Hans Zimmer would be great. As plan B I would be glad for a return of Conti or Serra. Both proved they can handle Bond (btw. plan C could be Silvestri).
I know, I know: don't feed the trolls. But Serra? Dude, where were you in 1995 when we were puking on theatre seats?
And no offense to Bill Conti, but he hasn't been on any studio's short list for composers in decades. Sorry to say, but the world of film composers has changed and you'll probably need to start learning some of the new names. Now, I personally think John Powell would provide a pretty great Bond score.
I don't know about clickbait, because who but a very small number of people would be all that interested?
If the document that the article reports on is legit, I doubt it really means anything until the next director is hired, and then all bets are off. I never really assumed that Newman would stay once Sam Mendes was gone, and I would be quite surprised if he did, honestly. I love his two Bond scores, but it never really felt like he was there to stay.
Hans Zimmer would be great. As plan B I would be glad for a return of Conti or Serra. Both proved they can handle Bond (btw. plan C could be Silvestri).
I know, I know: don't feed the trolls. But Serra? Dude, where were you in 1995 when we were puking on theatre seats?
Maybe ... I recall Soundtrack magazine employing a new rating: GoldenEye meaning somewhere lower than the lowest rating ...
and then ... 17-20 years on ... well, Eric Serra's GoldenEye doesn't sound so bad after all.
Please, please .... from a life-long 007 fan ... no more Thomas Newman ... please!
Hans Zimmer would be great. As plan B I would be glad for a return of Conti or Serra. Both proved they can handle Bond (btw. plan C could be Silvestri).
I know, I know: don't feed the trolls. But Serra? Dude, where were you in 1995 when we were puking on theatre seats?
I was listening to Goldeneye yesterday. It's still pretty great.
I wouldn't mind going back to Arnold. I also wouldn't mind someone new.
We know exactly two things about this film right now – the star and the release date. We're pretending to read tea leaves about the composer, like this is the NFL draft and players are falling in and out of favor, but the producers are trying to get a hundred other things in order and I would guess composer is about 114th on their list of concerns right now.
I suspect johnmullin is right, and that Thomas Newman did not anticipate becoming the new Bond composer through various directors. I get the feeling he wouldn't want that, anyway. But what do I know?
Amen to bringing back Arnold. I even think his Quantum of Solace score is pretty underrated because the film (and song) were so disliked at the time. Personally I prefer QoS to the disappointing SPECTRE by far, though I loved Skyfall.
I know, I know: don't feed the trolls. But Serra? Dude, where were you in 1995 when we were puking on theatre seats?
I don't have such a sensitive belly like you! I always enjoyed Serra's score and it was an interesting and new approach to modernize the antiquated Barry-scores (that started to bore with Octopussy).
I know, I know: don't feed the trolls. But Serra? Dude, where were you in 1995 when we were puking on theatre seats?
I don't have such a sensitive belly like you! I always enjoyed Serra's score and it was an interesting and new approach to modernize the antiquated Barry-scores (that started to bore with Octopussy).
Wow, really? I'm shocked that anyone might find Barry's score for The Living Daylights as boring, it's multi-thematic, has three great songs and tons of exciting action material. It's in my top 3 of John Barry/Bond scores.
I'm... not at all a fan of Sierra's score to Goldeneye but the Casino music is really beautiful. (Of course, one of the orchestrators on the film was Craig Armstrong and it sounds a LOT like his work so... ahem.)
I don't have such a sensitive belly like you! I always enjoyed Serra's score and it was an interesting and new approach to modernize the antiquated Barry-scores (that started to bore with Octopussy).
I wouldn't say one had to be that sensitive. The consensus at the time was that Serra's score sucked the air out of the movie – and not in a good way.
Serra's work for Besson was wonderful, but both he and the producers made a bad call with their approach to GoldenEye. And I'm not talking about the music itself, but about how the music works in the film and what it fails to ignite.
Absolutely, Serra's score was a complete misfire. It seemed to actively be working against the effectiveness of most scenes in the movie. I was 20 when it came out and very much remember the big push to make Bond "new" and modern since it was now the 1990s and Bond was seen as stale, especially after the six year hiatus from License to Kill. I guess random electronic pops and themeless drivel is what the producers thought would feel new. Thank god they re-scored the tank chase with someone else.
On the bright side though, if Eric Serra hadn't COMPLETELY botched it would we have been fortunate enough to get David Arnold's huge orchestral sound for Tomorrow Never Dies?
On the bright side though, if Eric Serra hadn't COMPLETELY botched it would we have been fortunate enough to get David Arnold's huge orchestral sound for Tomorrow Never Dies?
Arnold's score for "Tomorrow Never Dies" is good but the score was composed and arranged in a direction where Bond has been before with Barry. I always thought while listening to the soundtrack: "Man! Arnold is much, much better than that. He wrote such a wonderful score for "Stargate"." "TND" was a step backwards in my opinion. But maybe he was limited by the producers, so that he couldn't really do what he wanted. (I've heard such rumors within the last ten years, dunno whether it's true or not.) Nevertheless I would welcome a return of David Arnold.
Wow, really? I'm shocked that anyone might find Barry's score for The Living Daylights as boring, it's multi-thematic, has three great songs and tons of exciting action material. It's in my top 3 of John Barry/Bond scores.
After "Octopussy" and "A View To A Kill" this was a nice exception. I like the score, the two songs "Inflight fight" and "Ice chase" in particular. But this soundtrack is only rank 007 in my top 7 favorite Bond score list.
I'd welcome a scaling down of the Bonds for a film or two. More FRWL than Moonraker. Something with a bit of spying - they could do worse than chuck some money at Elleston Trevor's estate and use the Quiller storylines (I can't see actual Quiller films being made anytime soon). There are some perfectly serviceable storylines in there. And the music: Murray Gold, Dan Pemberton. Someone domestic and smaller scale than Hollywood listers, who might just give us something different.
I like the Serra score as a one-off. Ditto Martin, Hamlisch, Conti and Legrand. None of them outstayed their welcome.
I'd welcome a scaling down of the Bonds for a film or two. More FRWL than Moonraker. Something with a bit of spying - they could do worse than chuck some money at Elleston Trevor's estate and use the Quiller storylines (I can't see actual Quiller films being made anytime soon). There are some perfectly serviceable storylines in there. And the music: Murray Gold, Dan Pemberton. Someone domestic and smaller scale than Hollywood listers, who might just give us something different.
I like the Serra score as a one-off. Ditto Martin, Hamlisch, Conti and Legrand. None of them outstayed their welcome.
I really like your thinking here TG. Particularly on the scoring assignments, John Barry was domestic and very small scale on the first two Bonds.
