No Time To Die: Production Diary

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  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    Denbigh wrote: »
    bondjames wrote: »
    @Denbigh, Tildesley's work on High-Rise was indeed first class and was reminiscent to an extent of early Adam in use of cold concrete like structures. I hope he's still on the job. I can't fully remember Dicks-Mireaux's work, but the film had a neat vibe to it - a bit 70's if I recall correctly.
    Very much so! Just replace Hiddelston with Roger Moore and it'd be uncanny. Sienna Guillory and Jeremy Irons looking very Bondian here too :)
    highrise.png
    It was a somewhat weird allegorical and dystopian film, but strangely compelling at the same time. Very stylish too.
  • DenbighDenbigh UK
    edited February 2019 Posts: 5,970
    bondjames wrote: »
    Denbigh wrote: »
    bondjames wrote: »
    @Denbigh, Tildesley's work on High-Rise was indeed first class and was reminiscent to an extent of early Adam in use of cold concrete like structures. I hope he's still on the job. I can't fully remember Dicks-Mireaux's work, but the film had a neat vibe to it - a bit 70's if I recall correctly.
    Very much so! Just replace Hiddelston with Roger Moore and it'd be uncanny. Sienna Guillory and Jeremy Irons looking very Bondian here too :)
    highrise.png
    It was a somewhat weird allegorical and dystopian film, but strangely compelling at the same time. Very stylish too.
    I actually made the mistake of watching this with my mum. She loves films but not the artsy ones. We both watched A Bigger Splash, by Luca Guadagnino, and she really didn't like it until the last twenty minutes. Anyway, to keep this on topic, I think Dicks-Mireaux would be great for the James Bond franchise, and I can't wait to find out whose going to be doing the costume designs. Although I won't be too surprised if it's Jenny Eagan as Fukunaga worked with her on both True Detective and Maniac.
    maniac-justin-theroux-dr-fujita-sonoya-mizuno-white-plastic-coat.jpg
    maniac-annie-emma-stone-1947-blue-dress.jpg
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    Denbigh wrote: »
    bondjames wrote: »
    Denbigh wrote: »
    bondjames wrote: »
    @Denbigh, Tildesley's work on High-Rise was indeed first class and was reminiscent to an extent of early Adam in use of cold concrete like structures. I hope he's still on the job. I can't fully remember Dicks-Mireaux's work, but the film had a neat vibe to it - a bit 70's if I recall correctly.
    Very much so! Just replace Hiddelston with Roger Moore and it'd be uncanny. Sienna Guillory and Jeremy Irons looking very Bondian here too :)
    highrise.png
    It was a somewhat weird allegorical and dystopian film, but strangely compelling at the same time. Very stylish too.
    I actually made the mistake of watching this with my mum. She loves films but not the artsy ones. We both watched A Bigger Splash, by Luca Guadagnino, and she really didn't like it until the last twenty minutes. Anyway, to keep this on topic, I think Dicks-Mireaux would be great for the James Bond franchise, and I can't wait to find out whose going to be doing the costume designs. Although I won't be too surprised if it's Jenny Eagan as Fukunaga worked with her on both True Detective and Maniac.
    maniac-justin-theroux-dr-fujita-sonoya-mizuno-white-plastic-coat.jpg
    maniac-annie-emma-stone-1947-blue-dress.jpg
    Maniac was reasonably stylish in a strange way too. Yes, costume designer, composer and cast are high up on the list of things I'd like to know about this upcoming film. If that's all satisfactory, then I will be set until Feb 2020. Don't have to know much more.
  • DenbighDenbigh UK
    edited February 2019 Posts: 5,970
    bondjames wrote: »
    Denbigh wrote: »
    bondjames wrote: »
    Denbigh wrote: »
    bondjames wrote: »
    @Denbigh, Tildesley's work on High-Rise was indeed first class and was reminiscent to an extent of early Adam in use of cold concrete like structures. I hope he's still on the job. I can't fully remember Dicks-Mireaux's work, but the film had a neat vibe to it - a bit 70's if I recall correctly.
    Very much so! Just replace Hiddelston with Roger Moore and it'd be uncanny. Sienna Guillory and Jeremy Irons looking very Bondian here too :)
    highrise.png
    It was a somewhat weird allegorical and dystopian film, but strangely compelling at the same time. Very stylish too.
    I actually made the mistake of watching this with my mum. She loves films but not the artsy ones. We both watched A Bigger Splash, by Luca Guadagnino, and she really didn't like it until the last twenty minutes. Anyway, to keep this on topic, I think Dicks-Mireaux would be great for the James Bond franchise, and I can't wait to find out whose going to be doing the costume designs. Although I won't be too surprised if it's Jenny Eagan as Fukunaga worked with her on both True Detective and Maniac.
    maniac-justin-theroux-dr-fujita-sonoya-mizuno-white-plastic-coat.jpg
    maniac-annie-emma-stone-1947-blue-dress.jpg
    Maniac was reasonably stylish in a strange way too. Yes, costume designer, composer and cast are high up on the list of things I'd like to know about this upcoming film. If that's all satisfactory, then I will be set until Feb 2020. Don't have to know much more.
    I'd actually be happy to have all that information over the title.
  • Does anyone think there's a good chance for David Arnold to finally return?

