Interview With Bond Composer David Arnold
Bond Collectors' Weekends
Gainesville, Florida USAPosts: 1,902MI6 Agent
By Matt Sherman:
Your favorite score from your own repertoire of great film music is...? Why is that your choice at this time?
AMAZING GRACE... it was a film that was about something real and important and allowed me to write something with I think a little more substance, emotion and resonance.
Musicians are always seeking to improve their own work the next time. But is there a Bond score or theme you've laid down that makes you say, "Gosh, I got it exactly right there for OO7...?"
I never think that about anything I write.. if it's on TV I find myself squirming, thinknig... "Why on earth did you do it like that?"
Certain of your Bond themes including "Christmas In Turkey/Going Down Together" from THE WORLD IS NOT ENOUGH, and "City of Lovers" from CASINO ROYALE, are lovely and evergreen, but also quite contemplative and melancholy. Do your love themes tie in your mind to the inevitability of Bond to end up lonely (as with your "Only Myself To Blame" from THE WORLD IS NOT ENOUGH)?
I think I gravitate naturally toward a more introspective and melancholic tone when I write, despite the huge action things that crop up in those sorts of movies. I love the sense of reaching for something just beyond your grasp, but reaching for it anyway. Hopelessly but optimistically romantic.
Your scores often follow the aggression of Craig's and Brosnan's Bond portrayals. Do you think you've been more successful with faster beats for modern audiences or with Bond music that is more studied, slow and lush-again in the Barry mold?
I'm not sure what criteria you would judge success on in this respect. I think we have to keep moving on with the films and the music and keep an eye on where we've been, as the audience has been there with us. Sometimes that means trying things that may be unorthodox, but as long as the spirit is right I think it's okay.
What's it like to know concerts worldwide are playing your scores as canon with other great composers (as with the classic Bond pops series in Florida this month)?
It'd be nicer if I was actually there! It's great that music is performed around the world. but for me, I am usually at home or the studio when that happens so I can only rely on reports as to whether it's any good or not.
I cannot equate my work with other composers whom I have admired and loved as it feels as I have such a lot left to do, and hopefully the best work is still ahead of me. Ask me when I'm 90, if I get there.
Your favorite score from your own repertoire of great film music is...? Why is that your choice at this time?
AMAZING GRACE... it was a film that was about something real and important and allowed me to write something with I think a little more substance, emotion and resonance.
Musicians are always seeking to improve their own work the next time. But is there a Bond score or theme you've laid down that makes you say, "Gosh, I got it exactly right there for OO7...?"
I never think that about anything I write.. if it's on TV I find myself squirming, thinknig... "Why on earth did you do it like that?"
Certain of your Bond themes including "Christmas In Turkey/Going Down Together" from THE WORLD IS NOT ENOUGH, and "City of Lovers" from CASINO ROYALE, are lovely and evergreen, but also quite contemplative and melancholy. Do your love themes tie in your mind to the inevitability of Bond to end up lonely (as with your "Only Myself To Blame" from THE WORLD IS NOT ENOUGH)?
I think I gravitate naturally toward a more introspective and melancholic tone when I write, despite the huge action things that crop up in those sorts of movies. I love the sense of reaching for something just beyond your grasp, but reaching for it anyway. Hopelessly but optimistically romantic.
Your scores often follow the aggression of Craig's and Brosnan's Bond portrayals. Do you think you've been more successful with faster beats for modern audiences or with Bond music that is more studied, slow and lush-again in the Barry mold?
I'm not sure what criteria you would judge success on in this respect. I think we have to keep moving on with the films and the music and keep an eye on where we've been, as the audience has been there with us. Sometimes that means trying things that may be unorthodox, but as long as the spirit is right I think it's okay.
What's it like to know concerts worldwide are playing your scores as canon with other great composers (as with the classic Bond pops series in Florida this month)?
It'd be nicer if I was actually there! It's great that music is performed around the world. but for me, I am usually at home or the studio when that happens so I can only rely on reports as to whether it's any good or not.
I cannot equate my work with other composers whom I have admired and loved as it feels as I have such a lot left to do, and hopefully the best work is still ahead of me. Ask me when I'm 90, if I get there.
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