    Yes, it is impressive what John Barry did with TMWTGG. But he had a title track to rely on and essentially echo throughout the film. QoS did not, and thus Arnold had two weeks to start from scratch seeing as Forster rejected his proposed involvement with the title song.

    And the very fact that you bring up how Morricone was allowed to mold the film and characters to his music should show you how extreme of a contrast that is to Arnold being given a rough cut of a film and two weeks to do something. If Arnold had the opportunity to do some track work before the film was made, had Arnold been able to work on the title song, and had Arnold had more than 2 weeks to complete the soundtrack of a 1.5 hour long feature film, I'm sure it would have blown the roof off.

    But he didn't, and in return, we still get what you even agree is some of his better Bond work. You may not be convinced he's a genius, and I really don't think anyone else here is either, but he is not bad. He's done well with his time in the franchise. White Knight is a relatively popular modern piece of Bond music, and every title song he's worked on have been good enough hits (perhaps not among the fans, but in the general consensus).

    If I had to try and argue the genius of Arnold I would bring up these points:

    +Chris Cornell and You Know My Name. That was Chris and David in a studio with a guitar penning out a Bond song, and it's a perfect Bond song. Arguably the most popular among fans since Goldeneye, and maybe even The Spy Who Loved Me.

    +Saving the Bond theme for the end of Casino Royale. Goosebumps every time. What an epic scene, and perfect timing.

    +Silence. He knows when to let the sound of the action take over. He does it in many cases in all the films, notably QoS when the opening song goes quiet at the roar of the V12 Aston Martin.

    +Situational Sound. You can tell he is following the scenes, especially in the action. The trumpet blares to the beat of the punches, the tempo follows the pace of the actors, the intensity rises with the chaos on the screen. You could argue anyone could do that, but Arnold DOES do it, and it's noticeable in the best way. It helps everything flow.

    I'm not for a moment saying he's a genius. I wouldn't dare say he doesn't know what he's doing though. Gone are the days of the slower paced Bond movies, where the action was tempered and tense, and there was space to breath and for Barry's themes to swell. Now are the times of 4-5 action set pieces, break-neck pace, quick cutting and editing, more dialogue, and better sound design. Modern cinema just simply doesn't make room for a composer to go all out anymore.


    I could use both your quotes, really, @JWESTBROOK. I appreciate your viewpoints on this and you lay it out in a clear way. I tend to agree with everything you said, but I cannot comment on the Trek films as I have not seen them.
  • MurdockMurdock The minus world
    Posts: 16,351
    A lot of people here believe that a great score has to be melodic and any score without a theme is bland and generic. Guess what? These people are wrong.

    Newman created a very rich and modern score for Skyfall but it seems like most people here are stuck in the 70s and think John Williams is the greatest movie composer of all time.

    I think John Barry and Jerry Goldsmith are the greatest Movie composers of all time thank you.

    What's so special about themeless music? Why can't today's movie scores be thematic and grand? Does everything have to follow a certain trend. I'd rather listen to music that I can remember and hum too rather than boring sound that's the equivalent to paint drying.
  • Posts: 5,745
    JWESTBROOK wrote: »
    SaintMark wrote: »
    Murdock wrote: »
    SaintMark wrote: »
    Arnold produced his best score for QoS so I can only assume that he would continue his streak of improvement so I'd LOVE to have him back for Bond 24, especially if the score built upon his work for QoS.

    If anything QoS showed he had NO CLUE WHATSOEVER in what direction to go and really come up with anything not borrowed from JB and be really good. QoB showed his limitations as a composer.

    Newman or somebody new with real skills, please.

    Mainly because Forster kept interfering with him and he had only a few short weeks to compose the score, can't really blame Arnold for that as John Barry has a similar situation happen to him with TMWTGG.

    And still TMWTGG has a soundtrack with an identity and a sound of its own, which proves that a genius does not need so much time to create good material.

    Did you know that Ennio Morricone did write and conduct the soundtracks of OUTITW & TGTBTU before Sergio Leone started filming, he used the music to set a mood for his actors.

    I'm a tad late to the party, but I'll dance anyway.

