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NO TIME TO DIE (2021) - Discuss Hans Zimmer's Score

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  • GadgetManGadgetMan Lagos, Nigeria
    Posts: 4,247
    Hmmmmm @mtm that isn't really a standout score from Silvestri as one would expect. But at least its Russian Military sound gives it a thematic quality.
  • mtmmtm United Kingdom
    Posts: 16,413
    GadgetMan wrote: »
    Hmmmmm @mtm that isn't really a standout score from Silvestri as one would expect. But at least its Russian Military sound gives it a thematic quality.

    Apparently De Palma wasn't very complimentary: I can't remember if he got rid of Silvestri or he walked.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,188
    ringfire211 wrote: »
    I mean in FROM RUSSIA WITH LOVE they blared the full theme in its entirety of just Bond checking into a hotel.

    That's literally one of the worst uses of the theme.
  • MalloryMallory
    Posts: 2,165
    MakeshiftPython wrote: »
    ringfire211 wrote: »
    I mean in FROM RUSSIA WITH LOVE they blared the full theme in its entirety of just Bond checking into a hotel.

    That's literally one of the worst uses of the theme.

    Almost as bad as Bond arriving at Hamburg Airport in TND. Thats a little gratuitous too.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,188
    Arnold overused the theme in the Brosnan era, no doubt. It's partly why I rank his scores very low.
  • echoecho 007 in New York
    Posts: 6,304
    MakeshiftPython wrote: »
    ringfire211 wrote: »
    I mean in FROM RUSSIA WITH LOVE they blared the full theme in its entirety of just Bond checking into a hotel.

    That's literally one of the worst uses of the theme.

    Really? To me it seems like a product of its time.
  • GadgetManGadgetMan Lagos, Nigeria
    Posts: 4,247
    mtm wrote: »
    GadgetMan wrote: »
    Hmmmmm @mtm that isn't really a standout score from Silvestri as one would expect. But at least its Russian Military sound gives it a thematic quality.

    Apparently De Palma wasn't very complimentary: I can't remember if he got rid of Silvestri or he walked.

    Oh, I just read that Tom Cruise was the one who made the decision to replace Silvestri during post-production.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,188
    echo wrote: »
    MakeshiftPython wrote: »
    ringfire211 wrote: »
    I mean in FROM RUSSIA WITH LOVE they blared the full theme in its entirety of just Bond checking into a hotel.

    That's literally one of the worst uses of the theme.

    Really? To me it seems like a product of its time.

    How so?
  • echoecho 007 in New York
    Posts: 6,304
    The newness of the Bond theme, the sudden brassiness of the early '60s, etc.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,188
    Except it was a reuse of an older recording, rather than something Barry intentionally scored.

    Further films would do that again, though I think more effectively and at appropriate points like Bond fighting SPECTRE helicopters and the Piz Gloria battle.

    Thankfully they stopped that practice. It would have felt like kitsch if they cranked it out for Dalton in LTK.
  • mtmmtm United Kingdom
    edited July 2021 Posts: 16,413
    GadgetMan wrote: »
    mtm wrote: »
    GadgetMan wrote: »
    Hmmmmm @mtm that isn't really a standout score from Silvestri as one would expect. But at least its Russian Military sound gives it a thematic quality.

    Apparently De Palma wasn't very complimentary: I can't remember if he got rid of Silvestri or he walked.

    Oh, I just read that Tom Cruise was the one who made the decision to replace Silvestri during post-production.

    You might be right, yeah; I don't really know.
    MakeshiftPython wrote: »
    Arnold overused the theme in the Brosnan era, no doubt. It's partly why I rank his scores very low.

    Funnily enough, for all of his reputation of not using it, I think Newman actually uses it a touch too much in the early part of Spectre. Pretty much every time Bond appears the theme gets a little nod, be on a flute or whatever, and it starts to grate a bit. But then when you actually want it (I would say when he appears flying the plane alongside Hinx's Range Rovers) it's not there :)
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,188
    Tom Cruise has been the boss of those films from the start. Whatever De Palma wanted to do was really all up to whether Cruise agreed or not. For example the climax that was originally written was going to be a much longer drawn out scene with Ethan Hunt finding and exposing Phelps, a sort of battle of wits. De Palma thought that was anti-climatic, and that it needed a BIG ending, and took a lot of convincing to get Cruise to see that. Thankfully Cruise sided with De Palma.
  • mtmmtm United Kingdom
    Posts: 16,413
    MakeshiftPython wrote: »
    Tom Cruise has been the boss of those films from the start. Whatever De Palma wanted to do was really all up to whether Cruise agreed or not. For example the climax that was originally written was going to be a much longer drawn out scene with Ethan Hunt finding and exposing Phelps, a sort of battle of wits. De Palma thought that was anti-climatic, and that it needed a BIG ending, and took a lot of convincing to get Cruise to see that. Thankfully Cruise sided with De Palma.

    Maybe, if you listen to this interview with Paul Hirsch from about 12.30 you can see how De Palma's reaction to the music lead to it:



    He doesn't say who decided that Silvestri was gone, it may well have been Cruise (and he does seem hint at that).
  • delfloriadelfloria
    Posts: 1,860
    MakeshiftPython wrote: »
    Except it was a reuse of an older recording, rather than something Barry intentionally scored.

    Further films would do that again, though I think more effectively and at appropriate points like Bond fighting SPECTRE helicopters and the Piz Gloria battle.

