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David Arnold |
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Reviews in Filmtracks' Top 100 Traffic Ranks: |
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Scores in Filmtracks' Top 100 Voting Ranks: |
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| Biography: |
At the age of seven, British composer David Arnold (born in Luton in 1962) knew that he wanted
to compose music for film. It was at the Luton British legionnaire club where Arnold saw his first James
Bond movie, You Only Live Twice, and the young man claimed the film's score "tainted him for life"
and was the "substantial event for him that just got him hooked." Arnold was brought up listening to
Frank Sinatra, Debussy, The Beatles, and Stevie Wonder. His first instrument was the recorder, followed by
the clarinet, the electric guitar, and the piano. As a teenager, Arnold played in nursing homes and along
side his father, who sang in a number of clubs. He played with a number of punk rock bands that never
really took off, so he went to college and studied theater design, but later left to pursue his career in
music.
After a number of job auditions failed, Arnold returned to his hometown of Luton. While at a local art
center where Arnold rehearsed and played with bands, he met with a young film student who asked him to
score a number of short films he had been producing. One of these films was entered into the BBC's young
filmmaker's competition, and it took top honors. Arnold's first big break came when the same student, Danny
Canon, asked him to write the score for his first feature film, The Young Americans, starring Harvey
Keitel in 1993. This gave Arnold the opportunity to work with a budget and Icelandic sensation Bjork and
produce a score that would merit international attention. The film went unseen by most, except for Alan
Parker, a top commercial and feature director who enjoyed the film so much that he invited Canon and Arnold
to visit him in his Hollywood mansion in Bel Air.
Alan Parker wasn't the only person to notice David Arnold's talents; Mark Friedman, one of the producers
for the 1994 big budget Sci-fi venture, Stargate, also noticed the score for The Young
Americans, and the music was filtered to the director and producer of Stargate, Dean Devlin and
Roland Emmerich, who were looking for a composer at the time. A number of cues from the score were placed
against scenes in Stargate, and they worked so perfectly together that the success of the film would
lead to a five year partnership between Arnold, Devlin, and Emmerich. After scoring the relatively unknown
The Last of the Dogmen from a little hotel room in Los Angeles, Devlin presented Arnold with the
mega-budget film Independence Day. The huge hit utilized a 90-piece orchestra and won Arnold
mainstream attention and a Grammy award.
In 1996, Arnold worked on a tribute cover-album of his favorite James Bond themes "Shaken and Stirred," a
project that would become a labor of love and take eighteen months to complete. Collaborating with a
diverse range of acts like Matin Fry, Jarvis Cocker of Pulp, Propellerheads, and Iggy Pop, Arnold managed
to mix the contemporary and orchestral approached onto one album. Two of the tracks from the album were
released as chart singles, and one track, On Her Majesty's Secret Service, became a successful dance
hit. While producing the album, Arnold had been sending his recordings to MGM and Barbara Broccoli, who
were impressed with the effort and style of his interpretations. Arnold's dreams then came true when he was
offered the score to Tomorrow Never Dies, Pierce Brosnan's second outing as James Bond. Long-time
Bond composer John Barry, who had turned down an offer to score the picture, was also impressed with
Arnold's style, claiming the young composer as "the rightful heir" to the series.
By this time, Arnold's career had blossomed into a very in-demand one. Film studios and television
companies were asking him to score main theme titles for programs and a number of artists in the pop
industry wanted him to produce tracks on their albums. His collaboration with Devlin and Emmerich would
come first, however, with the large-scale remake of Godzilla in 1998. Arnold was frustrated with the
film, however, and the score was never commercially released. After offering a rousing title theme for
Wing Commander in 1999, Arnold took a break for a short time so he could concentrate on a few small
television projects (such as Tested to Destruction, a ITV program hosted by Carol Vorderman) before
embarking on the next major James Bond film. While Arnold was scoring The World is Not Enough, he
held a tribute concert at the 'Music Industry Trust's Man of the Year' awards ceremony for John Barry, and
presented Barry with an official James Bond guitar. Arnold would write the score song and score for his
second Bond film and firmly established himself as the new composer of the Bond franchise.