    Trying to apply the same prerequisites and requirements to define a genius is possibly the most absurd thing I've ever heard. Different people work best in different conditions. That's why standardized testing doesn't work. Geniuses are so because they are the best in certain conditions. It'd be the same mentality to put an F1 racecar driver in a NASCAR championship and expect him to win. Same basic sport, different practices.

    If you put your two 'genius' composer examples in identical conditions, you would get drastically different results, and you most definitely would pick one over the other, and not equally appreciate them. It's impossible.

    Yes, it is impressive what John Barry did with TMWTGG. But he had a title track to rely on and essentially echo throughout the film. QoS did not, and thus Arnold had two weeks to start from scratch seeing as Forster rejected his proposed involvement with the title song.

    And the very fact that you bring up how Morricone was allowed to mold the film and characters to his music should show you how extreme of a contrast that is to Arnold being given a rough cut of a film and two weeks to do something. If Arnold had the opportunity to do some track work before the film was made, had Arnold been able to work on the title song, and had Arnold had more than 2 weeks to complete the soundtrack of a 1.5 hour long feature film, I'm sure it would have blown the roof off.

    But he didn't, and in return, we still get what you even agree is some of his better Bond work. You may not be convinced he's a genius, and I really don't think anyone else here is either, but he is not bad. He's done well with his time in the franchise. White Knight is a relatively popular modern piece of Bond music, and every title song he's worked on have been good enough hits (perhaps not among the fans, but in the general consensus).

    If I had to try and argue the genius of Arnold I would bring up these points:

    +Chris Cornell and You Know My Name. That was Chris and David in a studio with a guitar penning out a Bond song, and it's a perfect Bond song. Arguably the most popular among fans since Goldeneye, and maybe even The Spy Who Loved Me.

    +Saving the Bond theme for the end of Casino Royale. Goosebumps every time. What an epic scene, and perfect timing.

    +Silence. He knows when to let the sound of the action take over. He does it in many cases in all the films, notably QoS when the opening song goes quiet at the roar of the V12 Aston Martin.

    +Situational Sound. You can tell he is following the scenes, especially in the action. The trumpet blares to the beat of the punches, the tempo follows the pace of the actors, the intensity rises with the chaos on the screen. You could argue anyone could do that, but Arnold DOES do it, and it's noticeable in the best way. It helps everything flow.

    I'm not for a moment saying he's a genius. I wouldn't dare say he doesn't know what he's doing though. Gone are the days of the slower paced Bond movies, where the action was tempered and tense, and there was space to breath and for Barry's themes to swell. Now are the times of 4-5 action set pieces, break-neck pace, quick cutting and editing, more dialogue, and better sound design. Modern cinema just simply doesn't make room for a composer to go all out anymore.


    I could use both your quotes, really, @JWESTBROOK. I appreciate your viewpoints on this and you lay it out in a clear way. I tend to agree with everything you said, but I cannot comment on the Trek films as I have not seen them.

    You REALLY need to remedy that, friend. :)
  • Posts: 908
    A lot of people here believe that a great score has to be melodic and any score without a theme is bland and generic. Guess what? These people are wrong.

    Newman created a very rich and modern score for Skyfall but it seems like most people here are stuck in the 70s and think John Williams is the greatest movie composer of all time.

    No melody, no composer. It's just that simple.
  • edited August 2014 Posts: 5,745
    SaintMark wrote: »
    JWESTBROOK wrote: »
    SaintMark wrote: »
    And gone are the days of the slower paced Bond movies?? SF was really jampacked with action?? Flipping heck even the earlier mentioned Star trek movies have a better soundtrack and they make the recent 007 movies look like paint dry when it comes to action. It proves that a skilled composer still can make a difference.

    1. David Arnold did not compose Skyfall. I thought that was obvious. I was talking specifically about CR and QoS, hence the example I gave. Seeing as it was relavent to me defending Arnold.
    My refference with Sf was towards the action laden movies of today not as much to DA whose actionmusic is somewhat bland and annoying in both CR & QoB

    2. The Star Trek movies stand out because a) Michael Giacchino is far better than David Arnold, no contest b) There is character development and honest relationships c) the pacing allows for some nice melodies. You can't compare CR and QoS with the two recent Trek films.
    CR was a reboot not unlike the new ST, so lets compare. CR did try to reinvent 007 as did ST with the new direction. The pacing in both movies is casual to frantic and yet ST's soundtrack is the far better beastie. As is the soundtrack of the Incredibles with which Giacchino did a job that outdid anything DA has done, imho. QoB can not be compared with anything except as being a halfmistaken Bourne version of a Bondmovie, as a movie it is not finished or fully developed and that is noticable. So one would expect the music to be better as DA had nothing to do with the unholy mess. And he could have taken more time for development of the music even before he was on the job.

