First three minutes are excellent, atmospheric, moody and tense but then the crash bang wallop action histrionics just aren't for me. Many of the action sequences don't really need music, the sound effects are enough.......in my opinion.
Yes, this is surely a very good action cue. What I think sets it apart from other modern action cues is the melody that is injected at certain times. Stephen is right that it gets more noisy later in the cue. That is when it becomes just a modern action cue. These days action cues are all the same crash, bang wallop stuff. That`s why we don`t "love" it as much.
It`s like the Concord airplane. Years of development gave us a good product, but then we suddenly started going back to the slower planes again. Music was good - then they decided that we should accept something mediocre. Strange!
This may arguably be Arnold’s best single Bond cue, but IMO his work on Casino Royale (and honestly also Quantum of Solace though alas he didn’t get to do the title song) was extraordinary, so I wouldn’t say it was all downhill.
It is indeed a great track in a score with plenty of highlights, but the best for me is the final part of "All In A Day's Work" - from the quoting of the Bond theme to the gorgeous rendition of the theme song (Surrender) and then the Bond theme to close the movie, it is a perfect track.
Arnold was great at writing action music with thematic hooks. I love all his Bond scores even if in the Brosnan era he gradually went a bit overboard with the electronics (if some of his tracks were stripped out of the electronics and overlays I think they would be better).
Another one of my favourite action tracks from him - that was one of my "most wanted" (because it was unreleased) - is his track for Godzilla (1998) "Godzilla Versus The Submarine".
This may arguably be Arnold’s best single Bond cue, but IMO his work on Casino Royale (and honestly also Quantum of Solace though alas he didn’t get to do the title song) was extraordinary, so I wouldn’t say it was all downhill.
Yavar
I'll give him some slack for those. His Craig scores (as a whole) were considerably better than his Brosnan ones. Though, to be fair, he had better films to work with... But as a standalone cue, White Knight is hard to top.
This may arguably be Arnold’s best single Bond cue, but IMO his work on Casino Royale (and honestly also Quantum of Solace though alas he didn’t get to do the title song) was extraordinary, so I wouldn’t say it was all downhill.
Yavar
I'll give him some slack for those. His Craig scores (as a whole) were considerably better than his Brosnan ones. Though, to be fair, he had better films to work with... But as a standalone cue, White Knight is hard to top.
What do you know, we finally agree on something Spymaster.
This may arguably be Arnold’s best single Bond cue, but IMO his work on Casino Royale (and honestly also Quantum of Solace though alas he didn’t get to do the title song) was extraordinary, so I wouldn’t say it was all downhill.
Yavar
I think Solace is his best score. (And I really don't like the film.)
Funny story about White Knight: I got the idea in my head that he was on some kind of war ship. I even imagined him running across the deck while a helicopter tracking shot followed along with him. I finally got to see pretty much the whole scene I envisioned: In Captain America: Winter Soldier.
Bike Chase is pretty damn good too. So is Backseat Driver. A lot of this score totally lives up to White Knight.
