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He will also be composing the music for The Chronicles Of Narnia: The Voyage Of The Dawn Treader (the third film in the series), which will be helmed by The World Is Not Enough director, Michael Apted.

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I was oh-so-hoping that David Arnold would be scoring one of the Narnia films. This is some of the best news I've heard in a long while. Oh, and of course Bond 22...

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Originally posted by sean:
David Arnold should be kicked off the Bond films immediately! His music for the James Bond films is boring, unoriginal, and void of passion.

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Originally posted by sean:
...yet continues to deliver junk-John Barry-imitation music. I'm not excited about hearing more derivative scoring in this franchise...

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I for one wouldn't have anyone else scoring the Bond films. He does a fantastic job and supports the picture with class. That is first and foremost the top priority. I'm sure film music critics said similar things about John Barry, feeling as though his scores were derivative and autopilot-esque. Looking back however, we certainly do appreciate them.

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Originally posted by Jeron:
I for one wouldn't have anyone else scoring the Bond films.

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How about Nicholas Dodd... ?

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Bill Conti's For Your Eyes Only sounds damn-well like Bill Conti and it's easily one of the strongest Bond scores around--he retains his style within that franchise perfectly without trying to sound like someone else.

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I disagree. It's good and fun to go back and listen to, but Conti's score has aged more than Barry's scores ever would or could. It wreaks of the era during which it was written, and for that it exists successfully as a nostalgic window into 007's "groovy baby!" days.

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David Arnold, on the other hand, while doing a perfect job of trying his best to sound like John Barry, has lost the plot and forgot that he has his own GREAT musical voice to work with and does absolutely nothing to exploit it.

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I also disagree. Barry is the god of all Bond music, and Arnold pays tremendous tribute every time he pens a theme or writes a passage that errs on the side of Barryism. I love hearing David Arnold write themes in the vein of John Barry, while also fusing his own sensibilities, with that of Nicholas Dodd's unmistakable orchestrations. It's great stuff and larger than life. It's hard to do something new with a franchise that has persisted as long as James Bond has. Sure, you can get away from what what's been traditionally successful in the past, but then you run the risk of either being a dismal failure or potentially a great success. Sure, Arnold plays it safe and goes with what works. I admire and appreciate that, considering the vast audience out there who's expectations he has to satisfy. Let's not forget, at the end of the day it's a job and he's paid to do something very specific. The creators may give him a lot of creative freedom, though only David knows the truth of that matter. What he does do, I think he does well - his music certainly doesn't warrant the smack-factor you're laying down on it.

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...but outside of that much his scoring is boring and been-there-done-that-with-John Barry-years-ago.

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Again, not seeing the problem here. John Barry's scoring for all intents and purposes was classy and timeless. I think (for the most part) what works then, works now. Just increase the size of the orchestra, throw in a choir every now and then if necessary, drop in some contrasting electronics for contemporary appeal, and call it a day.

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Look at the Star Trek scores since you're such a Star Trek nerd: A variety of talented film composers are in this batch and yet they all do their own thing without going "Gee, Goldsmith did a great job on The Motion Picture, I better rip him off!" and on top of that, HOLD THEIR OWN. Horner has never sounded better after The Wrath Of Khan/The Search For Spock and Cliff Eidelman's brilliant music to Star Trek VI is still one of the best scores of that franchise.

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You make me laugh, lol. Horner's score for Khan was as derivative as anything. I certainly enjoy his work on that one just as much as the next guy, but Horner was already practicing CTRL-C, CTRL-V at that point. Listen to Battle Beyond the Stars and get back to me on how original Horner was with Star Trek 2. As for CliffyE, Trek 6 was as original as Stravinsky's Firebird. Well, fine - I'll give Eidelman that one - he wrote some great stuff. That said, nowaday's I'd just prefer it if people would rip off Jerry. He had the best ideas, even when they were lukewarm. I'll be happy with Trek XI if Giacchino can come up with some satisfying quotes or nods in the general direction of Alexander Courage and Jerry Goldsmith, otherwise I'm generally not looking forward to what he comes up with. We'd be better off with someone pulling off a Ken Thorne w/ Jerry's music.