    They are completely different in direction, pacing, and storytelling. Arnold was given two fast-paced, action heavy films, and Giacchino was given something that took its time and told its story. Blame the filmmakers more than Arnold, for as you even said with your Morricone example, a composer needs to be involved and needs to be given space in the film. I'd argue Arnold's latest two didn't do that (CR slightly, QoS hardly), and Skyfall gave Newman room but he dropped the ball. And when CR did give him space, we got some VERY lovely and lovey themes, and a cracking Bond song.
    CR does have the better moments in music but as said before both ST & CR were reboots and as such musically DA showed his limitations and Giacchino did NOT. You can blame the composer, and the director for accepting the work. The song might be the best about CR musically but it is still an average rock ballad of which far better have been written. It is just not that memorable.

    Fair enough on the CR title song. Fact is that it is popular among fans.

    Here is a video talking about the effect silence can have in a movie. What I care about right now is at around 4:00 minutes in the narrator talks about how modern movies are too loud for too long. Sound in a film should build up, and once you reach a peak you contrast it during an emotional scene with quiet. It highlights my earlier argument perfectly: there's too much going on in CR and QoS for any composer to work with. As I said, the sound design is too prevalent. There is always something crashing, or punching, or whooshing, or falling, or exploding, and no time for the music to kick in.



    The action hinders the music from telling the story. It's not just Bond; most modern films explain everything on screen, either through visuals, sound design, or dialogue. The Bond reboot is guilty of that too. There's no space for the music to tell the story. All Arnold, or Newman, has to do is a quick tempo and some brass and all they're doing is accompanying the story. Not telling it.

    When Skyfall does slow down, like with Patrice and Bond on the bridge during the train fight, Newman kicks in with a repetitive 'DUN DUN' and then quiet and then 'DUN DUN' and then quiet and then.. you get the idea. That stood out to me in the theater. That is my favorite part of the score. The scene is quiet, the action is at a distance, and Newman steps in and gives you a sense of peril. There's really no example from CR or QoS where the film steps back like that.
  • chrisisallchrisisall Brosnan Defender Of The Realm
    edited August 2014 Posts: 17,801
    A lot of people here believe that a great score has to be melodic and any score without a theme is bland and generic. Guess what? These people are wrong.
    Elevator music is so under-rated.
    :))
  • Posts: 7,653
    Murdock wrote: »

    I think John Barry and Jerry Goldsmith are the greatest Movie composers of all time thank you.

    And Ennio of course, and John W. did make some unforgettable music as well.
  • Posts: 1,970
    I don't mind Thomas Newman doing Bond 24. The Skyfall soundtrack was good so i don't mind. I would love if John William's could do a Bond score before he goes.
  • chrisisallchrisisall Brosnan Defender Of The Realm
    Posts: 17,801
    fjdinardo wrote: »
    I would love if John William's could do a Bond score before he goes.
    Wrong sound for Bond.

  • echoecho 007 in New York
    Posts: 6,304
    Germanlady wrote: »
    I think, its strange - well to me - that when Arnold was more or less bashed when Newman was first announced (I never understood tat in the first place) its now the other way around. Personally I am glad, Arnold gets some deserved appeciation. IMO he was indeed better then Newman.

    I hope that Newman grows into the scoring role, as Arnold did. I know I'm not alone in thinking that QoS was his best score yet.
  • echoecho 007 in New York
    Posts: 6,304
    A lot of people here believe that a great score has to be melodic and any score without a theme is bland and generic. Guess what? These people are wrong.

    Newman created a very rich and modern score for Skyfall but it seems like most people here are stuck in the 70s and think John Williams is the greatest movie composer of all time.

    I think that honor belongs to John Barry.
  • RC7RC7
    Posts: 10,512
    A lot of people here believe that a great score has to be melodic and any score without a theme is bland and generic. Guess what? These people are wrong.

