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The World Is Not Enough... dated already? Tomorrow Never Dies... more timeless?

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Author	Topic: The World Is Not Enough... dated already? Tomorrow Never Dies... more timeless?

Jeron Oscar® Winner	I think the subject header speaks for itself. I'm sitting here listening to TWINE... remembering when I said to myself, "Gee, I wonder how THIS will sound 10 years from now?" Oddly enough, I'm listening to it and finding that it's already beginning to show its age. I still enjoy the score, I'm not attempting to knock it... heck, I enjoy Barry's Living Daylights and Conti's For Your Eyes Only, two Bond scores that are very indicative of their time periods (not necessarily a good thing, but fun, if not nostalgic). I think what makes TWINE so prone to aging quickly is Arnold's use of techno drum beats and sensibilities. Yeah, I'm a master of the obvious. I'm not against him employing these, they're a lot of fun, though I know many who detest the direction he's taking Bond. Taking all things into consideration, I have found that Tomorrow Never Dies stands up much better when scrutinized. There are definitely electronic elements present, but they are applied in a much more thoughtful manner (ala Goldsmith). Let's not forget the huge orchestra Arnold and Dodd employed. I suppose it's the classic elements, the most organic of methods, which make a film score stand the test of time. Tomorrow Never Dies isn't revolutionary (certainly), but it's a heck of a lot of fun... and it carries the Bond tradition in a very faithful way. TWINE took a few unexpected turns (or so people say. were they really THAT unexpected, considering?). Regardless, both scores have their individual merits. I'd have to say that Tomorrow Never Dies tops TWINE, only because it's just as fresh as it was when I first listened to it. Both films have great themes! Paris' theme and Elektra's theme are both very good. The melodic meanderings of each (in action cues and slower, more dramatic cues) are fun and of course very Bondesque. Arnold's got "the knack" (Barry enthusiasts will catch this reference) - though I can only hope he exercises his more orchestral sensibilities in the next film. I'm not sure why I posted this... I haven't written anything worthwhile in..... awhile! And who's to say this is? Feels like ground already treaded. But hey, I don't care. Feel free to comment, if you're compelled to do so! Jeron NP- Heartbeeps [Message edited by Jeron on 11-15-2001]
posted 11-15-2001 10:19 PM PT (US)

Crono/Kyp Oscar® Winner	I must admit, I listen to TND a lot more then TWINE. I thnk TND just is a better score than TWINE. --Brian NP: Well that's tomorrow? Then guess what's NPing [Message edited by Crono/Kyp on 11-15-2001]
posted 11-15-2001 11:03 PM PT (US)

Al Oscar® Winner	quote: Originally posted by Jeron: Arnold's got "the knack" (Barry enthusiasts will catch this reference) I'm still wondering how he got it. But seriously, TND seems like a more inspired score to me. It was Arnold's first Bond project and his excitement for it definitely showed up musically. I'm not saying TWINE is subpar Bond music, but Arnold's excitement shyed away from "Yes! I'm scoring a Bond flick!" to "I'm taking Bond in a little different direction."
posted 11-15-2001 11:56 PM PT (US)

dgoldwas Oscar® Winner	I see a bit of a pattern here: The Spy Who Loved Me: "Bond '77" For Your Eyes Only: "Bond '81" The World Is Not Enough: "Bond '99" Either way, those scores don't hold up (for me) after a few years have passed. Sure they all have some good moments, but they just sound... dated. TND is definitely the best Brosnan Bond score of the three, and I'm looking foward to hearing what happens with Bond 20. Dan
posted 11-16-2001 12:40 AM PT (US)

Richard Oscar® Winner	I like both, but TND is in my opinion the better of the two scores. Mainly because like Jeron said, with TND he was more thoughtful when it came to applying electronic beats and rhythms. Some electronic parts of TWINE are awful because they are simply too much. TND was more subtle. NP: Buena Vista Social Club
posted 11-16-2001 01:50 AM PT (US)

Richard Street Oscar® Winner	TWINE was on TV the other night, and at the start of the skiing sequence, my mother and I both felt that Arnold had "got the Barry sound". But nowhere else (though I didn't watch the second half of the film). NP: EXPLORERS (Jerry Goldsmith)
posted 11-16-2001 07:24 AM PT (US)

Bulldog Oscar® Winner	Frankly, I like TWINE more. Both as score are just fine and dandy--wholly coherent and flowing, melodic works. But, to me, TND sounds a little less sophisticated. I feel as though Arnold's music--particularly that in the action sequences--is more complex in his sophomore outing. My complaint is that the performance/recording/whatever does not have quite the wallop of TND. TND sounds a little bigger and bolder...even though in my estimation it shouldn't! [Message edited by Bulldog on 11-16-2001]
posted 11-16-2001 11:03 AM PT (US)

John Zimmer Oscar® Winner	I haven't heard TND outside of the film but I like TWINE a lot. Pretty loud in parts though. Np: The World is Not Enough (David Arnold) **/*** Jz
posted 11-16-2001 12:24 PM PT (US)

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