    He give lots of thought into making his musical scores.
  • Posts: 833
    Does anyone think there's a good chance for David Arnold to finally return?

    He give lots of thought into making his musical scores.

    It would make me happier than just about anything.

  • As much as I would like him to return, my gut tells me we will have a brand new composer for B25. Which is kind of exciting actually. A new Bond sound.
  • DenbighDenbigh UK
    edited February 2019 Posts: 5,970
    As much as I would like him to return, my gut tells me we will have a brand new composer for B25. Which is kind of exciting actually. A new Bond sound.
    It's probably worth considering Dan Romer. They could go for someone new, which I'd be excited for, but Fukunaga has worked with Romer on Maniac and Beasts of No Nation. I couldn't find anything particularly Bondian, but here's an example:
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,217
    Denbigh wrote: »
    As much as I would like him to return, my gut tells me we will have a brand new composer for B25. Which is kind of exciting actually. A new Bond sound.
    It's probably worth considering Dan Romer. They could go for someone new, which I'd be excited for, but Fukunaga has worked with Romer on Maniac and Beasts of No Nation. I couldn't find anything particularly Bondian, but here's an example:

    I like that, despite it not being very Bondian. Reminds me a bit of Zimmer's ambient soundscapes in Inception/Interstellar - though that may or may not appeal to people.
  • DenbighDenbigh UK
    edited February 2019 Posts: 5,970
    Denbigh wrote: »
    As much as I would like him to return, my gut tells me we will have a brand new composer for B25. Which is kind of exciting actually. A new Bond sound.
    It's probably worth considering Dan Romer. They could go for someone new, which I'd be excited for, but Fukunaga has worked with Romer on Maniac and Beasts of No Nation. I couldn't find anything particularly Bondian, but here's an example:

    I like that, despite it not being very Bondian. Reminds me a bit of Zimmer's ambient soundscapes in Inception/Interstellar - though that may or may not appeal to people.
    Some of his work on Maniac reminds me somewhat of Newman's work on Skyfall, which also fits with your hearing of Zimmer seeing as Newman copied quite a bit from The Dark Knight. Although I must warn you about listening to Maniac's soundtrack because it's very 80's techno which fits with the show but if it shows us one thing, it's that Romer adapts well to different projects.
  • Posts: 250
    Does anyone think there's a good chance for David Arnold to finally return?

    He give lots of thought into making his musical scores.

    No thanks. Move on. Was watching QoS (his best score) and still laughed his at his little stinger for when Medrano turns his head to face Greene. Arnold's melodramatic approach was fine for Brozzer but there are so many composers out there who can bring something fresh. Justin Hurwitz for instance did an innovative but Barry-influenced score for First Man.

    Unless the composer is an actual genius like Barry I don't understand the appeal of having fewer composers as opposed to hearing fresh takes on the material.
  • @FourDot

    I respect your difference of opinion, however, it's ironic that by not having David Arnold back in lieu of a composer who can bring something fresh would be someone who did a Barry-influenced score. I get what you're saying but Thomas Newman did something completely new but it was a bit overly-simplistic and he even reused some of Arnold's music from QoS, like you said, Arnold's best album.
  • TripAcesTripAces Universal Exports
    Posts: 4,585
    Denbigh wrote: »
    Denbigh wrote: »
    As much as I would like him to return, my gut tells me we will have a brand new composer for B25. Which is kind of exciting actually. A new Bond sound.
    It's probably worth considering Dan Romer. They could go for someone new, which I'd be excited for, but Fukunaga has worked with Romer on Maniac and Beasts of No Nation. I couldn't find anything particularly Bondian, but here's an example:

    I like that, despite it not being very Bondian. Reminds me a bit of Zimmer's ambient soundscapes in Inception/Interstellar - though that may or may not appeal to people.
    Some of his work on Maniac reminds me somewhat of Newman's work on Skyfall, which also fits with your hearing of Zimmer seeing as Newman copied quite a bit from The Dark Knight. Although I must warn you about listening to Maniac's soundtrack because it's very 80's techno which fits with the show but if it shows us one thing, it's that Romer adapts well to different projects.

