Bond 25 + Future Bond Score Composer (Page 3 of 7)

I quite like newmans scores as their own entity, in the car driving.  But alongside the film they just don't deliver, the score should involve your senses more,  complementing what your eyes are seeing and newmans just dont have that. For me it actually detracts from the viewing pleasure, I get,  some pieces work better than others with a couple of standout moments. Arnolds scores have the ability to add tension or drama and drive action. Sequences.

SF's score had the pleasure of being original. it's the better of Newman's two efforts but I'm not a fan of either though. How about Christopher Lennertz? He composed the scores for video game versions of From Russia with Love and Quantum of Solace. Both are great Bondian scores especially his FRWL Game score. Here's some of his work on Both.

Big Ben:  https://www.youtube.com/watch?v=8xe6vs799D8

Big Ben Arrival/ Jetpack Escape: https://www.youtube.com/watch?v=PpWH7Ukg5qw

On the Barge: https://www.youtube.com/watch?v=Wqhh86nTybQ

Science Center (Alex Dimitios Fight) https://www.youtube.com/watch?v=itU2JVoINK8

I disagree. I don't really get an Arnold vibe from Lennertz's work. His FRWL score has more Barry inspiration of course but it's more a classical approach. Unfortunately I couldn't find more examples on youtube. His QoS score doesn't at all make me think of Arnold's QoS score. Though I think it's weaker than his FRWL score. I think he'd do a good Bond film score though. Much better than Newman's stuff.

I really liked what Newman did with the Bond theme for a lot of SF, it was one of the things that I was most excited about when he was brought on considering his music is the polar opposite of the usual Bond sound. I also felt Arnold's QOS score reeked of DAD and didn't have many good Bond theme uses beyond the end titles, so I welcomed a new take. In SF there's classic takes on the theme like In "breadcrumbs" and "silva's capture" but also his own interpretation in "someone usually dies" and the end of "breadcrumbs". Most tracks on the score have the Bond theme somewhere. My personal favorite is on strings I think it is in the middle of "she's mine". Spectre features really no new uses of theme except copy and pasted from SF. Also its where I think there were obvious missed opportunities to blast the Bond theme, particularly since Spectre was a more a typical Bond adventure that warranted big Bond theme moments.

The only music in SF that I think is genuinely lackluster was most of the London underground chase music and the first attack on Skyfall lodge. Outside "shes mine" and "deep water" I definitely agree with Matt that Newman's action music isn't particularly good, But it doesn't detract from the film like a lot of Spectre's action music does.

Agree 100 percent... Spectre had a few decent tracks but totally ripped off Skyfall... I would really like to see David Arnold back if Craig is back for one or two more...

Ever since the late 1980s, it's been vogue for many TV and film producers to want "sonic wallpaper" as scores, which is to say rather bland, generic, and minimalist tonal accompaniment.  The later Star Trek TV series, for instance, were infamous for this.  This is largely a reaction by my generation to the more bombastic and, in my opinion, creatively interesting scores of TV and film in the previous decades.  There's a sense among Gen-Xers in particular that with rare exception -- Star Wars, for instance -- less is more, and anything big and loud is campy.  The more artsy-fartsy the film maker -- and Sam Mendes has pretensions of being an artist -- the more likely they are to use something barely approximating music, a la Thomas Newman, who has little of the talent or vision of his father, who created such iconic scores as How the West Was Won:

https://www.youtube.com/watch?v=uwPI80EALPU

Some movies need a bombastic orchestral score,  such as Star Wars. Other movies such as kitchen sink dramas would seem silly with them. Bond movies probably don't need quite the Wagnerian style of SW, but definitely need a melodic score played by an orchestra.

Yes,  different types of movies need different scores. Bond scores are a special type of music and I think they should continue that tradition.