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Comments
TWINE : Good.
DAD : His best. His trademark sound, and not copying Barry.
CR : Abysmal. Random noise, basicly filler music for the 70 minutes of the soundtrack.
QOS : Very good, finally showing some basic musical knowledge.
My favorite is the Space March instrumental.
I'm not disagreeing with your opinion, but if you think his CR score is bad, then how can you like his QoS one at all? They are very similar in my opinion.
Disclaimer- I like Arnold's scores, especially his CR score
IMO his QOS score was the first one where he started showing some musical complexity... Almost every track in the CR score were just too simple and basic for my taste.
I kind of have to agree with @DC007. The OST of CR had some great tracks on it but a lot of them are just 20-40 second pieces that don't do much for me.
the 007 theme is copyrighted to John Barry.. which is why Arnold can't use it... he's gone on record as to saying that he would love to use it - but can't - but also feels it's a track that if used should be done sparingly, highlighting Bond at his absolute best.... who knows - maybe it could make an appearance in Skyfall - we'll just have to wait and see..
moving on....
S&S - never really listened to it, so i can't comment
TND - a mixed bag of good/decent stuff... the highlights for me are Paris & Bond, Kowloon Bay, and All In Day's Work.
TWINE - for my personal taste, one of his best scores.. shows a little bit more depth than the TND score at times - a little less reliant on using the Bond theme every 5 seconds lol... highlights for me are Come In 007 Your Time Is Up, Access Denied, Elektra's Theme, and Body Double..
DAD - it's alright, but I put this one in the weaker category.. it does have it's share of moments, but the over reliance of techno hits and some recycled music from TWINE kind of spoiled this one for me... highlights for me are Hovercraft Chase, Some Kind Of Hero, Whiteout, Iced Inc, Antonov.
CR - a break through musically for Arnold in my opinion.. he really seems to start to stretch his sound out here - his previous efforts seemed to box themselves in at times by being too conservative.. here he starts to make strides to add depth to his score - like him making a conscious decision to not use the Bond theme until the very end, to keep in line with the theme of the story..... but i do agree with those above - there are too many tracks that are less than a minute long - could it have hurt to combine a few into one track? - as those ones really all run together anyway........ highlights for me are Blunt Instrument, Solange, Aston Montenegro, Stairwell Fight, Vesper, The End Of An Aston Martin, City Of Lovers, The Switch.
QOS - building off his growth from CR, Arnold continues to show more diversity.... continuing once again, to not play it safe, but to expand his musical boundries.. while at times, this soundtrack falls into the same trap as CR's (with a lot of filler tracks) - it doesn't seem to take away anything by having too much.... highlights for me are Time To Get Out, The Palio, Bond in Haiti, Night At The Opera, Camille's Story, Oil Fields, Perla De Las Dunas.
I wouldn't exactly call the following "random noise or filler music". I would call it making a near-perfect Bondscore to match the things going on onscreen:
I hope "007" does return in skyfall.
Diamonds are Forever
Space March
Thunderball
Moonraker
We Have All The Time in the World
and OHMSS.
the rest was a disaster. IMO
As I said there is always a couple of brilliant tracks in every Arnold score, a few good tracks, and the rest if entirely forgettable, like 'CCTV', 'Access Denied'...
TWINE: Oddly enough, even if I were to have just viewed this film, I would have forgotten every track in the film. I think I liked the Thames chase the best, but I can't remember it at all.
DAD: An okay soundtrack. Again, much of it I can't remember (I don't know what it is about TWINE and DAD's soundtracks, but unless I'm watching each film, I forget them entirely).
CR: I love this soundtrack. Each scene has perfectly matching music, and very few disappointed. The chase musics, especially, are all good (no two chase themes sounded alike, which I like).
QOS: I liked the action scores, but other than that... maybe not his best effort.
GE2010: Though the music was principally done by Kevin Kiner (who I like for his Star Wars: The Clone Wars soundtracks), Arnold was still heavily involved, and you can tell by listening to the game. Its soundtrack sounds, for the most part, a lot like CR's, which I don't find a bad thing.
My ranking:
TND
QoS
CR
DAD
TWINE (I like it but I just think the others are better)
I do prefer the GE64 score, but I like the GE2010 score, too. And, in the first few levels, Arnold/Kiner insert a few nods to that original game score, which I like (they're subtle, and you can only hear them if nothing else in the area is making noise, but they're there).
How DaltonCraig007 feels about the CR score is how I feel about the GE2010 score. I mean aside from the JB theme, Main Menu, and the fight with 006. it sounds like generic stealth music. Part of the charm of the original GE64 was the Music, with this it was a massive letdown.
My Ranking of Arnold's Scores.
TND: First and Best (I don't mind an overuse of the James Bond theme...I LOVE IT.)
DAD: Loud, Exciting and Fun. (Techno may be annoying but that's why I have a sound filter to mask it out and enjoy the orchestra.)
QoS: Great Stuff...needs more Bond theme.
CR: Same with QoS
TWINE: It packs some solid punches but most of it isn't memorable. IMO.
Not at all. You can feel Marc Forster's influence on QOS, and because of that it's got much more personality, thematic material, colour and restraint than CR. The action music's considerably more focused too, in the spirit of Barry, as opposed to aimless and cluttered cue like the Miami chase or stairwell fight.
That's my problem with. It's all over the place. Barry always had clear themes that stitched the score together. Arnold just doodles on his MIDI keyboard, records it, and gets Nic Raine to orchestrate it into full score.
Agreed. However the stuff Arnold did that sticks out to me are. Hovercraft Chase, Ice Palace Car Chase, TND-Bike Chase, Caviar Factory, Sword Fight, Night at the Opera and African Rundown only to name a few.
i found more of a central theme spread out over the score for CR than I did QOS personally...
in Arnold's score for CR, you'll find the melody to "You Know My Name" and "City Of Lovers" used frequently and/or musical cues to those tracks sprinkled through the score... it's about the most thematic of Arnold's scores that he has done... your right about the action scenes though.. but as i've said about Arnold in the past, his music works best when watching the film..... by itself, it's pretty average.
while QOS's score pushes the boundaries a little further - I find that one thematically all over the place... if they (the producers) would've let Arnold have his way with the title theme again, like they had with You Know My Name - it's quite possible there could've been a more unifying theme musically... in my opinion, though the QOS soundtrack is good, it's without a center to fall back on.
That's a very good point. Never thought of it that way before.
That disconnection, however, takes me away from the score. I can actually remember a few Arnold scores after watching the films, whereas the Barry scores just fade from my mind a few minutes after watching those films.
And Monty Norman should have been given more of a chance.