    I don't think it's going to be Romer. CJF isn't necessarily tied to him like Mendes was to Newman (not a complaint of that team, btw). He'll want more meat on the bones, something a little edgier.

    Ramin Djawadi is a safe bet, here. So is Daniel Pemberton.

    There are two dark horses, though:

    1. Jonny Greenwood, who is also capable of composing the Bond theme.
    2. The duo of Atticus Ross and Trent Reznor*

    * This was my dream come true for B25. But I have been reading that CJF and Jonah Hill have become quite close since their work on Maniac. Hill brought the Ross/Reznor tandem onto his directorial debut. So it is more than just pure fantasy.
  • DenbighDenbigh UK
    edited February 2019 Posts: 5,970
    TripAces wrote: »
    Denbigh wrote: »
    Denbigh wrote: »
    As much as I would like him to return, my gut tells me we will have a brand new composer for B25. Which is kind of exciting actually. A new Bond sound.
    It's probably worth considering Dan Romer. They could go for someone new, which I'd be excited for, but Fukunaga has worked with Romer on Maniac and Beasts of No Nation. I couldn't find anything particularly Bondian, but here's an example:

    I like that, despite it not being very Bondian. Reminds me a bit of Zimmer's ambient soundscapes in Inception/Interstellar - though that may or may not appeal to people.
    Some of his work on Maniac reminds me somewhat of Newman's work on Skyfall, which also fits with your hearing of Zimmer seeing as Newman copied quite a bit from The Dark Knight. Although I must warn you about listening to Maniac's soundtrack because it's very 80's techno which fits with the show but if it shows us one thing, it's that Romer adapts well to different projects.

    I don't think it's going to be Romer. CJF isn't necessarily tied to him like Mendes was to Newman (not a complaint of that team, btw). He'll want more meat on the bones, something a little edgier.

    Ramin Djawadi is a safe bet, here. So is Daniel Pemberton.

    There are two dark horses, though:

    1. Jonny Greenwood, who is also capable of composing the Bond theme.
    2. The duo of Atticus Ross and Trent Reznor*

    * This was my dream come true for B25. But I have been reading that CJF and Jonah Hill have become quite close since their work on Maniac. Hill brought the Ross/Reznor tandem onto his directorial debut. So it is more than just pure fantasy.
    I can see that. I'd love Daniel Pemperton to get the job. His work on The Man from U.N.C.L.E. and King Arthur: Legend of the Sword was inspired. Definitely a more creative choice.


  • dominicgreenedominicgreene The Eternal QOS Defender
    Posts: 1,756
    Imagine... Jonah Hill as Felix Leiter.
  • JamesBondKenyaJamesBondKenya Danny Boyle laughs to himself
    Posts: 2,730
    I wouldn’t mind the guy who did rogue nation, that’s the best MI score
  • Posts: 250
    @FourDot

    I respect your difference of opinion, however, it's ironic that by not having David Arnold back in lieu of a composer who can bring something fresh would be someone who did a Barry-influenced score. I get what you're saying but Thomas Newman did something completely new but it was a bit overly-simplistic and he even reused some of Arnold's music from QoS, like you said, Arnold's best album.

    Yes I suppose what I said is slightly contradictory. I suppose I mean that you can have the spirit and tone of Barry which is a sort of core while doing something new. Like I think that Conti for instance had the energy of Barry and the lovely romantic interpetation of the title theme while bringing in his own style of brass and electric guitars, etc.

    I also think it's ok to stray from Barry, as is the case with Serra and Newman (first score was wonderful and thematically engrossing, but the copy paste for the second one was criminal) and I suppose Hamlisch. Kamen is an interesting case because I think he goes back to an extremely early concept of the Bond sound from the first three films and explores outward from there.
  • Posts: 11,425
    Serra's score is an abomination and Newman's just aural anaesthetic.

