From Russia With Love’s 50th anniversary Part II: John Barry

John Barry

John Barry

John Barry wasn’t a happy man after Dr. No came out in 1962.

Barry had arranged and revamped Monty Norman’s James Bond Theme. He thought the piece would only be in Dr. No’s main titles. Instead, it was inserted by editor Peter Hunt throughout much of the movie.

With the second 007 film, From Russia With Love, “John Barry’s irritation at seeing his work all over the film of Dr. No would soon turn to elation,” author Jon Burlingame wrote in his 2012 book, The Music of James Bond. Barry got the job of scoring the new 007 film and, in the process, established the Bond movie music template.

Producers Albert R. Broccoli and Harry Saltzman hired Lionel Bart to write the title song. But Barry would score provided all the dramatic music.

Barry’s impact was evident immediately. Dr. No’s gunbarrel logo utilized electronic noises. Barry instead used an arrangement of Bond theme. The pre-credits sequence, where where assassin Red Grant (Robert Shaw) kills a Bond double during a training exercise, was heightened by Barry’s music. In 1977′s The Spy Who Loved Me, composer Marvin Hamlisch did an homage to Barry’s work where Bond (Roger Moore) and Soviet agent Triple-X (Barbara Bach) are searching for Jaws amid Egyptian ruins. (CLICK HERE to see a Stuart Basinger-produced video comparing the two scenes.)

Barry’s work on From Russia With Love was the beginning of the James Bond sound.

“The 007 films demanded music that could be variously romantic, suspenseful, drive the action, even punctuate the humor,” Burlingame said in a 2012 E-MAIL INTERVIEW WITH THE HMSS WEBLOG about his book. “It was a tall order, and John Barry, especially, delivered what was necessary and helped define James Bond in a way that wasn’t possible with the visuals alone.”

Barry also composed what amounted to a second Bond theme, simply titled 007. It was used during two action sequences: A big fight between Bulgarians and gypsies working for MI6 and when Bond snatches a Russian decoding machine out of the Soviet consulate in Istanbul. Barry would end up bringing the 007 theme back in four more movies, the last being 1979′s Moonraker.

For the composer, this was just the beginning. He scored 10 more Bond movies and become one of the most sought-after composers in the movies. Remarkably, his Bond work never got an Oscar nomination. But he won five Oscars for non-007 films starting with 1967′s Born Free and ending with 1990′s Dances With Wolves.

Meanwhile, Barry’s template was something other composers had to keep in mind when they worked on 007 films. In the 1990s, David Arnold, a Barry admirer, produced new takes on classic Barry 007 songs. That helped him to secure work on five Bond films, making him the only composer so far besides Barry to work on more than one 007 film.

NEXT: Desmond Llewelyn’s debut as Q

January 2011 post: JOHN BARRY, AN APPRECIATION

September 2012 post: HMSS TALKS TO JON BURLINGAME ABOUT HIS 007 MUSIC BOOK

Derek Watkins, 007 musician, dies

Derek Watkins

Derek Watkins

Derek Watkins, who frequently played trumpet on the scores of James Bond movies, has died, according to a series of Tweets by composer David Arnold.

DavidGArnold ‏@DavidGArnold
Very very sad news…the legend that was Derek Watkins,gentleman,musical genius and Trumpet on EVERY
Bond score has just passed away

DavidGArnold ‏@DavidGArnold
renowned as one of the finest Trumpet players in the world (LA session players often asked me about him) but he was mainly a lovely man

DavidGArnold ‏@DavidGArnold
He played on pretty much all of my scores and records….sublime playing,tasteful,supreme…and could hit notes others couldn’t get near

DavidGArnold ‏@DavidGArnold 4h
That will be a chair in the Trumpet section that will remain permanently empty….an irreplaceable musician and a down to earth,funny man

Arnold was composer on five James Bond movies, starting with Tomorrow Never Dies and running through Quantum of Solace. Watkins’s Web site has a long list of movie and TV credits.

UPDATE (March 23): Watkins, born in 1945, was just 17 when he played on Dr. No, beginning his long run performing on 007 scores. You can CLICK HERE to view his biography on his Web site.

UPDATE II (10:55 a.m., March 23): There is a Facebook page called DEREK WATKINS, THE TRUMPET LEGEND. It includes this post from his wife Wendy:

“A trumpet spreading a wondrous sound
Throughout the graves of all lands.
Will drive mankind before the Throne
Death and Nature shall be astonished”

It is with such sorrow that I have to tell you that my beloved husband died at 19.50 on 22 March. He was surrounded by his family telling him how much we loved him. His two year battle against cancer is over, he is at peace but we shall miss him so very much. His courage and strength over the past years have been an inspiration to everyone he met, and his music will live on for his future generations.