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David Arnold HAS NOT done that and if he continues down the path he's on right now, he WILL NEVER do that. Someone new, someone fresh has to score this series: Joel Goldsmith, Bear McCreary, Hans Zimmer, John Powell, James Newton Howard, etc. etc. CAN ALL do better jobs.

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I'm not that desperate for someone new on Bond, but if I were to pick someone, it'd be John Powell. If I were to choose someone from your list to score a new Trek film, it'd be Joel Goldsmith, though Powell or JNH might provide interesting efforts.

On the whole, however, I've just got to say blatantly and bluntly that Sean, you're an asstard. In fact, all Sean's and Shaun's are asstards.

The End.

Same, same, same.

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Originally posted by Bond1965:
Re: this discussion

Same, same, same.

James

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CTRL-C

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As for David Arnold? The World is not Enough still stands as my favorite of his. The ski scene when Bond and Elektra jump from the chopper is beautiful.

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Originally posted by AaronR1074:
People seem to forget the late Michael Kamen's work on Licence to Kill.

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First off: I never slammed John Barry's Bond music, so don't insinuate that I did. Also, I agree with you that Conti's score hasn't "aged" well, but only to the point where you can tell what era it was written in and not that it isn't good music, it's great music.

You paint a dismal picture of what Arnold's been hired to do with Bond: It's sad, but true. And that's why his music is boring; if I want to hear a Barry score for Bond than I'll put one of them on, I don't need to hear David Arnold, a talented composer on his own, trying to sound like Barry: That's boring; that's lame; that's safe; and I'm not interested in that--clearly you are, so have at it.

I own Battle Beyond The Stars and you know what? It's awful. The orchestra is badly recorded. The music is played terribly (it's easy to hear why Horner dislikes this score); the themes are not memorable; and the action music is forgettable and juvenile. If it's the first step to Khan than great! because that score is awesome, and far, far better than anything in Battle Beyond The Stars. The themes are memorable, the action is fast-paced and booming, and the performance is superb; not only that, but Star Trek II: The Wrath Of Khan is a towering film and demanded and received a first-rate score from Horner--he's never been able to surpass this effort and most likely never will.

Star Trek VI: "Firebird"? What's that? A lame character from X-Men? Anyway, you're taking the a.s.s..h.o.l.e. approach here to looking at a score. That approach consists of harping on what classical music a score may or may not be based on and judging it from there, and worse yet, slamming one for being influenced by that music. With The Undiscovered Country it's clear that both Cliff Eidelman and Nicholas Meyer listen to great music and used that music as a catalyst for an even better score than those origins provide. So, yes, we agree there: Eidelman did write some great stuff.

I totally agree with you about Giacchino: Unless he pulls a monkey out of his a.s.s. with something I've never heard from him than I'm pretty disinterested in what he comes up with; M:I 3 blows, Lost is a waste of time, and ... Yeah, his material is uninteresting. He said he'd use only "the good themes," and yet Giacchino has yet to write a single theme in his entire body of work that can compare in greatness to any one theme written for the Star Trek films. No question, Jerry Goldsmith is the master of Star Trek and even his worst ideas are better than most composer's best. The only time I felt a lag in some of his Trek music came with Insurrection and Nemesis, but heard in their complete forms they are damn-near perfect.

Except that I think Arnold does a terrific job on the Bond films; or at least Tomorrow Never Dies. Every successive score got somewhat worse, culminating in the only mildly rousing, sometimes distracting, Casino Royale.
I cherish that Arnold keeps at least a few Barry moments, like "City Of Lovers", but his action and atmospheric writing has become somewhat point- and relentless.

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Originally posted by gkgyver:
I can't believe I'm saying this, but I pretty much agree with all of sean's last post.

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Originally posted by PeterK:
LOL. Please no. Not ready.

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I'm actually not in total disagreement with Sean, it's just fun to disagree for the sake of being obstinate. I do like David Arnold. I do think Casino Royale is probably his weakest Bond score, Tomorrow Never Dies being his strongest. Hopefully he does something rousing w/ the next film, seeing as how he's now made the 007 theme available to himself again (he did reverse implementation in Royale). Eh, we'll see.

