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Posted: |
Dec 2, 2017 - 11:23 AM
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By: |
Tall Guy
(Member)
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I’m adding my voice to those, including Bruce and Mitch, who defend the score to Doctor No. I like all the one-off scores, whether it’s this one, or LALD, NSNA, FYEO, Goldeneye, LTK or whatever. Don’t get me wrong, the ideal Bond score is a Barry one, preferably in 60s style, but the next best is where a composer understands that he may get one chance at this unique series and gives it his all. On that basis, Tomorrow Never Dies is my favourite David Arnold score. His other ones are along very similar lines and unless they include the main theme I’m afraid I struggle to identify the scores from TND to QoS.
I’d have liked a one-off from Desplat, from Zimmer, or Shore, JNH, Portman, Lurie. We’ve had a Giacchino one, which only lacked the film (but The Incredibles was great in its own right, both film and score). Skyfall was a slight disappointment as I felt it was written in the style that the composer thought it should be instead of giving us a Tom Newman Bond score. My opinion. And of course it went the same way with SPECTRE.
Back to Doctor No, I actually enjoy the underscore as well as the songs. Had Monty returned for FRWL then it might be a different matter!
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Déjà vu, Onya?
You responded to one part of my post and not the other. So, again, I am one of those people with a musical background, and I have worked in the roles of both composer and arranger, and I can attest that a grey area exists between composition and orchestration/arrangement, especially in situations in which there is not much of a composition for the arranger to latch onto.
There's a grey area in anything where a lawsuit can be invoked. That's what trials are, by definition. You could say there's a grey area about whether a guy should be sacked or prosecuted for having off-record meetings with Russian ambassadors, but in real, absolute terms, it's not really a debate. Someone will always sue, someone will always defend. But in terms of natural justice, it seems clear cut.
Barry and Norman both deserve joint credit, IMHO.
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Barry and Norman both deserve joint credit, IMHO.
That would have been the ideal solution back in 1962.
I think what irks most Barryphiles was that Barry was denied co-credit for what was so highly effective a musical "end result," and one which spilled over into every subsequent Eon Bond film without mention of Barry's contribution.
Here is composer John Scott's recollection of his involvement in the score for DR. NO (starts at 20:52) in an extremely entertaining interview by Jon Burlingame. Scott seems to confuse the James Bond Theme single that Barry recorded for EMI with the original United Artists recording for the film.
https://www.youtube.com/watch?v=BKCvPk-qSdA&index=1&list=PL8PTNq6vub_YQFR3Ue2m2dx-0_HaObO-V
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