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

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  • DeerAtTheGatesDeerAtTheGates Belgium
    Posts: 524
    Getafix wrote: »
    So is Beyonce going to collaborate with Romer on the title track?

    I get the feeling that they will once again just let the chosen artist(s) do his/her/their thing, using the script and comments by the director as a guideline. If the title artist is quick enough, Romer will have enough time to fit an instrumental version in the score a couple of times. But I think chances are low he's going to help the artist write the song. That's the other side of letting artists that are a bit more famous do the title song: they want to use their own team.

    Also: not based on anything, but I'd like to lock in a prediction: the title of the film will be sung in the title song.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,179
    Getafix wrote: »
    So is Beyonce going to collaborate with Romer on the title track?

    I get the feeling that they will once again just let the chosen artist(s) do his/her/their thing, using the script and comments by the director as a guideline.

    That's pretty much been the norm for the latter half of this entire franchise now. When you think about it, there has only actually been TWO title songs ("The World is Not Enough" and "You Know My Name") woven into the score for the past 30 years. There's also "Surrender", but that was rejected in favor of a different song and was relegated to the end credits.

    I think this all stems from the clash between A-ha and John Barry when making the song. John Barry was used to composing his own music with artists that were strictly singers that worked to his tunes. It turned out fine with Duran Duran because they were open and trusting to his suggestions/rearrangements musically. Then A-ha and Barry have a clash over the direction of their song that gets dirty. EON from that point on decided to give their selected artists the freedom to work with their own regular collaborating producers, unless they take the option to work with the composer. That's only happened three times, two of them being the only ones to be granted as the title songs.

    I also think this is because none of the composers that came after Barry had as much clout. Barry was an accomplished composer with several Oscars under his belt, so he was always going to have a final say on the song because he was that big.
  • Posts: 678
    To be fair, I do think you can hear some of Madonna's song in the track that plays when Bond arrives at the Ice Palace, although I can't seem to find it now. Unless you mean "woven" like the old Barry soundtracks, which I understand.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,179
    To be fair, I do think you can hear some of Madonna's song in the track that plays when Bond arrives at the Ice Palace, although I can't seem to find it now. Unless you mean "woven" like the old Barry soundtracks, which I understand.

    That was just an instrumental remix of the Madonna song played over the scene. As far as I know, David Arnold never actually used Madonna's song in any of his score.

    Here's music he did write for the Ice Palace scene you mention, which ended up being scrapped in favor of that Madonna remix.

  • Posts: 4,044
    Another Way To Die is used in QOS, which is impressive considering how late in the day David Arnold would have been given that to work with.
  • PavloPavlo Ukraine
    Posts: 323
    According to Dan Romer's IG story he is in London.
    Maybe working with Cary on music for Bond 25.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,179
    vzok wrote: »
    Another Way To Die is used in QOS, which is impressive considering how late in the day David Arnold would have been given that to work with.

    Is it impressive? The only bit that pops to mind is "Field Trip" with very brief a solo flute thrown in, otherwise it's pretty much nonexistent in the score.
  • WalecsWalecs On Her Majesty's Secret Service
    edited July 2019 Posts: 3,157
    vzok wrote: »
    Another Way To Die is used in QOS, which is impressive considering how late in the day David Arnold would have been given that to work with.

    Is it impressive? The only bit that pops to mind is "Field Trip" with very brief a solo flute thrown in, otherwise it's pretty much nonexistent in the score.

    I can't wait to return home from my holidays so I can make that famous video and prove you're wrong :P Nothing personal :D
  • edited July 2019 Posts: 4,408
    Pavlo wrote: »
    According to Dan Romer's IG story he is in London.
    Maybe working with Cary on music for Bond 25.

    Yep.

    According to the Indiewire story, Romer was about the go to London and begin work. So i assume he's with the editing tea and Cary currently. I imagine Cary will post something on Instagram soon enough.

    Is there a chance that a Universal artist could do the theme? i looked on their website and Beyonce is not signed to Universal. However, both Lana Del Rey and Arianna Grande are......

    It be kinda great if they got Arianna Grande. I've heard her name mentioned and then followed by people saying she's "too young" but she's 27 and i think both Adele and Sam Smith were around 22 or 24 when they did their themes. Arianna just looks young.....

    After the double-Oscars for SF and SP - Eon basically have their pick of artists.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,179
    I’m super curious! I’ll be surprised if it’s as prominent as Adele’s song was in “Komodo Dragon”.
  • mtmmtm United Kingdom
    Posts: 16,344
    Getafix wrote: »
    So is Beyonce going to collaborate with Romer on the title track?

