In my last Film Music Friday post, I included a cue from Daniel Pemberton’s rather fantastic score for The Man From U.N.C.L.E. That time, I was using it as an example of a score and a composer that excel at bringing contemporary musical language into the more traditional forms of film music.
But that’s always been typical of the kind of score we’re talking about today. Since Monty Norman’s James Bond theme (as arranged by John Barry) first shot up the screen in 1962, spy scores have always drawn on pop, jazz, and other “modern” forms.
And this summer has seen them come back in a very big way.
Lee Hurtado, Writer 