The Trouble with David Arnold...

I've been listening to Dave's Bond music lately, just as a lead-up to Newman's SKYFALL music.

You know, he wouldn't be all that bad if he didn't inject every track with noisy, obnoxious, techno beats. For example, "Come in 007, Your Time Is Up" isn't all that bad of a track in TWINE. I like his use of horns, but I feel that they're drowned-out by the turntable/DJ sounds and those persistent drums. Very annoying.

On the other hand, with TWINE, his techno style works well in a track like "Body Double".

Still have to say that he did his best Bond work with QUANTUM. Lots of inspired music on that score, although he doesn't hit the target each time. The INSIDE MAN motif works best in the score and adds a certain level of "cool" to a rather dull film.

Still, replacing Serra was a mistake. If Newman's contributions don't work well, they may want to give Alberto Iglesias a phone call.

Agreed. One of the smartest things Forster ever did was have Arnold use the script as a basis for music instead of relying on footage constantly to make cues that synced with every little action. I think that helped Arnold make the music come off more organic, easily beating everything he did before.

For TWINE, I think the electronica works very well. 'Come in OO7...', is a great track IMO. But I think the techno beats become an issue in DAD, because some very melodic cues are masked by the bombastic electronica.

Aside from TND, I will agree that QOS is his best effort. 'Inside Man', 'Tim To Get Out' and 'Night At The Opera' are brilliant.

"The Tell" from CASINO ROYALE is a nice track, too. Probably one of the only Bondian tracks from that score.

I think TWINE is probably my favourite Arnold score. The amount of electronics didn't intrude too much until DAD. I'd really love to hear the ice palace chase music as it is in the film with just the orchestra.

What got me with CR and QOS was the incredibly "dry" sound of the recording. His earlier work sounded much "bigger".

Indeed, TWINE is one of my favourite Bond scores, I actually asked Mr. Arnold on twitter if there was any chance for they to make a complete release of his score anytime soon, and sadly he replied me that it was very complicated now, but that maybe someday in the future, I really hope this amazing score gets what it deserves, unlike Die Another Day, which was full of synth elements.

Both scores are full of synth elements, though I find TWINE a bit too dull and lacking colour. Much like the film.

DAD is ridiculously OTT, but I'd say it's the most entertaining Arnold score because of that.

I really don't think there was a problem with Arnold. The techno elements was the music trend of the 90's and early to mid 2000's.

Electronic rhythms have been with Bond since 1987-- that was never the real problem with Arnold. It was 'everything but the kitchen sink' philosophy to composing action. Blaring noise upon blaring noise.

It was nice to see Arnold break away from techno for the most part in Casino Royale and Quantum of Solace. I would have loved to hear what he would have come up with for Skyfall.

Not me. I'm glad we got a scaled-down, sexier sound from Newman, in the spirit of John Barry, but without trying to ape him.

Man, would SirHenryLeeChing love this thread.

I liked Newman's effort, but I felt it was really missing something. I can't quite put my finger on it.

Cowbell?

No aside from one track it felt like It didn't feature enough of Adele's theme woven in the score.

The funny thing is, as a composer I find David Arnold lousier the longer I listen to his music. Yet most of his Bond stuff I enjoy listening to. Am I weird?

Stockholm Syndrome.

In a way that would be the logical assumption, yes.
But I have phases where I think, what a hack, what the **** is he doing! Normally after a phase of listening to Goldsmith.
But then there are times when it just lifts my spirits to listen to some of his Bond scores.
Weird.

I guess it could be the energy of his music boldfinger (and if you still feel the same). As much as I love Skyfall, I feel the music in the PTS lacks a pace and energy that Arnold tends to capture. It may have made the PTS more exciting.

Newman's music is not terrible, but it it is s**t (not to mention completely unbondian) when compared to Arnold's, I really hope Arnold will return for Bond 25, if not for Bond 24.

I wouldn't say shit, especially considering he was nominated for an Oscar for his work, but some tracks just don't grab me. Really do dig Shanghai Drive, the music when Bond arrives in Macau (mostly for the Skyfall rendition), the Bond theme renditions, Tennyson, Breadcrumbs and Severine. Chimera is quite nice also, but IIRC something about it doesn't gel well with me.

I had a phase just a few days ago when I felt like listening to the SF score again, which by itself speaks for Newman. I find he knows a lot of harmonical stuff very well, but after a while the music feels a bit congested. That´s actually where the score feels much like Zimmer, not so much the harmonies, but the thick orchestra sound (even though Newman doesn´t sound artificial like Zimmer) and the way Newman uses rhythmic patterns.
I tend to say Newman´s score is not a bad album by itself, but it´s too self-indulgent to be much fun. Arnold has a lot less skills harmonically, but his Bond scores are fun. And he knows how to put danger with an exclamation mark into the music.

So, in reference to the thread title, I´d say the trouble with David Arnold is that he´s not scoring Bond right now.

I loved SKYFALL's score, but then Tom Newman's one of my 10 favourite film composers of all time. The whole score resonated with me in way that I hadn't felt since parts of Serra's GOLDENEYE and Arnold's first three Bond scores. It felt fresh, alive.

Largo's Shark wrote:

The whole score resonated with me in way that I hadn't felt since parts of Serra's GOLDENEYE and Arnold's first three Bond scores. It felt fresh, alive.

Huh!?!? Since when?!?

I would have though QOS would be more of your cup of tea when re: Arnold.

Skyfall after the past couple of films, musically, felt much fresher to my meagre ears. And the Bond theme hither and thither. Like the old days.

FieldsMan wrote:

I wouldn't say shit, especially considering he was nominated for an Oscar for his work, but some tracks just don't grab me. Really do dig Shanghai Drive, the music when Bond arrives in Macau (mostly for the Skyfall rendition), the Bond theme renditions, Tennyson, Breadcrumbs and Severine. Chimera is quite nice also, but IIRC something about it doesn't gel well with me.

John Barry's Bond scores never won an oscar, does it mean they're bad? TSWLM's score was nominated for an oscar, but other than the beautiful theme song, it's nothing special.