Who would you like to score Bond 24?

Largo's Shark wrote:

I like Bond music to be loud, arousing, but economical.

Bit like your women, then.

I was sold on "Severine", which was a very Barry-esque track with Newman's flair.

I hope he gets the job again. Don't know if I could take another fucking Arnold score.

I wonder if Trent Renzor could do it. I haven't seen THE SOCIAL NETWORK, but he did some great work on THE GIRL WITH THE DRAGON TATTOO and GONE GIRL. Maybe Bond is a little too big and in-your-face for him, though.

Prisoner Monkeys wrote:

I wonder if Trent Renzor could do it. I haven't seen THE SOCIAL NETWORK, but he did some great work on THE GIRL WITH THE DRAGON TATTOO and GONE GIRL. Maybe Bond is a little too big and in-your-face for him, though.

Hope not. I liked his Social Network and Dragon Tattoo scores, but the kind of sound that works for a Fincher movie is probably not what works for Bond. (And I can't remember a single cue from Gone Girl for the life of me. Totally forgettable background noise.)

Renzor isn't fit for Bond unless he does something different from his past work.

Jack Wade wrote:

Prisoner Monkeys wrote:

I wonder if Trent Renzor could do it. I haven't seen THE SOCIAL NETWORK, but he did some great work on THE GIRL WITH THE DRAGON TATTOO and GONE GIRL. Maybe Bond is a little too big and in-your-face for him, though.

Hope not. I liked his Social Network and Dragon Tattoo scores, but the kind of sound that works for a Fincher movie is probably not what works for Bond. (And I can't remember a single cue from Gone Girl for the life of me. Totally forgettable background noise.)

Completely disagree about GONE GIRL. Hated THE SOCIAL NETWORK and DRAGON TATTOO, but I loved this. Harmonically far more sophisticated, and also strangely haunting. After seeing the film (which I didn't care for) the various themes and textures were going through my head the next through days. The score practically carried the film.









That said, I don't think he's right for Bond. Not versatile enough.

I'm in complete agreement with Erica Ambler on this one. Newman, with his one shot, totally showed up Arnold.

Still nowhere near the quality of the legendary Barry - 'the master' (who is?) but still much fresher sound for Skyfall than we've seen in years. I want either Newman, as I'm sure he'll improve with #2, or someone else. Not Arnold - please!

boldfinger wrote:

Erica Ambler wrote:

boldfinger wrote:

Arnold´s scores were always less identifiable than Barry´s, but Newman´s score for SF is even worse in that regard. And Arnold at least concocts a nice mixture of sinister, introspective, and over the top. That is what Bond should be.

I couldn't agree with you less. Newman is a master who revealed Arnold to be nothing more than an overgrown boy playing with his Casio.

Certainly not with his SF score. And we didn´t need Newman to know that Arnold is an overgrown boy playing with his Casio. But at least he knows how to have fun with it. I value that higher at the end of the day than a composer who, when he´s not overly self-indulgent, thinks he has to emulate the most generic blockbuster sound of the day. Arnold at least ripped off nice-sounding composers.

Largo's Shark wrote:

Completely disagree about GONE GIRL. Hated THE SOCIAL NETWORK and DRAGON TATTOO, but I loved this. Harmonically far more sophisticated, and also strangely haunting. After seeing the film (which I didn't care for) the various themes and textures were going through my head the next through days. The score practically carried the film.

I think the reason for that is because Fincher has a very specific idea of what mood he wants to create. In the case of GONE GIRL, he wanted music that was meant to relax you, but instead just unnerved you, which matches the way the film plays with our expectations. My issues with the film stem from the book, mostly because it was unbalanced; Nick spent a whole lot of time doing nothing, and the third act was rushed. But I think both Fincher and Renzor did an excellent job.

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That said, I don't think he's right for Bond. Not versatile enough.

I agree, but I wonder if that's because he has never worked on a project that called for scope or versatility, or if it's because he needs a very particular relationship with the director.

Henry Jackman did a Bondish pastiche for X Men First Class......why not see what he can do with the theme proper at his disposal.

I do wish someone would run a modern take on Barry's 007 theme one day.

Same here, nothing like the 007 theme. Wish that was used with a fresh mind and a mind to play!

http://www.digitalspy.co.uk/movies/news/a599674/david-arnold-id-go-back-to-james-bond-in-a-heartbeat.html

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"I always said that I'd go back if they asked me," Arnold said when we brought up the inevitable.

"I know that Sam Mendes is directing and he always works with Tom Newman."

Unless EON persuades Mendes to give Arnold a shot, it sounds like Newman will be scoring the next film. I do hope. I don't want another Barry-lite score.