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NO TIME TO DIE (2021) - Discuss Hans Zimmer's Score
Jan 7 2020 -
https://www.instagram.com/p/Bza3-n2Fx0D/?utm_source=ig_embed
Via IndieWire - https://www.indiewire.com/2019/07/bond-25-composer-dan-romer-cary-fukunaga-1202154760/
https://www.instagram.com/p/Bza3-n2Fx0D/?utm_source=ig_embed
Via IndieWire - https://www.indiewire.com/2019/07/bond-25-composer-dan-romer-cary-fukunaga-1202154760/
The search for a “Bond 25” composer has ended with the perfect choice: Dan Romer, who provided offbeat, eclectic scores for director Cary Fukunaga’s trippy “Maniac” series and haunting “Beasts of No Nation” feature. IndieWire has learned that Romer will soon reunite with Fukunaga on “Bond 25,” currently shooting in London.
There had been speculation that the director might tap Oscar-winner Justin Hurwitz (forming a Team Damien Chazelle triumvirate with cinematographer Linus Sandgren and editor Tom Cross) or franchise vet David Arnold, who brilliantly scored Daniel Craig’s first two Bond outings, “Casino Royale” and “Quantum of Solace.”
While Bond has slipped into comfortable solitude, soaking up the Jamaican scenery, old CIA pal Felix Leiter (Jeffrey Wright) comes calling, as does sultry MI6 agent Nomi (“Captain Marvel’s” Lashana Lynch). The respective encounters in the sizzle reel are a case of neon meets noir, which hints at a fresh visual palette for Craig’s last mission as Bond. It’s apparently about genetic engineering with Rami Malek as the latest baddie. Judging from composer Romer’s previous work, though, his eclecticism will come in handy.
In Netflix’s mind-bending “Maniac” (starring Emma Stone and Jonah Hill), Romer utilized vibraphone, synth strings, and percussive beats for exotic sweetness and danger. In the war drama, “Beasts of No Nation,” he created something much more ethereal with synths. And, more recently, with “Ramy,” the Hulu series created by and starring comedian Ramy Youssef about a first-generation American Muslim living in New Jersey, Romer teamed with Mike Tuccillo to tap a percussive tension and synth sense of unease.
The challenge of scoring Bond, of course, has always been about bending but not breaking the rules established by John Barry. Arnold was successful in launching the Craig era, but it was more of a struggle for Thomas Newman on “Skyfall” and “Spectre.” He was out of his comfort zone when it came to action, and it showed on “Spectre” when he leaned heavily on his “Skyfall” themes. And it didn’t make it any easier with director Sam Mendes adding more touches from the Connery era.
But imagine Romer musically shaking up the Bond franchise. He could be as bold as Fukunaga allows, experimenting with strange sounds and haunting themes. And the fact that the film is set in Jamaica, Italy, Norway, and London should play to the composer’s versatility. Plus, there’s no reason why exotic flavor can’t punctuate the action scenes with location-specific instrumentation. As for the iconic Bond theme, Romer can make use of Arnold’s familiar version while offering his own unique twist.
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Comments
I can remember in the lead-up to Skyfall losing a lot of sleep over whether or not Tom Newman was the right 'fit' for Bond. His sound and his style just seemed so antithetical to what we'd come to expect from Bond scores.
Also vividly remember the feeling of being blown away by his (IMO, underrated) work on that film when I finally saw and heard it. He captured the Bond sound so well, in so many different colours and vibes, and yet still managed to bring a unique sensibility that was distinctly Newman.
I won't lose a wink of sleep over Romer as the choice, disappointed as I am that Arnold won't get a shot to close out Craig's era. Loved DR's work on Beasts and Maniac and he's demonstrated a versatility that gives me every confidence he'll tackle a project like Bond with boldness and freshness.
It may well be what drew him to the opportunity. I'd love to hear his thoughts on it through an early interview. This sort of big, brassy, stringy sound isn't an area he's had a chance to really play in — certainly not on the scale of 007. Can't wait to hear what he does with it.
It will be very strange and, I think, stupid when producers will choose composers. Music is essential part of movie and director must be resposible for it too. How can director be responsible if producers give their own composer for him or her???
We're never getting Barry back. We might as well bury the idea of having one composer delivering the goods for over two decades. Some scores are disappointing, some are a pleasant surprise, but the promise of a new composer almost every time is rather exciting. Let's just see what Romer does with the material.