    No one has come close to Barry's best work.

    I found David Arnold's early work on the Brosnan films so so. In parts of was good but much of it was totally forgettable.

    It does feel like he had a Bond renaissance when the Craig era started. CR and QOS are really good Bond scores - not up there with Barry's best but very strong. I'd be fine with him coming back if he matched that quality.

    I think Fukunaga is going to look elsewhere though.

    Although it depends how producer led this film is. It felt like Mendes got closest to getting auteur style freedom as a Bond director. At the moment I don't know whether Fukunaga has been brought on as a talented but essentially pliable young director or whether EON are really giving him free rein.

    When we start getting the announcements I think we will have a clearer idea.

  • AgentJamesBond007AgentJamesBond007 Vesper’s grave
    edited February 2019 Posts: 2,632
    Getafix wrote: »
    I found David Arnold's early work on the Brosnan films so so. In parts of was good but much of it was totally forgettable.

    It does feel like he had a Bond renaissance when the Craig era started. CR and QOS are really good Bond scores - not up there with Barry's best but very strong. I'd be fine with him coming back if he matched that quality.

    I think that David Arnold's scores for the Brosnan films over-relied on the electronic musical style that was more "in" at the time. But when Craig took over, he toned it down and I feel like if he produces a score similar to CR/QOS with more of the Bond theme weaved in as well as the main title theme, it could be spectacular.
  • Eric Serra's only redeeming song in GE was "The Experience of Love". It did have a unique kind of closure tone to it. It could have worked in a lot of different films, not just Bond films. But at the same time, it demonstrated some sort of originality without trying to seem all hip as he came across trying too hard to do with the beats found in the rest of the movie. Did anyone find The Experience of Love to be effective?

    When David Arnold did the QoS soundtrack, he not only added dramatic value to the scenes, he also created his own kind of theme that could have been adopted by other bond films. It's the guitar-made theme played when Camille exists the car and Bond drives off as she walks into the train station in Bolivia. Does everyone know which one I'm talking about? It's the one that plays just as the scene transitions into Kazaan, Russia where Bond is waiting for Yusef at his apartment.

    That alone was a reinvention of the Bond theme.
  • ResurrectionResurrection Kolkata, India
    edited February 2019 Posts: 2,541
    Eric Serra's only redeeming song in GE was "The Experience of Love". It did have a unique kind of closure tone to it. It could have worked in a lot of different films, not just Bond films. But at the same time, it demonstrated some sort of originality without trying to seem all hip as he came across trying too hard to do with the beats found in the rest of the movie. Did anyone find The Experience of Love to be effective?

    When David Arnold did the QoS soundtrack, he not only added dramatic value to the scenes, he also created his own kind of theme that could have been adopted by other bond films. It's the guitar-made theme played when Camille exists the car and Bond drives off as she walks into the train station in Bolivia. Does everyone know which one I'm talking about? It's the one that plays just as the scene transitions into Kazaan, Russia where Bond is waiting for Yusef at his apartment.

    That alone was a reinvention of the Bond theme.

    I think you are talking about this one started at 0:34, i loved it really bond music at the same time something fresh.

  • Yes, @Resurrection

    This re-invented the Bond theme and is always welcome for any future movies, especially for Bond 25 and beyond.
  • RoadphillRoadphill United Kingdom
    Posts: 984
    It's probably time for someone new to have a go at the score. Given the choice of Arnold or Newman, I would take Arnold all day, but he has had his shot.
  • Posts: 825
    Why is another delay this another month. Can't you stick with date. It getting to close to March & Daniel Craig is going to be 51 in 2nd of March. Any more delays the filming & Bond 25 will never be done. Stop ageing Daniel Craig.
  • Posts: 4,619
    Maximum 3 weeks until the press conference!
  • w2bondw2bond is indeed a very rare breed
    Posts: 2,252
    I don't care who gets the score, as long as it feels like a collaborative effort. Bondian theme song, which is integrated seamlessly into the score. No more 'I'm bigger than the Bond legacy so I'm going to do my own thing' crap
  • Posts: 5,767
    peter wrote: »
    When news has been shared, some people have found it their right to drag the person sharing over hot coals
    Isn't that exactly what you and a few others have done with Steven Weintraub?
    No it´s not. No one dragged Weintraub over hot coals. However it is a fact that Collider is not Always the best-informed Website.

