I didn't say completely old school Bond. But more old school as in compared to a lot of the recent Bond movies. Casino Royale was like that too. I don't think anyone will come close to John Barry though. Michael Giacchino probably did the best for The Incredibles. But that's probably because they wanted John Barry for that movie originally.
Next to GoldenEye, Spectre has a more old-school sound. Next to anything David Arnold wrote it does not. It's basically in the same style as Skyfall's score with the same amount of old-school nods. The composing style is still as far from Barry as can be.
A lot of David Arnold's music was in your face Bond action music to me. Which for Pierce Brosnan's Bond was probably the type of music needed as there were so many action moments. David Arnold's best was from Casino Royale. Also I like the work he did in The World is not Enough.
While I'm in the minority who prefers Arnold to the overrated Newman, both of Newman's efforts in the Bond series are superior to CR's score. But Arnold's TND, TWINE, DAD and QOS are much better - all IMO, of course.
Film: Tomorrow Never Dies | Girl: Teresa di Vicenzo | Villain: Max Zorin | Car: Aston Martin Volante | Novel: You Only Live Twice | Bond: Sir Sean Connery
Next to GoldenEye, Spectre has a more old-school sound. Next to anything David Arnold wrote it does not. It's basically in the same style as Skyfall's score with the same amount of old-school nods. The composing style is still as far from Barry as can be.
A lot of David Arnold's music was in your face Bond action music to me. Which for Pierce Brosnan's Bond was probably the type of music needed as there were so many action moments. David Arnold's best was from Casino Royale. Also I like the work he did in The World is not Enough.
While I'm in the minority who prefers Arnold to the overrated Newman, both of Newman's efforts in the Bond series are superior to CR's score. But Arnold's TND, TWINE, DAD and QOS are much better - all IMO, of course.
What do you think is so awful about CR's score? I don't think it's one of Arnold's best, but to prefer Newman's scores over it is quite the insult.
I find it to be the blandest of Bond scores. Sure there are a couple of good tracks, but it's not very melodic or interesting as a whole. The first minute of Blunt Instrument feels incredibly dull and sterile and Miami International seems like a bunch of knee-jerk reactions to whats happening on screen. Of course they're only two examples, and when compared to something like Shanghai Drive, Tennyson or Someone Usually Dies from SF, or Vauxhall Bridge, Hinx or The Eternal City in SP, they doesn't hold up.
Of course, I prefer Helicopter Ride, Body Double, Torture Queen, Access Denied, Kiss of Life, Hamburg Break In and Inside Man to name but a few. Very atmospheric, Bondian sounding cues.
Film: Tomorrow Never Dies | Girl: Teresa di Vicenzo | Villain: Max Zorin | Car: Aston Martin Volante | Novel: You Only Live Twice | Bond: Sir Sean Connery
I liked CR soundtrack, it has vigour and Arnold employs so many more layers than Newman, African rundown is a great track, I like the simple piano cues used around Vesper and Arnold uses the horn section well, punctuating the score with Barry-esque blasts. Newmans use of the horns and brass remind me of colliery band, Wonderful in context but a bit amiss in a bond film.
Comments
While I'm in the minority who prefers Arnold to the overrated Newman, both of Newman's efforts in the Bond series are superior to CR's score. But Arnold's TND, TWINE, DAD and QOS are much better - all IMO, of course.
What do you think is so awful about CR's score? I don't think it's one of Arnold's best, but to prefer Newman's scores over it is quite the insult.
Of course, I prefer Helicopter Ride, Body Double, Torture Queen, Access Denied, Kiss of Life, Hamburg Break In and Inside Man to name but a few. Very atmospheric, Bondian sounding cues.
You mean, it's the pits?