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It bears some comparison with an experiment some years ago. Someone gained access to a music-free version of NEVER SAY NEVER AGAIN and re-edited and re-scored it to look and sound more like an official Bond film - adding a gunbarrel, reframing the NSNA credits and including a reframed version of the THUNDERBALL title sequence with a Shirley Bassey song, though they didn't use an all-new "score" but tracked in cues from all (or most) of the existing Bond soundtracks. Sometimes that worked quite nicely (I think "Gumbolt's Safe" from OHMSS went over the bit where the warheards are loaded onto the plane) and sometimes it didn't, notably when the old theme song melodies were used. I still have the DVD somewhere but no idea where I got it.
Besides, over the years I've kind of warmed to Serra's score and wouldn't want to see it replaced. It is what it is for good or ill. Now, if you want to de-Hamlisch THE SPY WHO LOVED ME in favour of some ersatz Barry-alike that's a different matter...
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I don't think the entire score is without merit--the gun barrel sequence rhythm is slicker than any of the one's Arnold did and that Altman tank sequence is balls-to-the-wall classic Bond. But the majority of the action music, except for "Run, Shoot, Jump" just feels really poorly executed and abysmal sounding compared to the full-throated roar of the tank scene music.
I would be curious to know how much the score was moved around in post because some of the placements are extremely awkward but some are perfect. The scene on the beach and the subsequent love scene are excellently scored. But the reliance on Run, Shoot, Jump at the end of the film becomes tiresome.
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They might skip it or not issue as many copies. Would take a killer presentation to get me to buy an expanded Goldeneye.
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I don't want David Arnold to rescore Goldeneye. I really like Serra's score. It is what it is.
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Yes, we know that Peter don't like Arnold's Bond music.
I like a lot of Arnold's Bond music but am not too keen on his over busy crash bang wallop action music. I have a two hour playlist of Arnold Bond music, that doesn't include the action music, which I listen to often.
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While I'd fully support Arnold rescoring GOLDENEYE (atrocious, dated score), I would prefer he start with SKYFALL and SPECTRE - because, in a way, I find the blandness (zero Barry DNA) and phoned-in quality of Thomas Newman's scores to be more offensive than GOLDENEYE. That I would love to see/hear.
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While I'd fully support Arnold rescoring GOLDENEYE (atrocious, dated score), I would prefer he start with SKYFALL and SPECTRE - because, in a way, I find the blandness (zero Barry DNA) and phoned-in quality of Thomas Newman's scores to be more offensive than GOLDENEYE. That I would love to see/hear.
This thread is fun but the reality is that all Bond scores are what they are. David Arnold won't be rescoring any of them and we need to enjoy what we have.
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Sorry, but I will NEVER enjoy newman's s*it!
You don't have to apologise for an opinion.
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I never heard the story. Does anyone know why EON stopped using David Arnold?
Initially, it was because Sam Mendes wanted to use his usual composer, Thomas Newman. Broccoli/Wilson suggested Mendes have a courtesy meeting with David Arnold but the outcome was that Mendes decided to stay with Newman.
When No time to Die came around in 2019 Cary Fukunaga wanted to work with his usual composer, Dan Romer, however, it didn't work out and Romer left the project. At this point, one would have expected Arnold to be brought back on board but, as we know, Zimmer was employed. I don't know why Arnold wasn't brought back but he wasn't.
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Initially, it was because Sam Mendes wanted to use his usual composer, Thomas Newman. Broccoli/Wilson suggested Mendes have a courtesy meeting with David Arnold but the outcome was that Mendes decided to stay with Newman.
When No time to Die came around in 2019 Cary Fukunaga wanted to work with his usual composer, Dan Romer, however, it didn't work out and Romer left the project. At this point, one would have expected Arnold to be brought back on board but, as we know, Zimmer was employed. I don't know why Arnold wasn't brought back but he wasn't.
I don't remember the music from Spectre, and I have not seen No Time to Die.
When they reach to point of contracting with Hans Zimmer, is it still "Bond music," or is it just music in a Bond movie? That's a real question, by the way, not a commentary. Zimmer has done great things; was it good?
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Well, we all have our opinions. I don’t own the soundtracks to Live and Let Die. Love the song, despise the score. Not a big fan of The Spy Who Loved Me. Goldeneye is pretty bad. But what the hell
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If it's music in a James Bond movie, yes, it's "Bond music". Literally.
You don't have to like it, but it is what it is.
I imagine if I had grown up on John Barry Bond scores, I may not have liked the score to Goldeneye. As it was, Goldeneye was the first 007 film I ever saw, and I love the score. It makes it very unique among the Bond films. If you don't like that, fine. But it's intrinsically linked to the movie.
I absolutely hope we get an expanded release of the full score next year (or soon thereafter). I imagine a great many of us who were introduced to Bond in 1995 with this film (few though we may be on this board) are quite eager for such a release (I know I'll be clicking "Add to Cart" instantly).
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I don't support anybody rescoring any film.
Once it's finished, it is sacrosanct, whether you like it or not.
If that particular genie gets let out of the bottle, what next?
Goldfinger rescored by Hans Zimmer?
Psycho rescored by Hildur Guðnadóttir?
Star Wars rescored by Junkie XL?
Don't assume it would just be the ones YOU think should be rescored.
Cheers
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No support for Christopher Young writing a new score for Nosferatu, Stephen?
And Carl Davis must REALLY be on your “naughty” list. 
Yavar
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When they reach to point of contracting with Hans Zimmer, is it still "Bond music," or is it just music in a Bond movie? That's a real question, by the way, not a commentary. Zimmer has done great things; was it good?
Why don't you listen to it and form your own opinion?
While the Zimmer bashers will disagree it was a really good score, great even. Zimmer made great use of the Bond theme and even used the OHMSS theme in one cue. It was a perfect blend of his own sensibilities as well as the typical Bond sound. So yeah, it was a proper Bond score
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No support for Christopher Young writing a new score for Nosferatu, Stephen?
And Carl Davis must REALLY be on your “naughty” list.
Yavar
Silent films that have no inherent score are different. But no, I'm not inerested in Christopher Young writing a new score for Nosrefatu.
Cheers
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