I sort of wish people would stop complaining about Arnold's use of the Bond theme. During the Pierce era it was used for everything. And people complained. Now when its hardly used people complain. Is there an appropriate number of times to use it without upsetting someone?
I prefer less of the Bond theme, it leaves Arnold to come up with something of his own.
D Arnold's score for QOS IMHO is his best yet very atmospheric,I've listened to it many times now and really like,
Time to get out
Pursuit at port au prince
Night at the opera
it would be great next time if they let him have a hand in writing the next title song so it could be worked in to the main score as in CR
"I've been informed that there ARE a couple of QAnon supporters who are fairly regular posters in AJB."
Actually, Arnold does a great job of incorporating the main theme from "Another Way To Die" in a number of the QOS action tracks beginning with "Time To Get Out". It's just that it's no way near as good a melody as the main theme from "You Know My Name". Whoever writes the song with Arnold for 23 (hoping that it's great), it absolutely must be included in the soundtrack (major CR faux-pas) or there will be a capture or kill order put out!
Only noticed a little of AWTD on the Pursuit at Port au Prince or rather a Machine gun like piece of percusion that i had put down to chance.
Then i'm not great at noticing music cues,in AWTD J White plays part of OHMSS or so i've read, I've never noticed it ( but as i hate the song i've not listened to it that much).
And in LTK the opening gun shots on the tanker playing the Bond music, I've never heard that no matter how many times I've watched it,Finnaly heard it on a web site but it was played without any other music.
Always thought IMHO that Arnold was great at action music but weak on the Melody no sweeping strings etc like J Barry.
But as in all movies The Composer has to take his cues from the Director and how he wants the music to compliment his Movie.
"I've been informed that there ARE a couple of QAnon supporters who are fairly regular posters in AJB."
Don't get me wrong I think David Arnold Is a Great Composer Just IMHO most of the Scores eg.
TND & DAD were more "up tempo", and QOS Didn't have any Really Romantic Moments or The usual vast Landscape Shots that would Normaly have a large string section Playing in the Background.
I just Feel His Forte is for Driving Along The Action Like The Build Up In TIME TO GET OUT.
"I've been informed that there ARE a couple of QAnon supporters who are fairly regular posters in AJB."
I think QOS a great soundtrack, with TIME TO GET OUT being one of my favorite pieces of action music from Arnold, especially the first 15 seconds past the 1 minute mark, my only problem with Arnold is that he gets a really good action riff or beat going and it only lasts a few seconds before it turns into his usual standard action stuff. the quieter tracks he does a much better job i think,like in "field trip" and "whats keeping you awake".
There's nothing I like better than jumping into the Aston, throwing in the QOS CD, cranking up "Time To Get Out" to the max, and roaring down the street. Wait a minute... I don't have an Aston. Well, it's amazing what it does for a Ford Explorer.
There's nothing I like better than jumping into the Aston, throwing in the QOS CD, cranking up "Time To Get Out" to the max, and roaring down the street. Wait a minute... I don't have an Aston. Well, it's amazing what it does for a Ford Explorer.
i do the exact same thing but in a 01' Honda civic )
After watching QOS a couple of times more, I've recently reevaluated my personal feelings about the movie as a whole and its music, rating both much higher than I had originally done so. This quotation of a post of mine, which mentions my favourite snippets of the QOS soundtrack, I'd originally written for a thread about the history of the ''bizarre'' in the films, but I think that, properly, the remarks belong here:
Music has a lot to do with it [the 'bizarre'], too. I think that with John Barry's retirement from the series we have lost some of that old sense of the bizarre. Consider the mood Barry achieved with his Wint and Kidd theme, bringing out the oddity of the pair; or the spooky 'ghost train' plotting of his theme for Scaramanga's Fun House. Another example is the music accompanying Blofeld's hypnotic brainwashing of the girls in OHMSS, emphasising the bizarre nature of the villain's scheme "with a difference."
The closest David Arnold has got to Barry's 'bizarre' sensibility is, I think, in QOS - with, for example, the exquisite sudden Thunderball-style plinky-plonk arrangement of a phrase from The James Bond Theme, moments before Bond tells Mister White that it's time to get out of the boot of the car; or the occasional jangly strings flourishes such as near the end when Camille walks away for the last time; or the subdued, slow, muted undertow of the James Bond Theme - overwritten with a rare incidental squiggle of the 'Just Another Way To Die' melody - as Craig and the doomed Fields acclimatise to the grand hotel room which they've just checked into: all these pieces have a bizarre, ghostly 'retro' ambience to them. And - love it or hate it - Jack White's and Alicia Keys' title track is, in itself, the most bizarre entry in the canon of Bond songs.
QOS is a sequel to CR, so I think that Arnold's incidental use in QOS of phrases from his 'You Know My Name' score complements the narrative continuity between the films. Also, Arnold's subtle fusion of Alicia Keys' repeated single piano note intro, from the main title track of QOS, with a re-use of his own Vesper theme on the piano - as at the end, when Bond finally discards Vesper's necklace - is a touch of brilliance, securing the intimate connection between the two films.
In keeping with the Latin American and revenge themes, there is, somewhere, a nice nod, too, to Michael Kamen's arrangement of a phrase from the James Bond Theme in LTK, leaving in no doubt Arnold's intelligent and knowledgeable respect for the Bond films' musical legacy.
Critics and material I don't need. I haven't changed my act in 53 years.
Comments
I think it is actually called Inside Man - I like it very much as well.
I prefer less of the Bond theme, it leaves Arnold to come up with something of his own.
Time to get out
Pursuit at port au prince
Night at the opera
it would be great next time if they let him have a hand in writing the next title song so it could be worked in to the main score as in CR
"Your contact?" "Not well."
Then i'm not great at noticing music cues,in AWTD J White plays part of OHMSS or so i've read, I've never noticed it ( but as i hate the song i've not listened to it that much).
And in LTK the opening gun shots on the tanker playing the Bond music, I've never heard that no matter how many times I've watched it,Finnaly heard it on a web site but it was played without any other music.
Always thought IMHO that Arnold was great at action music but weak on the Melody no sweeping strings etc like J Barry.
But as in all movies The Composer has to take his cues from the Director and how he wants the music to compliment his Movie.
Strangely enough, I see things the other way round, enjoying Arnold's softer music rather than the action cues.
TND & DAD were more "up tempo", and QOS Didn't have any Really Romantic Moments or The usual vast Landscape Shots that would Normaly have a large string section Playing in the Background.
I just Feel His Forte is for Driving Along The Action Like The Build Up In TIME TO GET OUT.
"Your contact?" "Not well."
I've read that too, try listening to the song at 3:07 or thereabouts
QOS is a sequel to CR, so I think that Arnold's incidental use in QOS of phrases from his 'You Know My Name' score complements the narrative continuity between the films. Also, Arnold's subtle fusion of Alicia Keys' repeated single piano note intro, from the main title track of QOS, with a re-use of his own Vesper theme on the piano - as at the end, when Bond finally discards Vesper's necklace - is a touch of brilliance, securing the intimate connection between the two films.
In keeping with the Latin American and revenge themes, there is, somewhere, a nice nod, too, to Michael Kamen's arrangement of a phrase from the James Bond Theme in LTK, leaving in no doubt Arnold's intelligent and knowledgeable respect for the Bond films' musical legacy.