I think Daniel Pemberton might be able to do something pretty cool: he worked with him on Steve Jobs, and his Man From Uncle score is rather lovely.
I don’t really want Arnold back to be honest.
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I concur on all points.
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His UNCLE score was one of the best aspects of the movie. I think he’d be great. Haven’t listened to Ocean’s 8 yet.
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Daniel Pemberton would be fantastic. He really brought Guy Ritchie’s King Arthur to life. It may be a silly film but his score was the best thing about it.
But at the same time I would love Arnold to come back too.
For old times’ sake it would be good to see him return. He’s been on the sidelines long enough.
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His scores are just a bit thin though. Newman’s stuff is so much classier and rich.
Thin? Explain, please!
I agree, but Newman isn’t likely to return. He’s been good but it’s time to move on.
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Yeah I’d be surprised if he did another as he’s very successful and has probably ‘done’ Bond now. I’d be happy if he did though as he makes those films feel very sophisticated, which is what Bond should be really: it should have a feel of complete quality and luxury despite being a silly action film 
Newman’s score for Skyfall was fresh and is honestly one of the series’ best, IMO. However, his score for Spectre was a lazy rehash of his Skyfall. I’d welcome Arnold back with the stipulation the Bond theme must be used more often. We are done with the origin story. Having said that, I would also not mind someone completely new. Though the last score that wasn’t Arnold or Newman was Eric Serra and Goldeneye has one of the weakest scores in the whole series.
That said, Arnold was IMHO at his best in CR and QoS when he was limited to his use of the Bond theme. In comparison, TND and DAD seem to be nothing but variants of the Bond theme. All for giving someone else a go, although if Arnold returned I’d be hoping for a latter effort rather than one his earlier ones…
Arnold agrees. On TND he had a bloke ftom MGM next to him telling him to “add the theme here!” every few seconds.
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The thing to remember about composers is how influenced their finished product is by the director (and others) and not them.
Whether the Bond theme is used more or less… whether it’s a brassy John Barry sound or an electronic Eric Serra sound… get a good composer like Thomas Newman and I’m sure he can provide for you whatever sound you want.
I agree that Spectre re-used too much of Skyfall, but is it fair to assume Newman was at fault or that it might have actually been Mendes?
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I agree that much of the fault for Spectre lies with Mendes. I think the script issues were largely a result of him uncompromising on specific story bits. I guess it is possible that the soundtrack may have been him too.
I agree on the use of the Bond theme in TND. It harkens back to the early Connery days, when it would be played while he is just walking down the street. I guess if Arnold were to come back, I’d want something in the middle for usage of the bond theme.
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Oh yes, he is given a pretty golden handshake…
At MGM they would prefer not having to bother with his name for at least three years. Just to be fair to the man.
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The incredibly short post period for SPECTRE definitely did not help anyone - therefore the temp track was made of the SKYFALL score. Hence, Newman was ordered to emulate that instead of trying out different ways to score the car chase, for example.
Then again, SPECTRE does feature many interesting cues that had nothing to do with the SKYFALL score.
While I love what Newman did for both films, I do think that his bag of tricks has been exhausted. It is high time for a new composer to step in.
Arnold, I have to repeat this, has proven to be enormously versatile in his Bond scores. While the run from TND to DAD became more and more influenced by the techno-tricks of those years, CR and QOS could not have been more different from each other and the Brosnan era scores. I believe Arnold could once again do something fresh for BOND 25.
Also, he writes great melodies and themes - exactly what I want in a Bond score. And I never tire of the Bond theme blasting out, I must say.
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It was a sequel score to Skyfall, but that doesn’t mean it didn’t work well in the film. But if you want Bond theme, Spectre is actually rammed full of it. Any time Bond does anything pretty much (in the first half especially) you get a flourish of the theme.
Him selling his stake in the company is not the same as what we refer to as a “golden parachute,” and it’s certainly consistent with my original point.
He sold what he owned. He was not given something for nothing.
Page 39, Non-recurring costs and expenses, roughly $ 15m…
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I’m not even going to read that. I’m just going to say you’re absolutely right and I have never been more wrong.
Looking 39 pages into a financial document to disprove a point I made 3 weeks ago? Is it really that important?
This is just not the kind of discussion I come here for.