Personal quote There aren't many composers out there that made such an impression in a short amount of time, the filmmusic industry was overwhelmed by the quality of the soundtracks of David Arnold. He is hardly ready for the ultimate work but some dare to say a new Goldsmith or Williams is born. Frankly, his scores to date are very promising, good enough for a fantastic career but every time he will have to confirm his talent. Because his scores will be checked out very thoroughly by any normal fan. I for one see him succeed but time and patience are the biggest drawbacks. David Arnold is nonetheless a great composer, his scores are immense of power but I question his versatility. His works until now had characters that meant something, like Godzilla or James Bond in Tomorrow Never Dies, The World is not Enough and Die Another Day. What will he do when other lesser known stars come across in his work. Maybe the demo of The Patriot explained something. But still, I was impressed by his score for Last of the Dogmen. Only time will answer my questions but most of all, the pleasure we will get with any future score keeps millions of people awake during the long nights, including myself, as Roland Emmerich and Dean Devlin would quote it, "on to the next popcornfilm". Biography David Arnold was born in Luton, England in the year 1962. He came in contact with the music business by working on low budget assignments for his friend Danny Cannon. The corporation between David Arnold and the Island singer Björk made sure he was put to business, this with the top single 'Play Dead'. The result was the debut score for Danny Cannon's The Young Americans (which the song was originally meant for). This was in the year 1992 and from that day David became a well respected and talented composer of Hollywood. The career was barely begun and enormous projects were flowing his way, Stargate became a legendary score but his highlight was for the blockbuster Independence Day. Between those scores he wrote the very enjoyable Last of the Dogmen. From that day on he became a composer with big projects. He had the honor to compose the score for James Bond's Tomorrow Never Dies. John Barry's feeling was restored after Eric Serra's misfire for Goldeneye. Godzilla was the second major blockbuster (or for some Dudbuster), nonetheless the score was brilliant. That next year the newest Bond movie to date got in the theaters, The World is not Enough. Lesser though than his earlier effort, but he still got a Ivor Novello Award for it. In the same year he wrote the fantastic theme for Wing Commander. The television film Randall and Hopkirk was his next assignment (co composed with Nina Persson from The Cardigans). His career was going on warp speed though some fans were surprised by the cancellation of his demo for The Patriot. He then went into different territory with Shaft, Baby Boy and Changing Lanes. He keeps at it with Bond, first Die Another Day and the latest Casino Royale. He also wrote music for Too Fast Too Furious, The Stepford Wives and Four Brothers. For Venus, Amazing Grace, Casino Royale and Hot Fuzz Arnold wrote his latest.
(on the song of Garbage in The World is not Enough) November, 1999 I tried to do everything I'd ever dreamed of doing in a Bond movie in that one film because I thought I might never get a chance to do it again. I think to a certain extent it might have been overcooked in a lot of places. (on Tomorrow never Dies) November, 1999 I'm a sci-fi fan and I threw everything I wanted to do at that film. I listen to it now and think, there's so many ideas in it, it sounds like someone's possessed! (on Stargate) November, 1999 I asked John, "We've got a song called 'The World Is Not Enough'’ doesn't mean anything, does it?" And he said, "No; just make it about sex. They're all about sex." Of course, this film's not quite like the old ones. (on John Barry's impressions) November 27, 2006Contrary to what may have been suggested, the only reason I never used any
Madonna or Sheryl Crowe song material in the films was that they were not
delivered to the studio until I was around 60% of the way through writing the
score. It would have been too late to go back and re-write as there is always a
lot of music in these films, and not enough time to do it.
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