LOL! Now that'd be intense. I'm glad gkgyver agrees--finally, he sees the light.

Jeron, did you wake up this morning and walk over to your Replicator and say, "Tea. Earl Gray. Hot."!?

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Originally posted by gkgyver:
It's pretty disturbing ... I feel the laws of physics bending.

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Originally posted by sean:
Jeron, did you wake up this morning and walk over to your Replicator and say, "Tea. Earl Gray. Hot."!?

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Why yes, yes I did. And once I was done with that, I also ordered Coffee. Black.

And then the Replicator turned into a mechanical spider and ate all the metal in my room and got big and ate more metal. And then it ate my car. And now it's headed for you, Sean.

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Originally posted by Jeron:
And then the Replicator turned into a mechanical spider and ate all the metal in my room and got big and ate more metal. And then it ate my car. And now it's headed for you, Sean.

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According to science, my opinions are always right.

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Originally posted by sean:
Thank the Lord Jesus that He made Ottawa far away from Fort Worth. That robotic spider will take a while to get to my pine tree paradise.

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Originally posted by gkgyver:
Oh yes ... can't wait for the Bond Theme with choir and 16 horns

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16 Horns would rock.. choir OMFG...

"Aaaahaaahhh Aaaahhh Aaahhhh ooohhh aaahhAAAAHHHH"

Please god no!!!

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Originally posted by Jeron:
It just ate a nuclear power plant and now has hyperdrive capabilities.

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Originally posted by sean:
On that note, I'm heading for the hills: Good thing I've got a space-folding jumpdrive, which bests your hyperdrive.

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Originally posted by sean:
WOW! LMAO! Jeron, if only we sabotaged every thread with such retardation.

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Arnold is great for the Bond franchise, and TND and CR are, too me, amongst his best work. Not so much DAD.

I also think that Arnold should put much more original effort into his Bond music. But think that Barbara Broccoli and Michael Wilson have a tight grip around the music department.

Sean, "The Firebird" is an orchestral piece (only because "ballet" might turn you off) written by John Williams . . . er, sorry Igor Stravinsky in 1910. It's considered a modern archetype of 20th Century music; along with Stravinsky's "The Rites of Spring". You should download them both, because I know one of your favorite composers is a tremendous fan (but that might be George Lucas' fault).

John Powell is my ideal replacement for Arnold in the Bond franchise. He would work wonders for the music. If Powell is unavailable due to scoring The Bourne Continuancy or however then decide to keep dragging that out than Edward Shearmur would be the next best choice. Don't let JNH anywhere near my beloved Bond franchise.

John Barry is a musical genius; as is Bill Conti. The only difference is that FYEO was definitely written in the 70s whereas FRWL or OHMSS could've been written yesterday.

Michael Kamen's score for LTK is a lot of fun; and it would be a great surprise to see a remastered and re-released edition of such a score. But I'll settle for Monster Squad.

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Originally posted by nuts_score:
Sean, "The Firebird" is an orchestral piece (only because "ballet" might turn you off) written by John Williams . . . er, sorry Igor Stravinsky in 1910. It's considered a modern archetype of 20th Century music; along with Stravinsky's "The Rites of Spring". You should download them both, because I know one of your favorite composers is a tremendous fan (but that might be George Lucas' fault).

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nuts, you're a dork, of course I know what the "Firebird" is ...It's the sauce I put on my Mr. BBQ sandwich at lunch! HA!

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Originally posted by nuts_score:
Jeron and Sean (they even rhyme

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Uh... you're pronouncing it wrong if you think they even remotely rhyme. Maybe if Sean's name was Aaron. Perhaps we should start calling him that. How about it Sean...err.. I mean Aaron? Doesn't that feel great? Now we rhyme.

Btw, I think you (Aaron/Sean) and nuts should take a pilates class together.

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Originally posted by Crono/Kyp:
SSSSSSSSSSSSSSSSSSSSSSSSSNAP!!!

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