Some can, and will, given time, money and specific mandates. Composer Christopher Drake explained this once on a Kevin Smith podcast: he does everything synth for lack of access to a big orchestra but he'd jump on the occasion anytime. Perhaps Romer is no different; perhaps he'd love to go fully orchestral if given the opportunity.
On this, I'll always go back to my Newman assumption story I referenced above.
I was legit so concerned that the 50th anniversary Bond film would be undermined by a weak score that was just "off" the Bond sound. I was so wrong. Purely my own ignorance and the naive assumption that a composer as talented as Newman couldn't stretch his own approach/sound to fit the style of Bond.
Romer's a real talent. I've every faith he can do the same. And frankly, I don't think the producers/studio would allow any less.
As disappointed as some were by Newman's SPECTRE score, he's still very much playing within Bond's musical formula/sandbox. Just because Romer's a new name doesn't mean there won't be similar expectations of him, and rightfully so.
A Bond film isn't a Bond film without a Bond score. And I don't think people like CJF or Dan Romer would take these jobs if that idea didn't already appeal to them.
But I also think there's a ton of room to modernize and reinvent what that means, within the context. And that's part of the fun of it.
I don't think it will sound anything like that.
It's hard to guess at this point, but I'd look to Pemberton's work on UNCLE as a possible comparison. Very much the spy sound, without leaning directly on some of the more blatant stereotypes and cliches.
I'd encourage everyone to give the full Maniac soundtrack a listen to appreciate his range. The series' narrative and tone really demanded it of the composer, and my oh my did he ever step up.
This is just one of several bits where the sound gets bigger, more full. Leaning on strings here.
EDIT: Sorry, that embed didn't timestamp properly. Was looking at 1:06:47.
Newman is a stud. His Oscar nom and Grammy Award for SF speak volumes to the score’s brilliance. Let’s move on.
Holy [censored].
Count me among those who consider video game composers some of the most underrated, undervalued creatives out there—and I had no idea Romer was behind the FarCry 5 score!
This track's a great example of what he can do with action, pacing. Thanks for sharing.
I'm kind of half kidding. I'm listening to some of Romer's work on Youtube, and it isn't grabbing me. Reminds me a bit of John Tesh or somebody.
I do hope he's not too intimidated to use the Bond theme once in awhile.
If I were in his seat, I'd go the opposite way. Really lean into it and reinvent/re-orchestrate the way it's used. Make it, truly, Bond's theme in the film and give it new life by appreciating its elements in new ways.
I come back to Lorne Balfe's Fallout score a lot, on this topic. That score is so driven by the presence of the Mission: Impossible theme—but it's picked apart and rebuilt and used in all sorts of newly inventive ways. On paper you'd practically be able to criticize him for turning to it too much, but in practice it works so damn well. Big sound, little sound, fast-paced, haunting—he uses it for every mode and every mood.
Would love to see Romer bring the Bond theme to the forefront with a similar treatment in B25.
CjF has chosen Romer because the comfort level is there. My guess is that CJF has a strong idea of how he wants the film to look and sound and Romer will allow a lot of input (some composers hate that).
Let’s not assume Romer can’t do this based on past work. Hurwitz certainly bent his sound for First Man.
Listen to FarCry 5's score.
The same thing can be said about the editor.
But yes, I guess it was pretty stupid that they choose John Barry in '63 and David Arnold in '96. It should of course have been up to Terence Young and Roger Spottiswoode to chose their own composers I guess. And Lewis Gilbert, Guy Hamilton, Apted, Tamahori etc to choose theirs. Let's get a new composer every time there's a new director.
It boils down to the tone and mood set by the director for that particular film. I think Romer will inject an 'indie' movie feel to the soundtrack
Personally, i much prefer the more ambient and soulful approach that Romer offered in Beasts. this track in particular is terrific:
Also this:
https://www.youtube.com/watch?time_continue=65&v=_s2t6O7kDXU
I'm expecting a very modern and inventive sound. Something long overdue with Bond
https://www.youtube.com/watch?time_continue=41&v=Dqj1avcNimI
Excellent points. I'd love for instance, to once again hear a rendition of the Bond theme that is specific to THAT particular film. LALD, FYEO, TLD are excellent examples. I'd throw in OHMSS in there as well. Honestly, the Bond theme has sounded far too similar in all the Craig films, even some of the Brosnan films.
Maybe Romer can remedy that?