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No Time To Die (James Bond #25)


Jay

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Arnold delivered one of the very best Bond scores, if not one of the best action/adventure scores ever in TND, but I found all his other 007 scores frustratingly loud and fatiguing. Newman however knew when to quiet things down, and delivered some great atmosphere and cool riffs, all with terrific dynamic range mastering on the CD albums.

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4 hours ago, Margo Channing said:

Arnold delivered one of the very best Bond scores, if not one of the best action/adventure scores ever in TND

 

I AGREE!!!!

 

4 hours ago, Margo Channing said:

but I found all his other 007 scores frustratingly loud and fatiguing. 

 

I mostly agree with this too, EXCEPT I grew to REALLY like Casino Royale later.

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He did such a great job using he bond theme in his own score! And as this will be a direct sequel to skyfall and spectre (and is Craig’s last bond movie), it would be nice to have musical continuity.

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Interesting, but...is there confirmation that Bond 25 will form the third part of a trilogy (or the fifth part of a quintology, especially as both CASINO ROYALE, and QUANTUM OF SOLACE were unofficial parts one, and two)?

Personally, I'd like to see a stand-alone film.

 

 

On 16/03/2018 at 12:14 PM, Sweeping Strings said:

It would be nice to have Arnold back ... Newman is fine, but I don't remember much from his Bond scores. 

On a side note, still wish Barry had been tempted back for Goldeneye. 

Wasn't Barry approached to score 

TOMORROW NEVER DIES?

 

 

2 hours ago, toothless said:

I'd like Patrick Doyle to score this. Although I don't know why.

I don't know why, either ;)

Doyle's not bad, but he's not made for Bond.

 

 

 

You know, there is a criminal lack of love for Arnold's QUANTUM OF SOLACE, here at JWfan.

Disappointed.

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The only one he ever did that I liked was TND. I thought TWINE was a step down, DAD was the beginning of the end, CR is a decent score but a frustratingly drawn out and tiresome album, and QoS just annoys me.

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Actually Barry was initially offered Tomorrow Never Dies:  

 

https://perspectiveforum.net/2016/05/22/the-beyondness-of-things-my-bittersweet-relationship-with-barry-john-barry/

 

One of my personal goals was to reunite John Barry into the James Bond series. 

 

There was a lot of old history between Barry and the Bond folks and I felt I might be helpful in bringing a fresh approach into it without being burdened by all the prior baggage.After a lot of back and forth they ended up offering him TOMORROW NEVER DIES. I could not have been more thrilled.

 

However, things got really wonky during the negotiations with neither side agreeing over his fee with the difference being relatively minor. Both sides dug in their heels.

 

MGM said they were moving on without him.

I felt like I was the worst agent in the history of show biz. I was fumbling having John Barry score another James Bond film. This was unacceptable. As John’s agent I couldn’t let that happen. As a Bond music fan, I would kill me if I didn’t find a way to pull this off.

 

On Christmas Eve, with holiday music playing in the background (including Barry’s “Do You Know How Christmas Trees are Grown”) I decided something had to be done to fix it all and give it a perfect holiday ending.

 

So, I left word with the producer saying how important it was to me, as a fan, to have John score the film. I realized that the amount separating John and MGM was exactly the same amount as my commission would have been on this film. In the spirit of Christmas and of wanting this to happen so badly, I offered to give my commission over to the studio so they could then use it to make John the offer he wanted.

 

The only condition was that they could never tell him. I needed him to think the extra money had come from them.After leaving that message I sent to bed with dreams of The Great Barry/Bond Reunion dancing in my head.

 

The day after Christmas I got the call from the studio’s music department.“Are you trying to bribe us with kickbacks?” I was stunned. I quickly explained my sincere intentions to do right by everyone. She said they refused to pay John any more under any conditions and they were moving on.

 

I had clearly stepped into a vast quagmire of issues and people and history and personalities that predated me by decades.

 

I had failed.

 

Though he acted dismissive and a bit resigned to these setbacks, I couldn’t help but think how deeply they must have stung.

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  • 2 months later...

Now that it's official that Danny Boyle is directing Bond 25 I really only have two hopes

 

1. David Arnold returns to score

2. Arnold gets to write/co-write the main title song and incorporate it as a main theme of the score

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That whole thing was priceless!

 

 

1 hour ago, Disco Stu said:

Now that it's official that Danny Boyle is directing Bond 25 I really only have two hopes

 

1. David Arnold returns to score

2. Arnold gets to write/co-write the main title song and incorporate it as a main theme of the score

 

Agreed, on all counts.

#arnoldforbond25

 

John Hodge is writing it

"Choose M. Choose Q. Choose an Aston Martin. Choose a licence to kill. Choose a Walther PPK. Choose ending people just 'cause you can. Choose sexy remarks with Miss Moneypenny. Choose vodka martinis. Choose exotic locations. Choose  superfluous angst, over some bitch who betrayed you.  Choose impotent villains. Choose stupid sidekicks that die in reel 5. Choose gadgets. Choose fucking beautiful women, then use them as human shields. Choose $39 million, for one fucking film. Choose burnout, and a retirement home. Choose Bond".

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  • 3 weeks later...
On 5/30/2018 at 10:44 AM, Disco Stu said:

Now that it's official that Danny Boyle is directing Bond 25 I really only have two hopes

 

1. David Arnold returns to score

2. Arnold gets to write/co-write the main title song and incorporate it as a main theme of the score

 

I'm throwing in a third hope.

 

3. That theme song had damn well better have the same title as the movie

 

I hate it when they wuss out and give up on incorporating ridiculous titles into the chorus.  It's supposed to be part of the fun!

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I didn't say they can't be good songs, I just prefer it when they go all the way and make them title songs.

 

But also "Nobody Does it Better" should have been called "The Spy Who Loves Me."  It is part of the chorus after all.

 

It's ridiculous that Sam Smith's song wasn't called "Spectre."  That's a vague enough word it could easily have been incorporated.

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1 minute ago, Stefancos said:

I don't know what kinda porn you watch?

 

What I've seen of "high end" porn movies from the late-70s/early-80s, that peak Boogie Nights type time period, often has sappy saxophone-heavy ballads as theme songs.

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No, not al all. There's score releases for 70's/80's porn out there. I just wanna see what your are on about.

 

Sax based ballads were incredibly common in the 80's. I doubt very much either John Barry or Sir Tim Rice looked at XXX rated movies for musical inspiration.

 

I find the assertion slightly offensive actually.

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That's a weird thing to get offended about.  Maybe you're taking the conversation too seriously.

 

I'm not saying I think he was inspired by that music.  The sound of it just brings up dim memories of that kind of stuff.

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