Thomas Newman will score SKYFALL

Jack Wade wrote:

Love what I've heard from Newman, though the caveat is that none of it has sounded "Bondian," so I have really no idea how to gauge what his score will sound like.

That's my concern - I think David Arnold really hit his stride with QUANTUM OF SOLACE (Inside Man was a particular stand-out). Maybe it was just a case of too little, too late, but I honestly would not be bothered if he scored SKYFALL and gave us more of what we heard in QOS.

Newman, however, is just a complete unknown when it comes to Bond. If he is indeed to be the composer, then I very much doubt he would have been offered the job if it weren't for his frequent collaborations with Mendes. With Mendes, Wilson and Craig all stating that they want SKYFALL to be remembered as nothing less than the best film in the franchise (ie that forty years from now, your average man on the street will name SKYFALL rather than GOLDFINGER when asked to name a Bond film) as a way of celebrating the fiftieth anniversary, there is going to be massive pressure on Newman that is, at worst, of equal quality to recent score. No doubt some people will be expecting utter perfection in all aspects of SKYFALL's production - casting, the script, cinematography, the title them; everything - and this includes the score. The only question is whether or not Thomas Newman is up to it.

Lazenby. wrote:

If it wasn't 1am here, I'd be running up and down the road bollock naked with my socks still on shouting "FUCK YEAH!!!!!" repeatedly.

I knew your reaction to Arnold not scoring SF would be this ecstatic more or less.

He'll probably come back for Bond 24, like Barry would after skipping out one film. Still, at least Newman will bring some new flavor for the 50th anniversary film.

Speaking of which, is Arnold still doing that 50th anniversary project he once spoke about? Besides his work for the Olympics, I assume that would also be the reason for not scoring the film.

Prisoner Monkeys wrote:

If he is indeed to be the composer, then I very much doubt he would have been offered the job if it weren't for his frequent collaborations with Mendes.

Um... I'm pretty sure that's the only reason.

Not unlike Deakins as cinematographer. Unless their other option to direct the film was the Coen brothers, he's pretty much on board because he's a collaborator of Mendes.

I'm very glad though, that a filmmaker has been able to bring their go-to composer onto the franchise. I'm pretty sure this is the first time it's happened, but then again, most of the Bond directors haven't had a genuine regular composer. Interesting then that the editor will be a veteran of the Bond films, who hasn't worked with Mendes before, but whatever. It makes sense.

FourDot wrote:

Um... I'm pretty sure that's the only reason.

That's what I said: that Newman has only been offered the job because of his association with Mendes. If it weren't for that association, EON probably would not have approached him.

Is that a bad thing?

Makeshift Python wrote:

Is that a bad thing?

Not necessarily - it just leaves a massive question mark hanging over him. Like I said, he hasn't really done anything that could be described as "Bondian", so unless he's done some demo tapes for EON, there's a lot of good faith involved here. Especially considering that this is the 50th anniversary, so there's going to be a lot of public and critical scrutiny.

I'd prefer he focus less on making a "Bondian" score and more on just making the best damn score possible for SkyFall.

Well, yes, but one would assume that he uses the James Bond Theme at least once, and that his music actually fits the images on-screen. My issue with Newman is that everyone says "Newman will be fantastic! Here's proof!" and then posts a sample of music that is entirely unsuited to any Bond film - which I would argue is a case for Newman being a poor choice for the job.

I wouldn't say they're entirely unsuited to any Bond film, and most of them were posted just to give posters an idea of the talent the guy has. I think it's also a given that he'll utilize the James Bond theme for the right moments hopefully. I suspect it will be a lot like how all the non-Barry/non-Arnold composers approached their film: Adding their own flavor while still composing an appropriate score for a Bond film.

finally, someone with Musical Talent.

we haven't had a good Bond soundtrack since Tina Turner and A~ha and Duran Duran and Sheryl Crow!!

Uh, j7 ... as far as we know, Newman has only been approced to compose the score. Not the title theme.

Makeshift Python wrote:

I wouldn't say they're entirely unsuited to any Bond film, and most of them were posted just to give posters an idea of the talent the guy has.

You would think that common sense would prevail and that they would post the most-appropriate piece in order to convince as many people as possible that Newman was the right choice.

Makeshift Python wrote:

I suspect it will be a lot like how all the non-Barry/non-Arnold composers approached their film: Adding their own flavor while still composing an appropriate score for a Bond film.

I already sense the wheels coming off this. If Newman were to take cues from Barry, everyone would accuse him of making a pale imitation. If he were to go his own way, everyone will accuse him of not being true to the franchise's heritage. I think that whoever composes the score is screwed if he is not John Barry for sheer virtue of the fact that he is not John Barry. Unfortuantely, Barry can't score any more films, but most people don't seem to realise this.

