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James Bond 23: Skyfall FILM Discussion


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I can hear that announced by the booming voice of Christopher Lee as Saruman.

I thought it was a great movie. On par with, or at least just a tiny sliver below Casino Royale.

Personally I have difficulty imagining Mendes handling action blockbuster type setpieces...but at the same time I don't believe he is capable of making a bad film. If this turns out to be the way things go, well, should make for an interesting experience.

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Two interesting questions: do you guys think that David Arnold - seen as how he's been with the franchise for 13 years now - is now an "eternal" 007 composer which will never be replaced by producers and will only stop writing if he personally ever decides to?

And the second one: which composer do you think would write the best Bond soundtrack at the moment? Not who would you personally prefer to write it, but who would do it most perfectly? ;) (I'm thinking Michael Giacchino.)

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Two interesting questions: do you guys think that David Arnold - seen as how he's been with the franchise for 13 years now - is now an "eternal" 007 composer which will never be replaced by producers and will only stop writing if he personally ever decides to?

And the second one: which composer do you think would write the best Bond soundtrack at the moment? Not who would you personally prefer to write it, but who would do it most perfectly? ;) (I'm thinking Michael Giacchino.)

1: Yeah, I think so. I don't mind so much, he's a fine composer.

2: Goldenthal.

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  • 2 weeks later...

Personally I have difficulty imagining Mendes handling action blockbuster type setpieces...but at the same time I don't believe he is capable of making a bad film. If this turns out to be the way things go, well, should make for an interesting experience.

Bond movies aren't "director's movies" so it doesn't really matter who's doing it.

Karol

I agree with these two postings...up to a point. "An interesting experience", it may be, but Wilson, Broccoli, et. al. aren't interested in making "interesting" films, they care about putting as many bums on seats as possible. I understand where they are comming from, but sometimes they get it wrong (case for the prosecution- "Quantum Of Solace").

I will defend the fact that the Bond films are (mostly) well made films, using the finest talent that money can buy. Personally, I think that "GoldenEye" was the first Bond film to actually be "directed", with real thought given to how each scene will lead into the next, the use of sound, the subtleties of each performance, etc, and much credit must be given to Terry Rawlings for a fine cutting job (compare his cutting of "GoldenEye" to the hatchet job of the early Bahamas stuff in "Thunderball"!). Mendes might make a good Bond film, but it would be the most "internal" Bond film ever. Now that would be "interesting".

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Marvin Hamlish, Bill Conti and Michael Kamen were not English, so what is your point?

Perhaps that their scores sucked. IMO they did (athough Hamlisch had a great song).

Krzysztof....

Please do not....DO NOT insult Kamen's testosterone packed score for License to Kill!

If that's gonna save me, I must say I like Licence Revoked cue!

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Marvin Hamlish, Bill Conti and Michael Kamen were not English, so what is your point?

I swear Brits were only allowed to direct Bond films. I thought it was for composers too. I did just check IMDb quickly though and I guess I just came up with that "rule" somehow. Several of them were from New Zealand and Marc Forster is German.

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No more weird then Michael Apted for The World Is Not Enough.

Marvin Hamlish, Bill Conti and Michael Kamen were not English, so what is your point?

I swear Brits were only allowed to direct Bond films. I thought it was for composers too. I did just check IMDb quickly though and I guess I just came up with that "rule" somehow. Several of them were from New Zealand and Marc Forster is German.

It is true that before QoS all the Bond directors were from Brittain or the British Commonwealth.

However this has not been true for composers for well....decades...

So, you were mis-informed, or non-informed.

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I have been able to obtain an exclusive preview of the up-comming Sam Mendes/Bond 23 script:

Scene 11.

Int., M.I.6 control room.

Bond, and his associate Tanner, are talking about Bond's impending mission. M. enters the room, and walks up to Bond.

M: "Bond, have you got a minute?"

Bond (over-cheerfully): "For you, M., I've got five!".

I can hardly wait!

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  • 4 weeks later...

He might cast his wife in it so she can appear in the nuddy again.