DEREK ROY WATKINS – 2 MARCH 1945 – 22 MARCH 2013

The HOME PAGE of Watkins’s official Web site now also has a tribute. Finally, some 007 Web sites have tried embedding one of the Skyfall videoblogs about the film’s music where Watkins is featured along with composer Thomas Newman. But those videos appear to have been blocked. But you can still see it by going to the VIDEOS PAGE of the official 007.com Web site.

UPDATE III (11:52 a.m.): The BBC’s Web page has an obituary you can view by CLICKING HERE. Meanwhile, other 007 bloggers inform us they’ve embedded versions of the 007.com video featuring Watkins works fine. So we’ll try to embed here:

Tomorrow Never Dies’s 15th anniversary: tightrope

tndposter

This month marks the 15th anniversary of Tomorrow Never Dies, the 18th 007 film and one whose drama behind the camera — a tightrope act to meet a tight schedule — may at least match that of the finished product.

GoldenEye, Pierce Brosnan’s debut as James Bond, revived the franchise after a six-year hiatus. So MGM’s United Artists wanted a follow up within two years’ time. The film had a $110 million budget, almost twice that of GoldenEye. That meant more resources but also more pressure.

Eon Productions for a time had employed writer Donald E. Westlake to do a story, which he said in interviews in 1995 concerned the U.K.’s 1997 return of Hong Kong to China.

For whatever reasons, Westlake didn’t work out and Eon hired Bruce Feirstein, who had done the final versions of GoldenEye’s script to have a go. Feirstein’s FIRST DRAFT (archived at the Universal Exports Web site) proved to be much different that the eventual final product.

Feirstein’s first draft concerned the theft of gold being transferred back to the U.K. from Hong Kong. The villain, Elliot Harmsway, also plans to create a nuclear meltdown in Hong Kong, because he opposed the giveback.

Co-bosses Michael G. Wilson and Barbara Broccoli, working on their first film after the 1996 death of Eon co-founder Albert R. Broccoli, decided major surgery was in order. Other writers were summoned. Eventually, the Hong Kong angle was dropped; the movie would be out in December 1997, after the colony was returned to China. Sidney Winch, a former New York lawyer who runs a salvage ship, Feirstein’s female lead, was also a casualty.

In the rewriting process, a new heroine, Wai Lin, a Chinese agent, emerged. The move evoked Agent Triple-X from The Spy Who Loved Me two decades earlier. But the martial arts skills of actress Michelle Yeoh meant the new character would be deeply involved in the action sequences. One character that survived from Feirstein’s original story was Paris (Teri Hatcher), the villain’s wife who had a previous previous relationship with Bond.

Feirstein was then brought back to perform the final drafts of the revised storyline, in which a media mogul now named Elliott Carver (Jonathan Pryce) wants to start a U.K.-China war to boost ratings for his cable news empire and gain exclusive broadcasting rights in China. Feirstein ended up with the sole writing credit.

Director Roger Spottiswoode faced a tight deadline. The main until didn’t begin work until April 1, with the film set for a December release. The crew at one point was supposed to film in Vietnam but had to switch to Thailand. David Arnold, a new hire as composer, told journalist Jon Burlingame in an interview he had to score the movie in sections. That’s because the post-production time would be “non-existent,” Arnold told Burlingame. (To read a detailed account of filming, CLICK HERE for an article on the MI6 James Bond fan site.

In the end, the deadlines were met. Spottiswoode, in a commentary on the film’s DVD, while complimentary of Eon said he’d be in no hurry to repeat the experience. Michael G. Wilson, in interviews after the film came out, talked about being exhausted by the grind of making a 007 movie.

Tomorrow Never Dies ended up selling $339.5 million in tickets worldwide. That was down from GoldenEye’s $356.4 million (although Tomorrow’s U.S. ticket sales exceeded GoldenEye’s). All in all, it was plenty enough to ensure future film adventures for 007.

HMSS talks to Jon Burlingame about his 007 music book

Image of the cover of The Music of James Bond from the book’s Amazon.com page (don’t click it won’t work here; see link at bottom of this post).

