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 Posted:   May 17, 2022 - 11:56 PM   
 By:   Stephen Woolston   (Member)

Broccoli and co. held out for Barry on Licence To Kill, but it was clear he was not going to be well enough in time, which is why they sought out another composer.

The team also first approached Barry on Goldeneye, but Barry passed, saying he wanted to spend time with his new son, but also had probably also felt finished with the Bond movies.

Barry was also the first composer approached for Tomorrow Never Dies and that got into serious talks that got close to having Barry score that movie, but it all unravelled.

As to how Arnold got involved, there are mixed stories. The story Arnold tells is that Barbara Broccoli was buying up soundtrack CDs at a music store to try out different composers and the shop assistant urged her to listen to David Arnold. That's how he crossed her radar.

Anyway, the story behind why the deal on Barry scoring Tomorrow Never Dies fell through is apparently more complicated than the simple re-telling, and if you seek it out, you'll find an account by Richard Kraft on how he tried to make and save the deal.

We could also refer to Jon Burlingame's book, The Music of James Bond.

What is interesting though, is that even when David Arnold was the composer, Barry was apparently asked to mentor and give advice, which he did. Now, how much mentoring and advice, I don't know. It could have been just that single, "use the theme," phone call for all I know.

Cheers

 
 Posted:   May 18, 2022 - 5:25 AM   
 By:   SBD   (Member)

Mercury Rising - The finale cue is nice, but (and I’m amazed to say this about a John Barry score with a side of Carter Burwell) this music is ridiculously bland.

The Specialist - It’d be nice to have back in print, but I think the score album flows much better than a C&C presentation would.

 
 
 Posted:   May 18, 2022 - 6:28 AM   
 By:   villagardens553   (Member)

I've never found Mercury Rising memorable, but The Specialist is a very special score with a lot of variety.

A scherzo, an eerie choral piece, a few suspense cues, brassy action music, and a sexy and seductive piece that ranks with Body Heat.

I've just talked myself into spinning this again.

 
 
 Posted:   May 18, 2022 - 7:36 AM   
 By:   Alex Klein   (Member)

Mercury Rising was the nail on the coffin for Barry as an action composer. He simply wasn't interested in explosions and car chases anymore, and it shows.

Let's not forget one of the reasons why Barry didn't get the job for The Incredibles was because his demos were focused on the emotional aspects of the film, whereas the producers were aching to hear a 60s Bond pastiche.

There can be no doubt Barry could still write action music "in his sleep", as he put it, but he had had enough of it.

Alex

 
 Posted:   May 18, 2022 - 7:55 AM   
 By:   MusicMad   (Member)

I don't get this criticism of Barry's score for Mercury Rising ... its only failure was that it didn't tick all the boxes asked by the Producers/Money-men. If they didn't want a JB score ... why did they hire him?

The score, for me, does the job its meant to do and does it proudly. It's not an action film ... it's a drama about an experienced cop with a history (breaks the rules to get the job done) who is suddenly faced with a task for which he has no experience. Art is as much out of his depth as Simon is ... and it is this premise, and the relationship between Art and Simon, which Barry scored.

Anyone who thinks this is Die Hard 3.5 is missing the point and the typical overblown action score would have ruined what, to me, is a highly engaging, emotional film. Barry's score is one of the film's highlights ... and it's a great listen away from the visuals, too. Sound quality - 2 speaker stereo - is excellent.

I do prefer Barry's score to The Specialist (1994) - simply, this is my favourite score from the 1990s.

 
 
 Posted:   May 18, 2022 - 8:20 AM   
 By:   townerbarry   (Member)

Broccoli and co. held out for Barry on Licence To Kill, but it was clear he was not going to be well enough in time, which is why they sought out another composer.

The team also first approached Barry on Goldeneye, but Barry passed, saying he wanted to spend time with his new son, but also had probably also felt finished with the Bond movies.

Barry was also the first composer approached for Tomorrow Never Dies and that got into serious talks that got close to having Barry score that movie, but it all unravelled.

As to how Arnold got involved, there are mixed stories. The story Arnold tells is that Barbara Broccoli was buying up soundtrack CDs at a music store to try out different composers and the shop assistant urged her to listen to David Arnold. That's how he crossed her radar.

Anyway, the story behind why the deal on Barry scoring Tomorrow Never Dies fell through is apparently more complicated than the simple re-telling, and if you seek it out, you'll find an account by Richard Kraft on how he tried to make and save the deal.

We could also refer to Jon Burlingame's book, The Music of James Bond.

What is interesting though, is that even when David Arnold was the composer, Barry was apparently asked to mentor and give advice, which he did. Now, how much mentoring and advice, I don't know. It could have been just that single, "use the theme," phone call for all I know.

Cheers



What I was told …Read…Was that The Broccoli’s owed Funds to Barry ..Profits? And so on..John Barry also was going to get less money(no song deal) for Tomorrow Never Dies. I am very sure There is a bigger picture here. But usually Bruised Ego’s, Lots of Money are the Main Subjects. We all know that John Barry was a Moody Chap, who didn’t want to be bothered, (Ask Barbra Streisand) And was very quick to walk off! Even Kevin Costner Acknowledges this behind the scenes of Dances With Wolves, on asking John Barry to do a couple of Rewrites Cues. The Buffalo Hunt is a Rewrite, but Barry on the First Release CD, got his First Version of The Buffalo Hunt on the Original Soundtrack.

This is why John Barry on Samples of Music for Brad Bird’s The Incredibles, was not like The James Bond Style of Music…that Brad Bird was looking for. John Barry …Balked and said “I have already done that before” I believe truly that Richard Kraft wanted that Deal also. Something I have learned about Movies Being Made…There are 100% Versions of What Happens!

There is The Directors Version, The Writers Versions, The Producers Version, The Composers Version, and Them Agents also have a version.

I truly understood why John Barry told Streisand to Piss Off, there is a video of John Barry discussing his Work on an English Morning Show and The issue of Princes of Tides came up. I got it why Barry walked off. This was right after Dances With Wolves and Chaplin…Very Big Opportunities, but we did get to hear Prince of Tides in John Barry’s Wonderful score to Across The Sea of Time.

There is James Southall and Geoff Leonard( John Barry said that Geoff knew more about Me than I Did). John Barry was one of my Favorite Composers. When John Barry was allowed to be John Barry it was 100% Magic.

 
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