It only adds weight to my theory that James Bond fans do not want a film that takes all the things that made FRWL, GF, TB and OHMSS et al a success and turn them up to eleven. James Bond fans are apparently only happy when they have something to complain about.

Most Bond fans don't know what's better for the films. Some think the lack of gadgets actually makes Casino Royale less of a Bond film. I couldn't care less of what they think. Eric Serra made a bold score that was perfect for GoldenEye but fans whined because it didn't sounds like Barry. So then we got David Arnold aping John Barry with the sentiment that TND should be "one foot in the 60s, the other in the 90s" which was actually a step backwards from his concept of Shaken and Stirred compilation that focused on taking old sounds and making them contemporary. A lot of fans don't realize that John Barry was never a man who stuck with tradition. His Bond scores always evolved because he recognized the series always had to move forward and he had a great admiration for how Eric Serra went forward without looking back.

My point is, I want Newman to make a score suitable for SkyFall. The same approach made by Martin, Hamlisch, Conti, Kamen and Serra. Whether it sounds like Barry or not.

I like the Barry efforts, as do I like most one time composers oin the franchise. Serra's effort is still a very recognisable sound for the GE movie, it is part of the identity of GE and is brilliant imho.

DA's recent efforts in which he had the chance to really give the franchise a DA sound showed actually how limited the man is. He came up with nothing special just an average bland sound that could have been attached to any actioner of recent years. CR & QoS have their moments but compared to most original 007 soundtracks from the series they lack identity and creativity. They are boring........

Glad to have a composer aboard with Newman. We now have the assurance that we get at least creativity and skill at work. It can only get better than what we got these last years, bargainbasement CGI and bargainbasement musical direction from EON is now finaly changed in some decent composer.

Makeshift Python wrote:

My point is, I want Newman to make a score suitable for SkyFall.

Okay, but only if you spell it correctly. No CamelCase.

Can't help it, that's how it's spelled.

Really? This is the only site that I've seen spell it that way. Even the SKYFALL website lists it as "Skyfall" in the fine print.

I've been going by the logo which has the S and F characters emphasized.

Not overly familiar with Newman, but it's still exciting to know Skyfall will (hopefully) have a fresh sound to it.

Makeshift Python wrote:

I've been going by the logo which has the S and F characters emphasized.

That may simply be a stylistic choice.

Makeshift Python wrote:

Eric Serra made a bold score that was perfect for GoldenEye but fans whined because it didn't sounds like Barry.

I didn´t whine because it didn´t sound like Barry. I whined because it was hideous.

how about Michael Kamen?

did anyone here like or dislike him and how did he compare to Barry and then later to Arnold and Eric?

j7wild wrote:

how about Michael Kamen?

I'd be very impressed if you could convince him to score SKYFALL.

Prisoner Monkeys wrote:

j7wild wrote:

how about Michael Kamen?

I'd be very impressed if you could convince him to score SKYFALL.

Yes, considering he's dead.

j7wild wrote:

how about Michael Kamen?

I have a feeling Newman's contribution would be... livelier.

Prisoner Monkeys wrote:

Makeshift Python wrote:

I wouldn't say they're entirely unsuited to any Bond film, and most of them were posted just to give posters an idea of the talent the guy has.

You would think that common sense would prevail and that they would post the most-appropriate piece in order to convince as many people as possible that Newman was the right choice.

Believe me, I searched far and wide across Youtube to try and find the most appropriate pieces, and those clips are the best I could come up with. I call it the Górecki Syndrome. Henryk GóreckI was Polish composer who died in November 2010, and despite a great variety of work produced over half a century, he was most popular for his Symphony No. 3 "Sorrowful Songs" - which gained attention after being featured in a Holocaust documentary I remember not being too familiar with him when he died, and I wanted to hear his earlier, less easy listening stuff produced when was part of the 60 Polish avant-garde school (i.e. Penderecki and gang). Surprise surprise, I couldn't find any of 'em. Hundreds and hundreds of performances of Symphony No. 3. I remember getting very angry and calling various Youtubers fakes and poseurs - folks who were calling themselves great fans of his music (only really that one piece), and how he wrote it about the Shoah. He didn't, he wrote it for his wife, but the association with the documentary led them to believe that. I called for someone to upload at least one of his earlier pieces, and even over a year after his death, they still haven't surfaced.

I guess shouldn't have got so wound up, but it goes to show how when a composer hits a chord, often he'll only get recognition for that one piece. With Thomas Newman it's a bit like that, though less with one piece but the minimalist style he's most known for. There's a demand for that sound, and that sound only, so that's what you'll find on Youtube for the most part. Let me tell you, that SALTON SEA funk cue was ridiculously hard to find.