Well, regarding the score of the film... David Arnold scored the last three Bond films as well; "Tomorrow Never Dies", "The World Is Not Enough" and "Die Another Day". When he was chosen to score his first Bond film it was because the producers and director (Roger Spottiswood) knew he was an avid fan of John Barry's scores for the series. In fact, David Arnold released a CD entitled "THE DAVID ARNOLD 007 PROJECT" featuring cover tunes of many of the most popular James Bond themes performed by some of England's top artists. David Arnold also arranged the music to make it more contemporary in feel but while also retaining the "style" and "feel" of a classic John Barry Bond score. After he recorded that CD and released it...the producers knew he was their man to score "Tomorrow Never Dies". See, in "Goldeneye", Pierce's first Bond outing, they hired a French composer (who shall remain nameless) to score the film. The classic Bond theme was only featured once in the film and during Bond's most heroic moment (tank chase through Moscow). While the French composer's efforts to reinvent the Bond-score for a new era should be applauded and were hailed by many music and movie fans, there were also many fans and critics who compained about the style of the score and the lack of use of the Bond theme. So, the producers actually listened to the compaints and hired Arnold for a return to the more classic style of John Barry. If you listen to the scores for the film ("TOMORROW" in particular), you'll notice a very distinct homage to Barry in David Arnold's style of composition; replying mainly on the French Horn and high register strings (violins) for a lot of the themes, writing very sweeping and grandiose themes that are highly reminiscent of Barry. There's one moment in "THE WORLD IS NOT ENOUGH" that absolutely SCREAMS John Barry. Bond and Elektra have just jumped off a helicopter in order to ski through the mountains and the scene is shot from a helicopter shot in a very lush and beautiful moment of photography. The music in this scene could not be more like John Barry if it tried. As the films progressed, David Arnold incorporated more of his own style into the scores; mixing electronic and synthesizer elements to the score, laying down some pretty progressive (techno and post/rock and roll) drum tracks to accompany the music. But, even though Arnold incorporated his signature style...he also paid heed to what he and the viewers wanted to hear...c;assic James Bond scores in the vein of John Barry. I expect nothing less from Arnold in the next film and that's one of the only things I'm actually looking forward to regarding the film's release.