The year 2000 marked the first critical change in Arnold's professional career. Arnold moved on to a number
of smaller projects, including the title theme for the remake of the TV series Randall & Hopkirk and
he wrote the score for the BBC Hall of Fame episode for Barbara Windsor. When Arnold was set to
return to the big screen, his partnership with Devlin and Emmerich came to an uncertain and sudden end when
his demo for their newest film, The Patriot was rejected (the assignment was then given to John
Williams). At this point, Arnold's career led him to the remake of the legendary 1971 hero Shaft, a
score that would announce Arnold into a new stage of his career. After proving that his hip, techno
sensibilities translated well into his film scores, he began taking more assignments that allowed him to
utilize this talent. With the fortunes of his action scores fading after his lackluster work for The
Musketeer in 2001, Arnold took the synthesized route for several projects. Smaller-scale urban grooves
were his style for Baby Boy, Changing Lanes, Enough, and 2 Fast 2 Furious
between 2001 and 2003.
Having established this rhythmic style has his new professional identity, Arnold returned for his third
James Bond film, Die Another Day, in 2002. Arnold's score was the most experimental electronic score
in the series to date, and alienated many of his listeners who were more in tune with the "Barryesque"
approach to the franchise. Arnold was displeased with the Madonna title song for the project, which had not
been under his control, and the soundtrack as a whole was met with critical and popular displeasure,
especially in the U.K., where Arnold continues to work. Even during this time of turmoil in Arnold's film
music career, however, he continued to make waves in other music genres. Away from the film world, Arnold
maintains a career as a successful record producer, continuing to work with contemporary artists such as
Pulp, Iggy Pop, Chrissie Hynde, David McAlmont, and The Cardigans.
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Arnold performing Bond in concert, 1999
| | "I like to go out and take very long walks, or drive for hours and empty
my head. Things just start popping into my mind without me thinking about it. Most
of the things I've thought of which have been any good have come when I've been
having a shower or just walking up the street." -- David Arnold in 1997
British composer David Arnold is an artist whose talents stretch to
nearly every realm of the music industry. His music, as well as the albums he has
produced, have been heard by more people than most film music collectors realize.
Arnold's sudden influence in the film music industry came early in his career
(1994-1996), when he scored such large-scale orchestral efforts as Stargate,
Last of the Dogmen, and Independence Day. Across the United States,
Arnold's finale for Independence Day is still used in countless fireworks
displays each year. He also was identified by long-time James Bond composer John
Barry as the rightful heir to the throne of the Bond soundtracks franchise, and
Arnold burst into the series with his popular score for Tomorrow Never Dies
in 1997. He has continued with more entries in the Bond series since then, but his
scores of grand magnificence have declined in favor of smaller-scale projects
closer to his musical roots.
Arnold's career after 2000 has been defined by his techno-influenced urban grooves for Shaft,
Baby Boy, Changing Lanes, and 2 Fast 2 Furious. For the former
electronica artist, the huge orchestral scores of his mid-career were the
aberration, with Arnold incorporating orchestral elements only as accompaniment to
his electronic inclinations in recent years. His list of credits as a record
producer is lengthy, and he works with a wide variety of artists (across several
genres) to arrange recordings in between his feature film scoring assignments. His
vast popularity has caused him to turn down several major scoring opportunities,
including Air Force One, G.I. Jane, Austin Powers: International
Man of Mystery, and Alien Resurrection. His career hasn't been without
road bumps, however, losing such projects as Cutthroat Island, Judge
Dredd, The 6th Day, and The Patriot. Arnold has joined the fight
against illegal MP3 downloads on the Internet as well, arguing for better
regulation of the medium.
