 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Dr.No- John Barry
Prince Of Tides- John Barry
Tomorrow Never Dies- John Barry
Live and Let Die- John Barry
Casino Royale (2006)- John Barry
Goodbye Lover- John Barry
Year Of THe Comet- John Barry
The Naked Runner -John Dankworth
Promise Her Anything -Burt Bacharach
|
|
|
|
|
|
I find the game of fantasising that composer X scored film Y a bit pointless generally, but there is one REALLY good answer in this thread, and it's immediately above:
DR. NO — John Barry
We know Barry came on board to turn a seedling of a theme into a flower, and I for one would certainly have been happy if he'd then been invited to stay on and complete the rest of the score.
The other 007 score I really would have loved to have heard Barry on is THE SPY WHO LOVED ME, although I do love the Hamlisch score too.
Cheers
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I would love if Goldsmith would have done the music to The Hulk 2003 
|
|
|
|
|
|
|
 |
Posted: |
Jul 22, 2013 - 3:03 PM
|
|
|
|
By: |
Tall Guy
(Member)
|
I find the game of fantasising that composer X scored film Y a bit pointless generally, but there is one REALLY good answer in this thread, and it's immediately above:
DR. NO — John Barry
We know Barry came on board to turn a seedling of a theme into a flower, and I for one would certainly have been happy if he'd then been invited to stay on and complete the rest of the score.
The other 007 score I really would have loved to have heard Barry on is THE SPY WHO LOVED ME, although I do love the Hamlisch score too.
Cheers
I rarely disagree with Mr Woolston, and I rarely disagree with the idea of John Barry having scored any additional films; however, right now I wouldn't swap Dr No scores... The songs are so ingrained after all these decades, and I also enjoy the instrumental tracks that appear on the LP/CD and not in the film. I even like the Bond Back in Action recreation of the actual incidental music - the spider scene etc.
Dr No is a film of its time, and the music fits in well with it. All the early sixties John Barry scores - in fact, all his sixties scores full stop - are marvellous, and there's part of me that thinks I've gone mad even as I'm typing these words, but I can't imagine Dr No without the calypso tracks and Monty's dodgy guitar and electronic stuff.
Where we converge again is with The Spy Who Loved Me. Don't like the song much, never have. I do like the tanker music with all the trombones, but I'd give up the whole score in a second for a new Barry version.
TG
|
|
|
|
|
|
|
|
|
|
|
Speaking of Bond:
"Goldeneye" -- Basil Poledouris
Speaking of Basil...
"Gladiator" -- Basil Poledouris
"Air Force One" -- Basil Poledouris
"Black Hawk Down" -- Leonard Rosenman
|
|
|
|
|
|
|
|
|
|
Dances with Wolves - Basil Poledouris
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Like many others, I would love to have seen Dr. No, The Spy Who Loved Me, For Your Eyes Only or Never Say Never Again with a score by John Barry. Barry really had a way of elevating a film above and beyond what you saw onscreen in the story or between the characters. He could have produced some remarkable music for those films, and in some cases exceeded the inherent emotional impact of the films themselves. Never Say Never Again in particular (while not an official Bond film) struck me as having some truly incongruous music for some actually pretty well-done scenes, like the motorcycle chase; Legrand's score alone actually turned me off from the film as a whole on first watch.
But here's another more original idea: Elliot Goldenthal for Skyfall. I've thought before how cool it would be for Goldenthal to score a Bond film, but it would have to be for the right kind of Bond film...like if Bond ever took a more gothic route. Then I realized Skyfall was actually just about the darkest, grimmest Bond film made so far, with its main titles imagery of skulls and tombstones and gaunt trees, the sci-fi/noir-esque nightscape of Shanghai and candlelit reds of the Macau scenes, Silva's ghoulish deformity and relentless mission of revenge, the moors chase and the chapel showdown, and various darker points of the story. Might have been just the Bond for Goldenthal.
All just what-if's, but fun things to think and talk about anyway.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
But here's another more original idea: Elliot Goldenthal for Skyfall. I've thought before how cool it would be for Goldenthal to score a Bond film, but it would have to be for the right kind of Bond film...like if Bond ever took a more gothic route. Then I realized Skyfall was actually just about the darkest, grimmest Bond film made so far, with its main titles imagery of skulls and tombstones and gaunt trees, the sci-fi/noir-esque nightscape of Shanghai and candlelit reds of the Macau scenes, Silva's ghoulish deformity and relentless mission of revenge, the moors chase and the chapel showdown, and various darker points of the story. Might have been just the Bond for Goldenthal.
That's actually a suggestion I've broached a few times myself. In the mid 70's, Goldenthal did a student film that spoofed both Morricone and Barry's Bond sound. Check out this clip at 4:30 to hear him do the Barry Bond sound:
https://www.youtube.com/watch?v=SivJeozSfbw
Haha, nice. A bit too much retro-cheese in that James Bond homage (even for the 70s) for the world of Bond, but I like that mournful jazzy trumpet and the beatboxing in the middle.
Another composer I've thought would be great for Bond (though Arnold is still my top choice) is Don Davis. In an alternate universe where Arnold became a DJ or a pub owner or something, I think Davis would have been a natural and wonderful choice for Tomorrow Never Dies through Quantum of Solace, and counting...
Still would like to hear Davis (or Goldenthal) take a crack at Bond some day.
|
|
|
|
|
|
|
|
|
|
|
|