Jon Burlingame, who has written extensively about film and television music, is coming out with a new book, The Music of James Bond. He’s come up with some research that should intrigue 007 fans. Example: one of the singers of Mr. Kiss Kiss Bang Bang, originally intended to be Thunderball’s title song was involved in a lawsuit to try to stop release of the fourth James Bond film.

We did an interview by e-mail. He provided a preview of his book. The author didn’t want to give away too much in our interview, including identifying which Mr. Kiss Kiss Bang Bang singer was involved. Both Shirley Bassey and Dionne Warwick performed the song before Eon Productions went with Tom Jones singing Thunderball.

Anyway, the interview follows:

HMSS: Did you come across information that you found surprising? If so, what was it?

BURLINGAME: I was able to piece together the chronology of what happened with “Mr. Kiss Kiss Bang Bang” — the unused theme for THUNDERBALL — which had always eluded previous writers and researchers. And I discovered that one vocalist was so incensed about the failure to use her recording that her company sued the producers to attempt to stop distribution of the film in late 1965. (She didn’t succeed, of course.) It was a stunning new discovery and, to me, one of the most fascinating stories in the book.

I also got Paul Williams to recall many of his unused lyrics for MOONRAKER and Johnny Mathis to confirm that he recorded that song, which no one has ever heard. I successfully unraveled the story of the missing Eric Clapton recordings for LICENCE TO KILL and the sad and unfortunate tale of why John Barry was ready to score TOMORROW NEVER DIES and how studio politics derailed it. I obtained new details about the aborted Amy Winehouse song for QUANTUM OF SOLACE and finally got to the bottom of the story involving “No Good About Goodbye,” which has always been rumored to be an unused QoS song.

HMSS:How long did it take to prepare The Music of James Bond? How many of the principals were you able to interview directly?

BURLINGAME: It took eight months to write — and about 45 years of intense interest before that. I signed the contract with Oxford in May 2011 and delivered a final manuscript in December. Like any film-related history that covers several decades, it required considerable research as well as interviews with those key players who were still with us. I had interviewed John Barry often since the late 1980s, so I had material from him prior to his passing.

New interviews included Monty Norman, Vic Flick, Leslie Bricusse, Don Black, Hal David, producer Phil Ramone (OHMSS), engineers Eric Tomlinson and John Richards, Sir George Martin, Marvin Hamlisch and Carole Bayer Sager, Paul Williams, Bill Conti, Tim Rice, Michel Legrand and Alan & Marilyn Bergman, Maryam d’Abo, Narada Michael Walden and Diane Warren (LICENCE TO KILL), Eric Serra (GOLDENEYE), David Arnold, conductor Nicholas Dodd (the Arnold films), and Madonna (DIE ANOTHER DAY), among others. {plus extensive, previously unused interviews I had done with Michael Kamen (LICENCE TO KILL) and Michel Colombier (DIE ANOTHER DAY) before each passed away.

HMSS: What is your view of the disputes related to the creation of The James Bond Theme? To some laymen, it really does sound like Barry at the very least added a lot to Monty Norman’s work.

BURLINGAME: He did. The story is very, very complicated, as anyone who followed the London court case should understand. The creation of a piece of music for a film — whether in 1962 or in 2012 — can be a complex process involving a melody line, the addition of rhythm and countermelodies, bridges, etc., and performance issues related to what instruments are being used and how. So it started with Monty Norman and an unused song from an unrealized production; passed through the hands of his own orchestrator; reached John Barry, who undertook what one expert witness at the trial called an “extreme” arrangement; and when Barry called in guitarist Vic Flick, he added his own special touches before the theme was recorded for the first time. To his credit, Norman — despite his differences with Barry over the years — continues to credit Barry with the definitive orchestration of his theme.

I would urge Bond fans to read my first chapter very carefully before drawing, or modifying, their own conclusions. I believe it is as complete a chronicle of the creation of the “James Bond Theme” as is possible at this date.

HMSS: Harry Saltzman almost killed the title songs to Goldfinger and Diamonds Are Forever and while liking the Live And Let Die song didn’t want Paul McCartney to perform it. Are there any other examples of this sort of thing (not restricted to Saltzman)?

BURLINGAME: From the beginning, it’s always really been a kind of crap shoot to try and create a song that would serve the film but also reach the pop charts to serve the broader promotional needs of the film and be successful on its own. There has always been second-guessing, from the examples you cited to the rush job on MAN WITH THE GOLDEN GUN, the last-minute decision to change lyricists and singers on MOONRAKER, the involvement of record-company people on the songs for A VIEW TO A KILL, THE LIVING DAYLIGHTS and LICENCE TO KILL, and finally the deep involvement of the studio music department on films like TOMORROW NEVER DIES, DIE ANOTHER DAY and the 2006 CASINO ROYALE. I detail all of these in the book.

