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Koray Savas
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it reminds me of the 'Raiders March' in last Crusade which almost always makes it feel like a parody to me.

Most of those were re-scored inserts recorded after the fact, with Williams not originally intending to use it so much.

Temple of Doom?

No, Last Crusade.

Temple of Doom is perfect.

I was replying to Stefan's post, not yours. He typed TOD instead of TND in a flew places.

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Oh I know, that's the tragedy!

I was replying to Stefan's post. He typed TOD instead of TND in a flew places.

Ahhh ....bloody acronyms! ha :)

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Steef, I've got to disagree with you on your praise of Arnold's action material (though we can agree on African Rundown, which I kinda like). Most of it, but especially tracks like Submarine, Miami International the Bike Chase from TND, sounds messy, overorchestrated, overbombastic and ADD. It's not like Williams's balletic action writing, where there's a sense of coherence and form, and a more varied use of the orchestra. It also helps that Williams had a very rigorous musical training, whereas Arnold has learned most of his knowledge 'on the road' and through Nicholas Dodd - so he has a lot of bad habits and cliches that he falls back on. It's like Arnold hands over a few basic ideas to Dodd, and from Dodd clogs up the manuscript paper with notes.

I think Barry knew his own limitations as a composer, and decided to fall back in tempo and often play through the action, rather than get on top of it. He wasn't trying to compete with the gunshots and explosions by adding layers upon layers of sound.

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I also love Eric Serra's score. It's a radical shift from what one would expect from a Bond film, but I feel it really fits like a glove for GOLDENEYE with its themes, style, tone, ect. If it had Arnold scoring it would have lost so much of its unique flavor. It isn't perfect, I do agree with the producers that the street chase could have used some of the more familiar Bond sound, but I would have wanted Serra to do it in a way that was consistent with the rest of the score but not too abrupt, rather than hire the conductor Altman to put together his thing.

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I'm inclined to agree with Feargal Sharkey and Monty Python on this one. Arnold definitely has the thematic chops, but he's too much of an obvious mimic to be considered deft and bright as far as his wider compositional voice goes. Arnold has become a sell-out Greatest Hits composer, and he lost me years ago as a result. Shame really, because methinks he's capable of better.

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Shame that Deakins isn't involved. That doesn't make or break the film's potential, though. Especially not at this point.

I'm still hoping Newman comes back to score. I'm confident that Mendes and Logan will come up with another decent, Bondian story.

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After Skyfall I'm much more looking forward to the next film than I was after seeing QOS. And if they could get Newman back it'd be twice as decent to look forward to. It's the chance to see Fiennes' M stretch his legs a bit and the new Moneypenny (or at least these two in their 'new' roles).

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THE LIVING DAYLIGHTS is great.

Agreed, though the staginess of the "toboggan" scene is a bit crude even for 1987. For a Bond flick, they could have, nay should have, done much better.

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Shame that Deakins isn't involved. That doesn't make or break the film's potential, though. Especially not at this point.

I'm still hoping Newman comes back to score. I'm confident that Mendes and Logan will come up with another decent, Bondian story.

If they want to keep the look of "Skyfall", John Seale might be a good choice. I also liked Phil Meheux's stuff, and David Tattersall's work on "DAD". As long as Stuart Baird is on board, I'm happy.

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THE LIVING DAYLIGHTS is great.

Agreed, though the staginess of the "toboggan" scene is a bit crude even for 1987. For a Bond flick, they could have, nay should have, done much better.

That plus the 'my cello, my cello, my cello' echo is a definite WTF! moment. Scenes like these feel like they were written for Moore, or that Wilson and Maibaum were trying to ease the audiences into Dalton's interpretation by keeping some of the slapstick.

At least they cut the magic carpet scene in post...

If they want to keep the look of "Skyfall", John Seale might be a good choice. I also liked Phil Meheux's stuff, and David Tattersall's work on "DAD". As long as Stuart Baird is on board, I'm happy.

