Question:
Listening to the Score of DAD on CD, it made me ponder, would the Brosnan Bonds thus far have been improved if they had all featured John Barry scores? I do quite like Arnolds scores, competant enough and he is a Bond fan, but I'm not sure if they seem quite *epic* enough, that you'd always get with a Barry score. Arnolds scores sometimes seem inconsequencial.
Thoughts?
Barry is great, Arnold's scores are nicely timed with the 90s, new age of modern music etc. But it wouldn't make much a difference, I like Pierce's films, but best way to improve, is better stories, and I feel Pierce can still improve.
A Barry/Arnold colaboration would work well as well IMHO. Also get Shirley Bassey in to sing a decent theme tune (no more please of the Madonna rubbish)
Saw Bassey the other night on telly belting out Goldfinger Diamonds Are Forever and she is still as powerfull and brilliant as she was back in the 1960's.
And she doesn't look much older than then either!
Barry brings CLASS to Bond, unfortunately, Arnold brings over-orchestrated music with drum and bass and electronics. Sometimes works, but way too much emphasis on the techno stuff.
Barry's music is timeless since most of it is orchestral. Barry would've rocked on Goldeneye, but subsequent films are much more noisy and action packed, which wouldn't be enhanced by Barry, since a turd is a turd, no matter how much polish you put on it.
I actually think Goldeneyes score was quite good, as was the film.
It's later efforts that have gone downhill, but not because of Brosnan or Arnold. Screenplay's and Direction are the reason IMO, and more recently in Die Another day - Less emphasis on real stunts and more on lame CGI :(
Gary A
I thought the Goldeneye score was the weakest of the Broz films.
Goldeneye's score was done by Eric Serra, (presumably on the strength of his previous film "Leon") and his score wasn't really orchestral, although it did have orchestral moments within the score (during the tank chase for instance).
In fact Bond purists hark on about how terrible Serra's score was for Goldeneye, which was more techno than anything else, and hence the reason why he wasn't re - hired for Tomorrow Never Dies.
Looking back on the Goldeneye score its actually a very funky piece, you can actually dance to some of the score pieces, although one complaint I have about the score is that it doesn't sound particuarly "bond-esque".
The only moment of genius David Arnold has had is the 8 notes which he wrote for the "Tomorrow Never Dies" theme, heard at the beginning of KD Lang's "Surrender", which does sound very Bond-ian.
Still, nothing is as bad as the score for The Spy Who Loved Me :oh-hum:
Originally posted by GAmbrose
I actually think Goldeneyes score was quite good, as was the film.
It's later efforts that have gone downhill, but not because of Brosnan or Arnold. Screenplay's and Direction are the reason IMO, and more recently in Die Another day - Less emphasis on real stunts and more on lame CGI :(
Gary A
I like Goldeneye's score as well, more than any of Arnold's scores so far.
Goldeneye is easily the best Broz film in my opinion.
Bond 77 is a great track from Spy Who Loved Me.
The Tank chase in Goldeneye wasn't scored by Serra, it was done by someone else.
It was reall;y strange for me watching Goldeneye after playing through the game first.
The tank chase score was redone as the Brocollis hated the Eric Serra score. I dont really mind the Arnold stuff, but like everything else about the last 3 bonds its all a bit generic, and not terribly bondy. On the other hand I am impressed that he has gone from possibly the best bond song (k d lang - surrender) to the worst (DAD!) in only 3 films!
Madonna is just setting new lows for herself all over the place isn’t she? The worst Bond theme ever (coupled with an execrable cameo appearance) and the worst film of her career in the same year. When, oh when will she get the message and just bugger off?
I’ll bet John Barry wouldn’t have let that crap go out as the Bond theme if he were still composer.
Originally posted by Captain_Chaos
Goldeneye's score was done by Eric Serra, (presumably on the strength of his previous film "Leon") and his score wasn't really orchestral, although it did have orchestral moments within the score (during the tank chase for instance).
Most of Serras score was considered unusable by the producers, and an un-named composer re-scored a lot of it.
The reason I dislike most of Goldeneyes score is hardly any of it sounds like it belongs in a Bond film. At least Arnolds scores have loads of bond riffs.
