Just give the whole thing to Giacchino before he simply takes it himself...
Seriously though, Arnold has to me always been the perfect composer for the modern Bond era, so naturally I'd love to have him back if Romer has really left the project.
Why not just track in some old John Barry cues? At least there'll be some interest for the ears rather than the usual "hold on one simple chord, then shift to another simple chord" we get in most movies these days.
Why not just track in some old John Barry cues? At least there'll be some interest for the ears rather than the usual "hold on one simple chord, then shift to another simple chord" we get in most movies these days.
Good and only sensible answer and George S Clinton would be excellent and could do just what Elmer Bernstein did for Cape Fear.
If this is true then I think we should have some sympathy for Dan Romer. This was going to be a major breakthrough on the international stage for him and I for one am sorry if it hasn't worked out.
If this is true then I think we should have some sympathy for Dan Romer. This was going to be a major breakthrough on the international stage for him and I for one am sorry if it hasn't worked out.
If he gets his full fee - doubtful in the Salzman era- I don't feel sorry.
But Clinton's Barry-esque Bond score for Austin Powers was a parody. And I doubt a John Barry sounding score would work for THIS Bond character in THIS day and age. Audiences would snigger nowadays to Daniel Craig punching and bouncing around to the strains of Moonraker et al. There's a reason these recent Bond films have been the MOST successful in the franchise EVER and part of that reason has been the perfectly tailored music. It's time to move on. I have a feeling similar screams of horror will emerge when Ludwig Goransson tries to modernise the Star Wars sound in The Mandalorian.