  • edited February 2019 Posts: 5,767
    Denbigh wrote: »
    As much as I would like him to return, my gut tells me we will have a brand new composer for B25. Which is kind of exciting actually. A new Bond sound.
    It's probably worth considering Dan Romer. They could go for someone new, which I'd be excited for, but Fukunaga has worked with Romer on Maniac and Beasts of No Nation. I couldn't find anything particularly Bondian, but here's an example:

    I like that, despite it not being very Bondian. Reminds me a bit of Zimmer's ambient soundscapes in Inception/Interstellar - though that may or may not appeal to people.
    That is a very mesmerizing compilation of tunes. Yes, it´s got a certain resemblance to Zimmer´s ambient soundscapes, but in contrast To Zimmer´s tracks I hear class in this. With the Right context, such tunes could work very well in a Bond film. As Long as the Music is somewhat consistent throughout the film and has enough meaningful and fun Action cues in other places :-).



    Eric Serra's only redeeming song in GE was "The Experience of Love". It did have a unique kind of closure tone to it. It could have worked in a lot of different films, not just Bond films. But at the same time, it demonstrated some sort of originality without trying to seem all hip as he came across trying too hard to do with the beats found in the rest of the movie. Did anyone find The Experience of Love to be effective?

    When David Arnold did the QoS soundtrack, he not only added dramatic value to the scenes, he also created his own kind of theme that could have been adopted by other bond films. It's the guitar-made theme played when Camille exists the car and Bond drives off as she walks into the train station in Bolivia. Does everyone know which one I'm talking about? It's the one that plays just as the scene transitions into Kazaan, Russia where Bond is waiting for Yusef at his apartment.

    That alone was a reinvention of the Bond theme.
    I agree on the power of that theme in QoS, it also Plays when Bond arrives early in the film to inspect M´s bodyguard´s flat.

    I totally disagree About The Experience of Love. Never has there been any song less Fitting to a Bond film. It´s a horrible song for GE as for any other Bond film. But then again, I am Pretty fond of much of what Serra did for the film before the end credits song ;-).



    Denbigh wrote: »
    TripAces wrote: »
    Denbigh wrote: »
    Denbigh wrote: »
    As much as I would like him to return, my gut tells me we will have a brand new composer for B25. Which is kind of exciting actually. A new Bond sound.
    It's probably worth considering Dan Romer. They could go for someone new, which I'd be excited for, but Fukunaga has worked with Romer on Maniac and Beasts of No Nation. I couldn't find anything particularly Bondian, but here's an example:

    I like that, despite it not being very Bondian. Reminds me a bit of Zimmer's ambient soundscapes in Inception/Interstellar - though that may or may not appeal to people.
    Some of his work on Maniac reminds me somewhat of Newman's work on Skyfall, which also fits with your hearing of Zimmer seeing as Newman copied quite a bit from The Dark Knight. Although I must warn you about listening to Maniac's soundtrack because it's very 80's techno which fits with the show but if it shows us one thing, it's that Romer adapts well to different projects.

    I don't think it's going to be Romer. CJF isn't necessarily tied to him like Mendes was to Newman (not a complaint of that team, btw). He'll want more meat on the bones, something a little edgier.

    Ramin Djawadi is a safe bet, here. So is Daniel Pemberton.

    There are two dark horses, though:

    1. Jonny Greenwood, who is also capable of composing the Bond theme.
    2. The duo of Atticus Ross and Trent Reznor*

    * This was my dream come true for B25. But I have been reading that CJF and Jonah Hill have become quite close since their work on Maniac. Hill brought the Ross/Reznor tandem onto his directorial debut. So it is more than just pure fantasy.
    I can see that. I'd love Daniel Pemperton to get the job. His work on The Man from U.N.C.L.E. and King Arthur: Legend of the Sword was inspired. Definitely a more creative choice.
    Sigh. Have you by accident bothered to listen through a complete Soundtrack of Pemberton? King Arthur as well as Steve Jobs are prime examples of scores that feature very inspired approaches and then get incredibly stale after 20 minutes. Pemberton is Nothing other than Zimmer, 20 % Genius, 80 % boredom. That is not good enough.
  • Posts: 4,619
    Two months have passed since the last major update by the great Baz Bamigboye. Today is Thursday. I have a feeling he will reveal something new today.
  • QQ7QQ7 Croatia
    edited February 2019 Posts: 371
    Jonny Greenwood would be perfect imo. He is British and his work for Paul Thomas Anderson is sublime.
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