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Filmography/Reviews at Filmtracks: |
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(see legend below for information on abbreviations and codes)
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| Title |
FR | VR | VT |
RD | TR |
Dates | Notes | | 2011: | | | Paul | | | | | | | | | 2010: | | | The Chronicles of Narnia: The Voyage of the Dawn Treader | ***** | 3.84 | 756 | |||| | 947 | 12/10 | | | | Morning Glory | | | | | | | | | | Made in Dagenham | | | | | | | | | 2009: | | (none) | | 2008: | | | Quantum of Solace | *** | 3.25 | 964 | ||||| | 843 | 11/08 | | | | How to Lose Friends & Alienate People | | | | | | | | | | Agent Crush | | | | | | | | | 2007: | | | Free Agents | | | | | | | | | | Hot Fuzz | | | | | | | | | 2006: | | | Casino Royale (AW) | **** | 3.65 | 1,402 | |||| | 259 | 12/06 | multiple albums | | | Amazing Grace | | | | | | | | | | Venus (co-wrote) | | | | | | | | | 2005: | | | Stoned | | | | | | | | | | Four Brothers | | | | | | | | | 2004: | | | The Stepford Wives | | | | | | | | | 2003: | | | 2 Fast 2 Furious | ** | | | | | | | | 2002: | | | Die Another Day (AW) | * | 2.12 | 5,299 | |||| | 112 | 11/02 - 12/08 | all albums | | | Enough | *** | 2.56 | 179 | || | 1,163 | 09/03 - 02/09 | | | | Changing Lanes | * | 2.27 | 141 | || | 921 | 09/03 - 03/09 | | | 2001: | | | Zoolander | | | | | | | | | | The Musketeer | *** | 3.22 | 1,507 | ||| | 369 | 08/01 - 01/09 | | | | Baby Boy | *** | 2.95 | 148 | | | 888 | 07/03 - 01/09 | | | 2000: | | | Shaft | | | | | | | | | 1999: | | | The World is Not Enough | *** | 3.31 | 12,219 | ||| | 77 | 10/99 - 06/08 | | | | Wing Commander (co-wrote) | *** | 3.57 | 845 | || | 436 | 03/99 - 06/08 | | | 1998: | | | Godzilla | **** | 3.42 | 1,603 | ||| | 61 | 05/98 - 03/13 | all albums | | 1997: | | | Tomorrow Never Dies (AW) | **** | 4.21 | 9,554 | ||| | 47 | 11/97 - 03/08 | all albums | | | A Life Less Ordinary | | | | | | | | | 1996: | | | Independence Day (AW) | ***** | 4.09 | 4,842 | |||| | 108 | 09/96 - 06/10 | all albums | | 1995: | | | Last of the Dogmen | **** | 3.40 | 183 | || | 616 | 05/98 - 04/06 | | | 1994: | | | Stargate | **** | 4.16 | 2,747 | || | 234 | 09/96 - 12/06 | all albums | | 1993: | | | The Young Americans | | | | | | | | | (reviews listed with a "co-wrote" indicate that either the composer wrote the score with another person or that more than one composer worked separately to provide a score for the production)
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Status:
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N
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R
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Awards:
| AW |
- indicates that the music won or was nominated for a major award
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Ratings:
| FR |
- Filmtracks Rating ("Varied"
indicates a split rating with no overall designation)
| | VR |
- Viewer Rating (overall average)
| | VT |
- Vote Total (for viewer ratings)
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Comments:
| Comment Total (the number of messages posted in the review's comment area)
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Review Depth:
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- Massive Review (over 4,000 words)
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- Very Long Review (between 2,200 and 4,000 words)
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- Long Review (between 1,200 and 2,200 words)
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- Average Review (between 800 and 1,200 words)
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- Short Review (under 800 words)
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Traffic Rank:
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Popularity Rank (lower numbers indicate more cumulative reads; new reviews take time to climb the ranks)
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Dates:
| 1st
| - indicates the month and year during which the review was first published
| | 2nd
| - indicates the month and year of the review's most recent significant revision (if any)
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