For a long time, no composer not named John Barry did a second turn as a 007 film composer, until David Arnold came along. What did he bring to the table that the likes of Bill Conti, Marvin Hamlisch, etc., didn’t?.

BURLINGAME: I don’t think it’s fair to compare David Arnold with Conti and Hamlisch. Each composer tried to do his best with the film he was given. The circumstances were different in each case. All three attempted to “modernize” the Bond sound in their own way, with Hamlisch and Conti applying the pop rhythm sounds of their day (1977, 1981). Arnold came along at a time when the largely electronic (Eric) Serra
score for GOLDENEYE proved problematic for the filmmakers and they were eager to return to a more “traditional” sound. Arnold’s TOMORROW NEVER DIES score took the classic Barry sound and “updated” it with contemporary synth and rhythm-track sounds that proved just right for that film. He delivered what was needed and thus was retained — especially in a time of risk-averse studio thinking that often says, “that worked, that movie made money, let’s have more of that.”

HMSS: What qualities make James Bond scores different than scores of other movies?

BURLINGAME: One of the main points of the book is the assertion that these composers invented a new kind of action-adventure scoring for the Bond films. Partly pop, partly jazz, partly traditional orchestral scoring, the 007 films demanded music that could be variously romantic, suspenseful, drive the action, even punctuate the humor.

It was a tall order, and John Barry, especially, delivered what was necessary and helped define James Bond in a way that wasn’t possible with the visuals alone.

John Barry


HMSS: John Barry won five Oscars for his film work but never for a Bond movie. Meanwhile, Marvin Hamlisch got nominated for his score for The Spy Who Loved Me, and three title songs where Barry was absent (Live And Let Die, Nobody Does It Better and For Your Eyes Only) got nominated. Why was that?

BURLINGAME: This is a sore point with me. “We Have All the Time in the World” and “Diamonds Are Forever” are two of the greatest movie songs of their time, and both should have been nominated. But the reality is that the Bond films were not taken seriously as artistic achievements at the time, and neither song was a big hit (while record sales helped to drive Barry’s “Born Free” into Oscar territory, and the Bacharach-David “The Look of Love” from (1967′s) CASINO ROYALE was from a very popular, L.A.-based hitmaking team and so was an obvious choice for Oscar attention).

“Live and Let Die,” “Nobody Does It Better” and “For Your Eyes Only” went to no. 2, no. 2 and no. 4 on the American charts, respectively, and thus could not be ignored at Oscar time on the basis of their commercial success alone.

I think you could make a case that “You Only Live Twice,” “We Have All the Time in the World,” “Diamonds Are Forever,” “All Time High” and “Surrender” from TOMORROW NEVER DIES could and should have been nominated for Oscar. Maybe even “You Know My Name” from CASINO ROYALE, which has grown on me over the years. Changing Oscar rules in recent years hasn’t helped, but this year, with five nominees for Best Song assured because of a rule change, I think it’s quite likely that we may have a Bond song in contention.

HMSS: What do you think is the best Bond film score? What do you think is the most underrated?

BURLINGAME: You can’t ask a guy who spent six months listening to nothing but Bond
music to choose just one!

I love every note of both GOLDFINGER and ON HER MAJESTY’S SECRET SERVICE. I think FROM RUSSIA WITH LOVE, YOU ONLY LIVE TWICE and DIAMONDS ARE FOREVER are terrific scores in every way. And the fact that I grew up in that era may influence my passion for the early Bond scores, when the Barry concept and sound
was so fresh and exciting. I believe THE LIVING DAYLIGHTS may be the most underrated score. There is so much original melodic and rhythmic material there, and a very contemporary sound for 1987; I feel that Barry went out on a very high note with his last Bond score. I also think there is much to admire in Arnold’s first two Bond scores, TOMORROW NEVER DIES and THE WORLD IS NOT ENOUGH, and I think his unused song from the latter, “Only Myself to Blame” (with Don Black lyrics) ranks with “Mr. Kiss Kiss Bang Bang” as another of the unsung masterpieces of Bond music.

HMSS: What do you think Thomas Newman brings to Skyfall?

BURLINGAME: I very much look forward to the SKYFALL score. Every few years there is a new voice in Bond music — this year we have two, in Adele and Thomas Newman — and it’s always a good thing to reexamine what makes Bond music work. Arnold tried to do that with each new Bond score, but I think Newman will offer a fresh musical point of view and I can’t wait to hear what he brings.