I've seen too much of that. Why do you think those tube socks sag so much? They're out in every one of her films.

And the second one: which composer do you think would write the best Bond soundtrack at the moment? Not who would you personally prefer to write it, but who would do it most perfectly? :) (I'm thinking Michael Giacchino.)

2: Goldenthal.

:thumbup:

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With Mendes, Craig and Arnold, apparently.

Speaking of which, I was kind of hoping for Thomas Newman to score this... Arnold is fine, but at this point he's done so many of them I don't really care to hear another one.

Karol

Thomas Newman is not suited for a Bond movie. Action music isn't his forte.

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And how do you know that?

Because he's never done an action picture and because he was never asked to deliver a strictly orchestral score doesn't mean he can't do it.

What looks like a wrong choice often turns out to be an inspired one as well. And that's why I want to hear it.

Karol

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When Mendes was hired I expected Newman to score. I want him to do it, because I know he'd do wonders with the theme. The Bond scores could finally sound different. And Newman has never done a full-blown action score, so it's impossible to say he can't do it. If you want proof that he can write big, grand orchestral scores, listen to The Good German.

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I honestly think the other Newman brother, David - would be a wiser choice. Just because Thomas Newman did a noir pastiche, doesn't mean his approach isn't high;y circumscribed.

The Bond scores could finally sound different.

Before Mr. David Arnold arrived on scene, they always did. Masses of variety there, even with just the Barry score themselves. They all had a unique identity, mostly in the orchestration and harmony.

I think Goldenthal's a good suggested, but depends on how interprets the film. Not a fan of his scores when their at their most ambient, and over-produced.

What about a Joel McNeely?

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They still sound different. For example QoS sounds nothing like Arnold's Brosnan's Bonds nor even Casino Royale which already had its own, stron musical identity. On the other hand, Arnold is not John Barry.

I think Arnold is doing fine, but being big fan of his prabably makes me biased.

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And how do you know that?

Because he's never done an action picture and because he was never asked to deliver a strictly orchestral score doesn't mean he can't do it.

What looks like a wrong choice often turns out to be an inspired one as well. And that's why I want to hear it.

Karol

I've been told several times that the reason some composers choose do just do comedies/direct to video stuff is that they want to stay away from the mainstream hollywood stuff - they feel more comfortable doing smaller projects.

Thomas Newman does a few styles of music incredibly well, but I haven't heard any evidence so far that a film that needs protracted action sequences is something he *does*.

I may be wrong, but hey, all composers have their niches. I wouldn't want JW scoring a quiet reflective film, and I don't think Newman is suited to a Bond film.

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I may be wrong, but hey, all composers have their niches. I wouldn't want JW scoring a quiet reflective film, and I don't think Newman is suited to a Bond film.

These days JW seem better at doing scores for quiet (sort of) reflective movies (MoaG vs WotW or KotCS)

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That depends on how successful one considers those 3 scores to be.

I'm not a fan of the quieter moments from any. Well, WotW has some interesting parts within cues, but they don't last.

I am not sure if you noticed that I put MoaG in opossition to WotW and KotCS (MoaG being the "reflective" movie). In other words, I prefer his recent drama scores to his recent action/epic/adventure/s-f ones.

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  • 2 weeks later...

They still sound different. For example QoS sounds nothing like Arnold's Brosnan's Bonds nor even Casino Royale.

I don't really hear that differences. The same orchestral hits, string ostinati, pulsing electronics, wailing trumpet clichés etc.... Though if Arnold had decided to the abandon the electronics altogether and start with a clean slate, I might see where you're coming from.

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I find it amusing that people who bash Arnold for always sounding the same seem to forget that Barry is hardly the most versatile composer out there. Certainly a lot of his Bond scores have a "sameness" to them.

His later non-Bond scores in the 90s, perhaps. But not his early stuff. THUNDERBALL was easily distinguishable from GOLDFINGER, which was entirely different to OHMSS, as that was to MOONRAKER, and so on. He gave a unique voice to each score, mostly in the orchestration.

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