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Jay

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Besides Arnold was busy preparing the Olympics.

As much as Barry established what is consindered a classic Bond sound, Arnold did the same with modern Bond sound. Despite all the controversy surrounding his scores, I think most people find this particular blend of orchestral and electronic music quite fitting contemporary adventures of 007.

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Why directors keep on taking their favourite composers on jobs like this just to let them produce carbon copies of their predecessors remains an open question (it sounds a bit more polished than Arnbold, though).

Arnbold?

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I've seen Alice's berries, they were very ripe.

Berries? I was thinking, like, apples and melons and stuff ...

To break the serious discussion and go to something completely unrelated, the Score has been pushed back to October 29th.

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Err... Hamlisch's score is largely Barry pastiche.

Not that there's anything wrong with that, but it's not good ammo for leeway in original scoring.

Whatever John Barry you are listening to, the famous british one never wrote songs like NOBODY DOES IT BETTER or even action pieces like TANKER or french soft-erotic music like RIDE TO ATLANTIS.

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When I hear Barry pastiche, I think of David Arnold, most definitely not Hamlish, who had a very distinct voice.

As long as they don't have too much pips I don't mind either way

I don't like beumps on melons.

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George Martin and Michael Kamen both did a good job of keeping the Barry feel while doing unique scores. Hamlisch and Conti both did primarily their own things, though if the disco elements were replaced with orchestral one perhaps we would notice more of a similarity.

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A tweet that has been posted over at the Commander Bond message boards continues to hype the score. From Thomas Newman's mixer:

Tony Lewis ‏@MusicEditorcouk

Heading in to Mix, approx 1/2 way done. Got the mix through for an amazing cue last night. Tom has surpassed himself this time.#Skyfall

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kamens score sounds nothing like Barry.

I don't mean the sound of those scores were the same, but they kept the same basic style of scoring as Barry did. I think all the composers of the pre-Brosnan era all composed with similar ideas of how certain scenes in Bond should sound and how themes should be developed and the like. Then Serra came......

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No, I don't have a problem with you, just... you realize people are going to ask questions when you toss out stuff like that, right? Coy "because I know ;)" answers doesn't really cut it.

And you've glossed over questions like this in the past (like how you knew the right order for Spider-Man before that came out). So yeah, sorry to be a dick, but apparently that's what it takes.

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No, I don't have a problem with you, just... you realize people are going to ask questions when you toss out stuff like that, right? Coy "because I know ;)" answers doesn't really cut it.

And you've glossed over questions like this in the past (like how you knew the right order for Spider-Man before that came out). So yeah, sorry to be a dick, but apparently that's what it takes.

This is why I keep delicious secrets to myself these days. People like you.

Jason LeBlanc should join me in WOOSHING!

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