There are parts of Serra's Goldeneye score that I really like, although perhaps these are the parts actually not scored by him. In particular, the bit when Bond and Natalia are escaping from the interrogation room in the Russian prison compound, the funky car sequence early in the movie and the tank bit. The rest is OK - I agree that it doesn't have that Bond 'flavour' to it, but it suits the mood well enough. Certainly not a bad score.
Same with Kamen's score to Licence To Kill. Most of it is considered forgettable, but in truth it really helps give the film some of its atmosphere, and I love Kamen's take on the Bond theme (such as when Bond is lowered onto the tail of Sanchez's plane).
Award for best Bond score still goes to Barry for The Living Daylights.
How's this for an idea? Get Clive Owen to play Bond, Laetitia Casta to play Bond girl, The Cardigans to do the theme song (written by them and Barry), Barry to colaborate with David Arnold on the score, John Glen to direct again, and set it in Japan (for exoticism), France (for culture) and New Zealand (for scenery). Now THERE's a Bond film I would love to see!!
John Glen is a bit old now.
He's what? early 70's?
Gary A
Hmmmmm, perhaps. Don't see why he couldn't - my dad's 65 and still directing plays. If his heart's in it (and he's fit enough), I'm sure Glen could steer Bond back on track. If not....hmmmmmm....who could direct?
I'd love to see a Bond film directed by Soderbergh. How slick would that be? But for the nitty gritty, I really don't know.
Paul Verhoeven would be an interesting choice. :nuts:
Originally posted by SithLordSi
Award for best Bond score still goes to Barry for The Living Daylights.
:thumbs: Good call, definitely one of Barry's best along with A View To A Kill (which needs a decent full length soundtrack release as opposed to the pricey Japanese import)
How's this for an idea? Get Clive Owen to play Bond, Laetitia Casta to play Bond girl, The Cardigans to do the theme song (written by them and Barry), Barry to colaborate with David Arnold on the score, John Glen to direct again, and set it in Japan (for exoticism), France (for culture) and New Zealand (for scenery). Now THERE's a Bond film I would love to see!!
:thumbs: I'd buy that for a dollar!
Thoughts?
Answers:
Barry is great, Arnold's scores are nicely timed with the 90s, new age of modern music etc. But it wouldn't make much a difference, I like Pierce's films, but best way to improve, is better stories, and I feel Pierce can still improve.
Answers:
A Barry/Arnold colaboration would work well as well IMHO. Also get Shirley Bassey in to sing a decent theme tune (no more please of the Madonna rubbish)
Saw Bassey the other night on telly belting out Goldfinger Diamonds Are Forever and she is still as powerfull and brilliant as she was back in the 1960's.
And she doesn't look much older than then either!
Answers:
Barry brings CLASS to Bond, unfortunately, Arnold brings over-orchestrated music with drum and bass and electronics. Sometimes works, but way too much emphasis on the techno stuff.
Barry's music is timeless since most of it is orchestral. Barry would've rocked on Goldeneye, but subsequent films are much more noisy and action packed, which wouldn't be enhanced by Barry, since a turd is a turd, no matter how much polish you put on it.
Answers:
I actually think Goldeneyes score was quite good, as was the film.
It's later efforts that have gone downhill, but not because of Brosnan or Arnold. Screenplay's and Direction are the reason IMO, and more recently in Die Another day - Less emphasis on real stunts and more on lame CGI :(
Gary A
Answers:
I thought the Goldeneye score was the weakest of the Broz films.
Answers:
Goldeneye's score was done by Eric Serra, (presumably on the strength of his previous film "Leon") and his score wasn't really orchestral, although it did have orchestral moments within the score (during the tank chase for instance).
In fact Bond purists hark on about how terrible Serra's score was for Goldeneye, which was more techno than anything else, and hence the reason why he wasn't re - hired for Tomorrow Never Dies.
Looking back on the Goldeneye score its actually a very funky piece, you can actually dance to some of the score pieces, although one complaint I have about the score is that it doesn't sound particuarly "bond-esque".
The only moment of genius David Arnold has had is the 8 notes which he wrote for the "Tomorrow Never Dies" theme, heard at the beginning of KD Lang's "Surrender", which does sound very Bond-ian.
