Composers for Bond 25

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I wouldn't mind if Cliff Martinez was chosen. I thought there was this surreal, fantastic sound to Neon Demon that wouldn't be out of place in a Bond film. 

My top pick would be Dario Marionelli for a sweeping score like YOLT or FRWL:

 

Or David Arnold if he can bring a vitality back to his Bond scores similar to his Brosnan era work. Though I'd rather they not waste their efforts on a Craig Bond film.

I am loving the Blade Runner 2049 soundtrack atm so I would be delighted to hear Walmfisch's contribution to the series equally Marionelli, Alberto Iglesias or Tom Twkyer should be considered..... much as I love the Barry style without the great man himself it would be nice to have a score which is more its own thing and less a pastiche than perhaps we have heard from the likes of Arnold and Newman.

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I would love to, but I have yet to see it. Perhaps this or next weekend.

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I saw Campbell's The Foreigner yesterday and while I thought it was solid, the music failed to impress (except for Jackie Chan singing the end credits song, which had a beautiful composition and his vocals were rather good). I was surprised to see it was Cliff Martinez who composed the score. It was that same sterile, cold noise that characterises a lot of films nowadays. For a film called 'The Foreigner' I would have liked more of an Oriental or Celtic influence to characterise the music. 

Considering the crossover of genres, I have a suspicion that Martinez would employ a similar sound if he were to compose a Bond film. Unless of course the director isn't like Mendes, who doesn't seem to give a toss about the music, then perhaps they'd encourage a different sound. 

Ambler wrote:

I'm not familiar with Dario Marionelli 's work. I'll give it a listen. 

His music for Atonement and Wright's Anna Karenina are my favourite of his scores so far. He was Oscar nominated for Pride and Prejudice.

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Ambler wrote:

Something purely electronic might work in some of the more reflective moments.

I could see that. Unfortunately, there are surprisingly few reflective moments in the most human Bond's era.

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Erica Ambler wrote:

Mogwai would shake things up.

Certainly would. I'm not ready for that.

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Erica Ambler wrote:

Never happen, but Mogwai would shake things up.

I like.

I don't think it hurts to have one film every now and then which goes for a distinctive sound, rather than a more traditional Barry imitation. Think Serra and Goldeneye.

I agree, though I'm not sure if this particular example fits with Bond. Martin's 70s funk sound, Conti's energetic 80s cues, Kamen's rougher and Latino fusion and Serra's Euro-thriller music all still fell within the realm of Bondian music.

Nothing's out of the question if done right (short of gangsta rap perhaps) and adapted to the tone of the film. Certainly, in the late 70's/early 80's, I'm sure there were series purists who thought disco disgraced the traditional domain of brassy Barry numbers.

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They need somebody to do a BIG score-one that even regular audiences will take notice of and remember fondly. Bond is a big job for composers yet hasn't been treated as such.
007 deserves great composers. Truly great ones-not merely good ones or modern choices who fill spaces.
Of those who are still working:
While I don't think his regular style would necessarily fit, it would be interesting to see what John Williams would have done with a Bond score.
Personally I think the only person working today who could do it properly is probably Danny Elfman. And even then that might be a bit of a stretch in terms of making a composer's style work in Bondverse.

If David Arnold came back and laid off the constant techno noise and over the top Barry/series nods-motifs that would seem like the most logical choice.

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Erica Ambler wrote:

FieldsMan wrote:

I agree, though I'm not sure if this particular example fits with Bond. Martin's 70s funk sound, Conti's energetic 80s cues, Kamen's rougher and Latino fusion and Serra's Euro-thriller music all still fell within the realm of Bondian music.

No one needs another Bond film, particularly if it's more of the same. Ditch the brass and that whole Las Vegas cabaret vibe; it was old fashioned even in 1964.

If Eon is staying with self-pitying Bond then something troubled and shoe-gazing like this might be more appropriate.

Keep the brass if that's the alternative. 

Ambler wrote:

An epic score requires an outlandish script. However, If Bond is about, say, stopping the privatisation of water in Bolivia then a harmonica and maracas will suffice.

 

I'm hoping for both an epic score and an outlandish script. And by outlandish I don't mean crane jumps or heading into space. But touches of bizarre within a focussed narrative. Like OHMSS or GE.

Had Marianelli's Anna Karenina score in my mind for days now so started listening to it again. What a combination it would be - Wright directing, McGarvey the cinematographer and Marianelli composing...