For information about ordering the book, CLICK HERE to view Amazon.com’s Web site. You can look at some pages on the Amazon site BY CLICKING HERE.

UPDATE (Sept. 28): Jon Burlingame passes on the following about “rejected” James Bond title songs:

One of the book’s appendices is a chronicle of “would-be” Bond songs. There is a widespread notion out there that these were “rejected” (Johnny Cash for THUNDERBALL, Alice Cooper for GOLDEN GUN, etc.) when in fact most were, at best, unsolicited demos that never even reached the producers, who were not in the habit of entertaining song suggestions from outsiders.

The idea that Cubby Broccoli and Harry Saltzman were sitting round their offices listening to these and giving them serious consideration is the height of lunacy.

There really was a “cattle call” for songs for TOMORROW NEVER DIES, but that was done by the studio, not the producers, and I detail the unhappy results in the book.

Bond music program on Oct. 5 to feature Black, Flick

The Academy of Motion Pictures Arts and Sciences formally announced an Oct. 5 program in Beverly Hills, The Music of Bond: The First 50 Years. Featured guests are Don Black, who collaborated with John Barry and David Arnold on 007 film title songs, and guitarist Vic Flick, who helped bring Monty Norman’s James Bond Theme to life in Dr. No.

John Barry


An excerpt OF THE ANNOUNCEMENT:

Fifty years to the day after the U.K. opening of the first Bond film, “Dr. No,” on October 5, 1962, the Academy pays homage to the memorable title songs and indelible scores that have become as celebrated as the character’s many exploits.

Over the 22 films released to date as part of the official James Bond series, there have been several constants: suave but deadly leading men, gorgeous and barely clad Bond girls, over-the-top villains and incredible music. Bond theme songs, sung by such leading performers of their era as Shirley Bassey (“Goldfinger”), Nancy Sinatra (“You Only Live Twice”), Paul McCartney and Wings (“Live and Let Die”), Carly Simon (“Nobody Does It Better”) and Sheena Easton (“For Your Eyes Only”), consistently landed on the pop music charts. Duran Duran’s “A View to a Kill” became the first Bond song to hit #1 on the Billboard Hot 100.

The host of the program is Jon Burlingame, who has written extensively about film and television music, including the upcoming The Music of James Bond.

The Oct. 5 program starts at 7:30 p.m. PT at the Samuel Goldwyn Theater, 8949 Wilshire Boulevard, Beverly Hills, CA 90211. General admission tickets are $5 and can be ordered ONLINE or by mail starting Sept. 4. Doors open at 6:30 p.m. on Oct. 5 and seats are not reserved.

Thomas Newman says he’s `brainstorming’ Skyfall score

Thomas Newman, the composer for Skyfall, told journalist Jon Burlingame that he’s “just brainstorming right now” what the score will be like. That implies (but doesn’t actually state) that music in the teaser trailer that came out this week won’t be part of Skyfall.

Burlingame, who writes for Variety and has done a book about James Bond music coming out, got Newman for a quick interview at the recent 2012 BMI Film & TV Awards. Here’s the interview:

Newman was selected by director Sam Mendes to score Skyfall because the two had worked together on previous films. That bumped David Arnold, who had scored five consecutive 007 films. John Barry and Arnold are the only composers to work on more than one film in the series produced by Eon Productions.

Latest odds for Skyfall title song performers

A U.K. publication called the Daily Star has a story concerning the possibilities about who might be involved in performing the title song for Skyfall, the 23rd James Bond film. THAT STORY has a bit of something for everyone, including a collaboration between Queen and Lady Gaga. So caveat emptor. Still, here’s an excerpt:

Bookmakers Paddy Power have Rihanna, 23, as fav­ourite to record the song at 6-1.

But they are already offering odds of 25-1 for a Queen/Lady GaGa collaboration for Skyfall, which hits cinemas in October 2012.

One thing’s for sure, rum­oured theme tune singers Adele, 23, and Noel Gallagher have not been app­roached to do the music yet.

(David) Arnold, who also soundtracked 2007’s Quantum Of Solace told me: “I’ve heard the Adele rumours but nobody has been asked yet.

“Traditionally producers wait for the film to be made, or if I’m asked I’ll have somebody in mind.”