Still, nothing is as bad as the score for The Spy Who Loved Me :oh-hum:
Answers:
Originally posted by GAmbrose
I actually think Goldeneyes score was quite good, as was the film.
It's later efforts that have gone downhill, but not because of Brosnan or Arnold. Screenplay's and Direction are the reason IMO, and more recently in Die Another day - Less emphasis on real stunts and more on lame CGI :(
Gary A
I like Goldeneye's score as well, more than any of Arnold's scores so far.
Answers:
Goldeneye is easily the best Broz film in my opinion.
Bond 77 is a great track from Spy Who Loved Me.
The Tank chase in Goldeneye wasn't scored by Serra, it was done by someone else.
Answers:
It was reall;y strange for me watching Goldeneye after playing through the game first.
Answers:
The tank chase score was redone as the Brocollis hated the Eric Serra score. I dont really mind the Arnold stuff, but like everything else about the last 3 bonds its all a bit generic, and not terribly bondy. On the other hand I am impressed that he has gone from possibly the best bond song (k d lang - surrender) to the worst (DAD!) in only 3 films!
Answers:
Madonna is just setting new lows for herself all over the place isn’t she? The worst Bond theme ever (coupled with an execrable cameo appearance) and the worst film of her career in the same year. When, oh when will she get the message and just bugger off?
I’ll bet John Barry wouldn’t have let that crap go out as the Bond theme if he were still composer.
Answers:
Originally posted by Captain_Chaos
Goldeneye's score was done by Eric Serra, (presumably on the strength of his previous film "Leon") and his score wasn't really orchestral, although it did have orchestral moments within the score (during the tank chase for instance).
Most of Serras score was considered unusable by the producers, and an un-named composer re-scored a lot of it.
The reason I dislike most of Goldeneyes score is hardly any of it sounds like it belongs in a Bond film. At least Arnolds scores have loads of bond riffs.
Answers:
There are parts of Serra's Goldeneye score that I really like, although perhaps these are the parts actually not scored by him. In particular, the bit when Bond and Natalia are escaping from the interrogation room in the Russian prison compound, the funky car sequence early in the movie and the tank bit. The rest is OK - I agree that it doesn't have that Bond 'flavour' to it, but it suits the mood well enough. Certainly not a bad score.
Same with Kamen's score to Licence To Kill. Most of it is considered forgettable, but in truth it really helps give the film some of its atmosphere, and I love Kamen's take on the Bond theme (such as when Bond is lowered onto the tail of Sanchez's plane).
Award for best Bond score still goes to Barry for The Living Daylights.
How's this for an idea? Get Clive Owen to play Bond, Laetitia Casta to play Bond girl, The Cardigans to do the theme song (written by them and Barry), Barry to colaborate with David Arnold on the score, John Glen to direct again, and set it in Japan (for exoticism), France (for culture) and New Zealand (for scenery). Now THERE's a Bond film I would love to see!!
Answers:
John Glen is a bit old now.
He's what? early 70's?
Gary A
Answers:
Hmmmmm, perhaps. Don't see why he couldn't - my dad's 65 and still directing plays. If his heart's in it (and he's fit enough), I'm sure Glen could steer Bond back on track. If not....hmmmmmm....who could direct?
I'd love to see a Bond film directed by Soderbergh. How slick would that be? But for the nitty gritty, I really don't know.
Answers:
Paul Verhoeven would be an interesting choice. :nuts:
Answers:
Originally posted by SithLordSi
Award for best Bond score still goes to Barry for The Living Daylights.
:thumbs: Good call, definitely one of Barry's best along with A View To A Kill (which needs a decent full length soundtrack release as opposed to the pricey Japanese import)
How's this for an idea? Get Clive Owen to play Bond, Laetitia Casta to play Bond girl, The Cardigans to do the theme song (written by them and Barry), Barry to colaborate with David Arnold on the score, John Glen to direct again, and set it in Japan (for exoticism), France (for culture) and New Zealand (for scenery). Now THERE's a Bond film I would love to see!!
:thumbs: I'd buy that for a dollar!
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