    That's the minimum one should expect of a Bond soundtrack. Barry did the hard work, it's up to others to follow his lead. Themes and cues define Bond. Not disparate, experimental compositions that peak the interest of musos. A Bond soundtrack, whether pounding or melodic should slap you around the face and leave you humming it for ever more.
  • mcdonbbmcdonbb deep in the Heart of Texas
    Posts: 4,116
    Yawn ....this DA vs TN is getting frustrating. Everyone has an opinion... can we just move on??? .
  • 4EverBonded4EverBonded the Ballrooms of Mars
    Posts: 12,480
    Then move on, mcdonbb. This is the current topic of discussion on this thread. Do you have other news you'd like to comment on? Relevant to any news, partially confirmed or something, anything but not complete speculation, as regards to Bond 24 ...

    @RC7, I agree with your last comment.

  • StrelikStrelik Spectre Island
    edited August 2014 Posts: 108
    For variety's sake, I'm okay with Thomas Newman returning for Bond 24. As for David Arnold, he likely will return for Bond 25... So... Best of both worlds, I guess.
  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    mcdonbb wrote: »
    Yawn ....this DA vs TN is getting frustrating. Everyone has an opinion... can we just move on??? .

    Nope.
  • mcdonbbmcdonbb deep in the Heart of Texas
    Posts: 4,116
    Then move on, mcdonbb. This is the current topic of discussion on this thread. Do you have other news you'd like to comment on? Relevant to any news, partially confirmed or something, anything but not complete speculation, as regards to Bond 24 ...

    @RC7, I agree with your last comment.
    Lol I don't have to... I'm not arguing back and forth. If y'all wanna keep on knock yourself out...

    Oh and this isn't about speculation or revelant news its an argument over Arnold vs Newman so don't ask for that from me when the current discussion is not. Thanks.

    We need news bad lol ...we are at each others throat :(
  • Posts: 5,745
    mcdonbb wrote: »
    Then move on, mcdonbb. This is the current topic of discussion on this thread. Do you have other news you'd like to comment on? Relevant to any news, partially confirmed or something, anything but not complete speculation, as regards to Bond 24 ...

    @RC7, I agree with your last comment.
    Lol I don't have to... I'm not arguing back and forth. If y'all wanna keep on knock yourself out...

    Oh and this isn't about speculation or revelant news its an argument over Arnold vs Newman so don't ask for that from me when the current discussion is not. Thanks.

    We need news bad lol ...we are at each others throat :(

    I wouldn't say anyone is at each other's throat over anything. I thought its been a rather tame and great discussion.

    And I'd say its appropriate to discuss who will be scoring the production in the production timeline.
  • mcdonbbmcdonbb deep in the Heart of Texas
    Posts: 4,116
    Yes I agree ...but the discussion isn't that.. its whom is better. My point was just that all have an opinion... and no one is going to sway from that. The discussion to me was going nowhere and not about whom is scoring but the merits of the two previous scorers. I don't really care what anybody talks about ...I was tiring of the banter and spoke up. Get over my comments and get on with your banter. When real news poips back up we cab continue.
  • mcdonbbmcdonbb deep in the Heart of Texas
    Posts: 4,116
    News pops up we can continue... stupidautofil
  • DaltonCraig007DaltonCraig007 They say, "Evil prevails when good men fail to act." What they ought to say is, "Evil prevails."
    Posts: 15,718
    mcdonbb wrote: »
    Yawn ....this DA vs TN is getting frustrating. Everyone has an opinion... can we just move on??? .

    2 years ago this forum was Barry vs Arnold. Now it's Arnold vs Newman :P But I am happy to see Arnold has got so muchy more defenders now than he had before. QOS was his best work and I am sure if he returns he will continue to improve. However I am happy with either Arnold or Newman for Bond 24.

  • chrisisallchrisisall Brosnan Defender Of The Realm
    Posts: 17,801
    I am happy to see Arnold has got so much more defenders now than he had before. QOS was his best work
    Before Bond, Arnold did Stargate & Independence Day, both excellent works IMO. When I saw his name as composer for TND I had a very good feeling, not being the biggest fan of Sera's work on GE (though I like his stuff better than Newman's), and I was exceptionally pleased with the outcome.

    Oh well, at least Newman doesn't use disco beats... :))
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