The story, by Kim Dawson, seems to put a lot of weight on the words of David Arnold. Problem: Arnold, after scoring five consecutive 007 films from 1997 through 2008, isn’t working on Skyfall. Thomas Newman, who has worked on multiple films with director Sam Mendes, is doing the honors. And it’s not clear whether Newman will even be involved with the title song.

Will Sam Mendes get a `vanity credit’ for Skyfall?

On Nov. 3, Skyfall director Sam Mendes said, “Every decision is mine,” regarding the creative choices for the 23rd James Bond film. We were skeptical because Eon Productions isn’t known for granting directors complete autonomy. But this week’s news that Mendes was responsible for bringing in Thomas Newman as Skyfall’s composer, bumping David Arnold, is an indicator Mendes does have that kind of clout.

That got us to thinking about another question: will Mendes be the first director to get a “vanity credit” in an Eon-produced 007 film?

A vanity credit is essentially a way for a director to get his or her name in the titles twice: the normal “directed by” credit, plus another indicating it’s his or her film. A NAME HERE Film. A Film by NAME HERE. Sometimes they get more creative such as A Spike Lee Joint. Vanity credits have been around for decades, but since at least the 1960s have grown pretty common. The Writers Guild of America dislikes them strongly because, in the view of the union, vanity credits create “the false impression that the director is solely responsible for the film, this credit denigrates the contribution of writers and all others who contributed to the picture.”

One exception has been Eon’s 007 series, started in 1962. On the first 17 films, there was a vanity credit of either “Albert R. Broccoli and Harry Saltzman present” (first billing varying according to market) or “Albert R. Broccoli presents.” You could argue that for two of those films they weren’t vanity credits. Thunderball also had a Broccoli-Saltzman presents credit but they took no producer’s credit, yielding that to Kevin McClory. For GoldenEye, there was there was a Broccoli presents credit but, for health reasons, he had yielded the major producer duties to Michael G. Wilson and Barbara Broccoli. In any event, on an Eon film, directors had to get by with their “Directed by” credit and that was it.

Never Say Never Again, the 1983 Bond film not part of Eon’s series, had a vanity credit for director Irvin Kershner. Meanwhile, Eon series veterans Terence Young, Guy Hamilton and John Glen all got at least one vanity credit each on post-007 films.

Mendes got “A Sam Mendes Film” credit with his two most feature films, Revolutionary Road and Away We Go. He also came on board Skyfall with an Oscar for best director for 1999′s American Beauty on his resume. Given Mendes’s clout (five-time 007 composer Arnold said on Twitter that Newman was Mendes’s choice), maybe Eon adjusts its credits to say Skyfall is “A Sam Mendes Film.” We’ll find out, probably when the first teaser trailer goes public.

Thomas Newman to score Skyfall, Eon says

Thomas Newman will score Skyfall, the 23rd James Bond film, Eon Productions said on an official Web site.

You can read the announcement BY CLICKING HERE. It reads in part:

Michael G. Wilson and Barbara Broccoli today announced that composer Thomas Newman will score the 23rd James Bond film, SKYFALL. “We are delighted to confirm that Thomas Newman will score SKYFALL. Thomas is one of the most respected and successful composers, he has a long history of working with Sam Mendes and we look forward to welcoming him into the Bond family,” commented Michael. G Wilson and Barbara Broccoli.

Said Newman today, “I’m incredibly excited to be working with Sam again. It’s a real thrill to be able to collaborate on something as special as a Bond movie.”

(snip)

Newman takes over musical duties from David Arnold who is currently Music Director of the London Olympic and Paralympic closing ceremonies. David will continue to be involved with the 50th anniversary of Bond and recently produced the John Barry Memorial Concert at the Royal Albert Hall.

Said Arnold of the news: “I’m a huge fan of Thomas Newman so I am as excited as anyone to see where Sam Mendes and his team take James Bond on his 50th anniversary.”

Thus, the Bond series will have its first new composer since Arnold composed the score for 1997′s Tomorrow Never Dies. The move ends a streat of five straight 007 films with Arnold as composer.

Arnold commented on his Twitter feed, saying the move had nothing to do with Arnold’s commitment for composing music for the 2012 Summer Olympics in London:

DavidGArnold
@
@friskywhiska directors choice,,,he’s worked with Tom on all his films
4 hours ago Favorite Retweet Reply
»

@tenpig I agree.but I didn’t turn it down to do the Olympics….it’s Sams choice and I think the right choice for him.
4 hours ago Favorite Retweet Reply
»
DavidGArnold
@
@Belles_Aunty I always said I would do them as long as they ask.if they ask for next one I will do it.

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