I like Tattersall's lensing for DAD's Cuban scenes - it's a nice throwback to the saturated Technicolour look of Ted Moore's Bonds. Less mad about the pseudo-Tony Scott look of the North Korean bits or the plastic-looking Iceland stuff, though I guess much of that was down to the digital intermediate/colour grading, production design and Tamawhore.

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"Tamawhore"! Did you mean to type that? Still, his work is miles better than anything by Marc Foster.

Yeah, Ted Moore's stuff was classy, wasn't it? But,then, Freddy Young's wotk on "YOLT" is fantastic, as is Claude Renoir's "TSWLM", which is possibly the finest of all Bonds from a cinematography point-of-view.


Vilmos Zsigmond should shoot a Bond flick. Get him away from "The Mindy Project" for a while.

You'll never get him out of Montana.

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Yeah, Ted Moore's stuff was classy, wasn't it? But,then, Freddy Young's wotk on "YOLT" is fantastic, as is Claude Renoir's "TSWLM", which is possibly the finest of all Bonds from a cinematography point-of-view.

I like fog filtery stuff, though I prefer Jean Tournier's (THE DAY OF THE JACKAL) work on MOONRAKER. A bit more painterly, less washed out. Corinne's death is staggeringly beautiful.

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Yeah, Ted Moore's stuff was classy, wasn't it? But,then, Freddy Young's wotk on "YOLT" is fantastic, as is Claude Renoir's "TSWLM", which is possibly the finest of all Bonds from a cinematography point-of-view.

I like fog filtery stuff, though I prefer Jean Tournier's (THE DAY OF THE JACKAL) work on MOONRAKER. A bit more painterly, less washed out. Corinne's death is staggeringly beautiful.

Hmm. "Fog filtery". Like Geoffrey Unsworth, or Bob Fraker's work on "1941"?

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Yeah, Ted Moore's stuff was classy, wasn't it? But,then, Freddy Young's wotk on "YOLT" is fantastic, as is Claude Renoir's "TSWLM", which is possibly the finest of all Bonds from a cinematography point-of-view.

I like fog filtery stuff, though I prefer Jean Tournier's (THE DAY OF THE JACKAL) work on MOONRAKER. A bit more painterly, less washed out. Corinne's death is staggeringly beautiful.

Hmm. "Fog filtery". Like Geoffrey Unsworth, or Bob Fraker's work on "1941"?

Yes, Unsworth used both nets and fog filters (think SUPERMAN for the former and CABARET for the later) Also think Vilmos Zsigmond's work on OBSESSION, Bill Butler's lensing on JAWS, Mario Tosi on CARRIE, Allen Daviau'S Spielberg stuff etc. Fog filters give more of a low contrast effect than standard net diffusion.

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What worries me are these talks of Moneypenny kick arse again. Just seems like a dumb thing to do after her character arc in SF.

God forbid a woman do anything but be a secretary!

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What worries me are these talks of Moneypenny kick arse again. Just seems like a dumb thing to do after her character arc in SF.

God forbid a woman do anything but be a secretary!

But that's what she is.

She took the post because she wasn't cut out to be a field agent. Now, I don't mind her doing computer hacking or working with Q on something, but if she's back in the field it not only undoes her character moments in Skyfall, it makes her a field agent and not M's personal assistant, which is what the Moneypenny character is. Its not as if a secretary at Apple is also designing the software for the next iPhone.

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Sounding promising. Thrilled to have Mendes and Logan returning, Skyfall is easily my favourite of Craig's Bonds so far. It's immensely pleasing that the craft put into the 50th anniversary film resulted in the biggest box-office hit in the franchise's history.

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To comment on the Moneypenny thing, I wouldn't mind if they gave her field work again but not in the same way we saw in the pre-titles on SKYFALL. The only time we saw her do anything outside the office in the past was in DIAMONDS ARE FOREVER where she was undercover (there was also the horse race A VIEW TO A KILL, but I have no clue why she needed to be around). Being M's secretary you'd think she'd do more than just type on a computer and transfer phone calls, it's a part of her we've seen very rarely and as long as they don't try to give her a gun and act as Bond's sidekick, I'd be fine with her being on the field.

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