    Thankfully they stopped that practice. It would have felt like kitsch if they cranked it out for Dalton in LTK.

    Peter Hunt told me that he had Barry do a new version of the Bond theme for the Piz Gloria sequence but felt it did not have the raw feel or punch of the Dr. No version so he went with that for the finished film.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,188
    I take it that it wasn’t this?



    If Barry did a new rendition of the Bond theme for this sequence, I really hope there’s a surviving copy of what that music was.
  • mtmmtm United Kingdom
    Posts: 16,413
    Yeah I always imagined the album version was the intended music for that, and I’d have much preferred it.
  • ringfire211ringfire211
    Posts: 654
    cooperman2 wrote: »
    I could never understand why anyone would make a film of The A-Team and not even use a note of one of the most famous TV themes of the eighties. At least the Mission Impossible films use the main theme
    This! I think it was only used in its entirety during the end credits. But the full score by Silvestri is so generic that it boggles the mind how he didn’t think the inclusion of the A-Team theme would have helped the overall score. There were big action moments which were just begging for the theme but instead we got mindless action “noise”. I could never understand why you would want to remake or reboot something and not bother with the original theme, when it’s the defining stamp of what you’re trying to remake. It’s like Knight Rider or Hawaii Five-O without their iconic intro themes. Without them they’re something else entirely. To be honest the Five-O reboot was so far removed from the concept of the original show that not even having the same iconic intro theme helped. But if you remove that theme then you can’t even call it Five-O.
  • mtmmtm United Kingdom
    Posts: 16,413
    I've actually realised that the person I was thinking of who was on for the first Mission Impossible but wanted to rewrite the famous theme was actually John Williams. Maybe it's apocryphal, but that's the story.
  • delfloriadelfloria
    edited July 2021 Posts: 1,860
    MakeshiftPython wrote: »
    I take it that it wasn’t this?



    If Barry did a new rendition of the Bond theme for this sequence, I really hope there’s a surviving copy of what that music was.

    Yep, that's the sequence and there is a version of the Bond theme from Barry we seem to have never heard. At least that's what Hunt said.
  • ZekidkZekidk
    edited July 2021 Posts: 3,276
    MakeshiftPython wrote: »
    Arnold overused the theme in the Brosnan era, no doubt. It's partly why I rank his scores very low.

    Did he? It's not really heard a lot in TWINE and DAD, so you must be thinking of TND, where I agree.
  • mtmmtm United Kingdom
    edited July 2021 Posts: 16,413
    I think especially when it keeps cropping up in the stealth boat climax it's like he's trying to assure it's a Bond film. Sometimes it even feels a bit unearned, when he's doing stuff that isn't even all that Bond-y. When he is just riding a motorbike quite slowly or shooting a machine gun, those moments don't really feel uniquely 007.
  • GadgetManGadgetMan Lagos, Nigeria
    edited July 2021 Posts: 4,247
    mtm wrote: »
    I think especially when it keeps cropping up in the stealth boat climax it's like he's trying to assure it's a Bond film. Sometimes it even feels a bit unearned, when he's doing stuff that isn't even all that Bond-y. When he is just riding a motorbike quite slowly or shooting a machine gun, those moments don't really feel uniquely 007.

    Yeah. I heard an interview that Jon Burlingame had with David Arnold in the 90s about TND. Arnold said everything he ever wanted to do in a Bond film, he did with TND and that even if he were hit by a bus immediately after doing it, he would have had no problem with it. So I think Arnold scored TND as if it were his last Bond film, because he also wasn't sure if Barbara and Michael would want him back. So he threw everything Bondian at TND.
  • echoecho 007 in New York
    Posts: 6,304
    To be fair, other composers also scored scenes where they blasted bits of the Bond theme during unamazing moments. One is when Bond is running around the archive stacks in GE.
  • mtmmtm United Kingdom
    Posts: 16,413
    echo wrote: »
    To be fair, other composers also scored scenes where they blasted bits of the Bond theme during unamazing moments. One is when Bond is running around the archive stacks in GE.

    Was there much in that? I can't remember. And I guess to be fair, Altman had no other thematic work to draw from :)

    I was hoping it would be in this, but it only starts from the wall smash:
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,217
    That is such a great moment. I only watched GE last night and it lands perfectly.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,188
    I really don’t like the Altman cue during the tank chase. It feels too scattershot, but I understand it was done at the last minute and the only objective was to throw in the Bond theme here and there and call it a day.
  • mtmmtm United Kingdom
    Posts: 16,413
    It's not a great piece of music, no; but it was big and silly enough to make me laugh in the cinema, so it did the job.
  • Mr_BeachMr_Beach
    Posts: 121
    It's one of the great shames of the franchise that Eric Serra's "A Pleasant Drive in St Peterburg" wasn't used. It would have been perfect for the tank chese scene.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,217
    Mr_Beach wrote: »
    It's one of the great shames of the franchise that Eric Serra's "A Pleasant Drive in St Peterburg" wasn't used. It would have been perfect for the tank chese scene.

    I'm generally more complimentary of the score than most but that cue doesn't work for me at all. I quite like the music it was replaced with.
  • ToTheRightToTheRight
    edited July 2021 Posts: 16,169
    I think LADIES FIRST during the tank chase should have been used. That would have been hilarious.
    Just kidding....... carry on.............
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