    I get the feeling that they will once again just let the chosen artist(s) do his/her/their thing, using the script and comments by the director as a guideline.

    That's pretty much been the norm for the latter half of this entire franchise now. When you think about it, there has only actually been TWO title songs ("The World is Not Enough" and "You Know My Name") woven into the score for the past 30 years. There's also "Surrender", but that was rejected in favor of a different song and was relegated to the end credits.

    'Another Way To Die' appears in several places throughout the Quantum score, but it's much more subtle than previous theme songs.
    Plus we also have the weird case of 'I Will Return' appearing all the way through the DAD score but it's a song no-one has ever heard! :)
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,179
    mtm wrote: »
    Getafix wrote: »
    So is Beyonce going to collaborate with Romer on the title track?

    I get the feeling that they will once again just let the chosen artist(s) do his/her/their thing, using the script and comments by the director as a guideline.

    That's pretty much been the norm for the latter half of this entire franchise now. When you think about it, there has only actually been TWO title songs ("The World is Not Enough" and "You Know My Name") woven into the score for the past 30 years. There's also "Surrender", but that was rejected in favor of a different song and was relegated to the end credits.

    'Another Way To Die' appears in several places throughout the Quantum score, but it's much more subtle than previous theme songs.

    Subtle would almost be an exaggeration.
  • Posts: 4,044
    vzok wrote: »
    Another Way To Die is used in QOS, which is impressive considering how late in the day David Arnold would have been given that to work with.

    Is it impressive? The only bit that pops to mind is "Field Trip" with very brief a solo flute thrown in, otherwise it's pretty much nonexistent in the score.

    I mean impressive in how often he worked it in within such limited time. Several people on here can hear that it does feature on numerous tracks.
  • Posts: 19,339
    Univex wrote: »
    DarthDimi wrote: »
    Remind me, please, what "DUD" stands for. :)

    DAD, which was a dud ;)
    https://en.m.wikipedia.org/wiki/Dud

    A bloody big box office success dud.
  • mtmmtm United Kingdom
    Posts: 16,344
    mtm wrote: »
    Getafix wrote: »
    So is Beyonce going to collaborate with Romer on the title track?

    I get the feeling that they will once again just let the chosen artist(s) do his/her/their thing, using the script and comments by the director as a guideline.

    That's pretty much been the norm for the latter half of this entire franchise now. When you think about it, there has only actually been TWO title songs ("The World is Not Enough" and "You Know My Name") woven into the score for the past 30 years. There's also "Surrender", but that was rejected in favor of a different song and was relegated to the end credits.

    'Another Way To Die' appears in several places throughout the Quantum score, but it's much more subtle than previous theme songs.

    Subtle would almost be an exaggeration.

    Well, not really: it's in there. From memory I think the entire film ends on a quote from it.
  • LeonardPineLeonardPine The Bar on the Beach
    Posts: 3,996
    There are parts from AWTD when the music kicks in for the opening car chase. That i do remember....
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,205
    It's a fairly tough song to adapt into a score because of its relative anonymity outside of the opening guitar hook. It's not a particularly memorable song beyond that. So, unless Arnold decided to directly reference that hook using guitars as well, it wouldn't have been as noticeable. I think there are a few references dotted throughout (during the boat chase and later in Target Terminated), but unlike some of the previous songs he brought into his scores (CR, TWINE, TND) they're harder to notice because the song is pretty weak.

    On top of that....if you imagine the opening hook from Another Way To Die performed by horns, brass or strings, the similarities with You Know My Name are uncanny, which doesn't help.
  • Posts: 19,339
    It's a fairly tough song to adapt into a score because of its relative anonymity outside of the opening guitar hook. It's not a particularly memorable song beyond that. So, unless Arnold decided to directly reference that hook using guitars as well, it wouldn't have been as noticeable. I think there are a few references dotted throughout (during the boat chase and later in Target Terminated), but unlike some of the previous songs he brought into his scores (CR, TWINE, TND) they're harder to notice because the song is pretty weak.

    On top of that....if you imagine the opening hook from Another Way To Die performed by horns, brass or strings, the similarities with You Know My Name are uncanny, which doesn't help.

    I always thought that was deliberate ,with the strong link to CR.
    What do you think ?

  • edited July 2019 Posts: 6,709
    barryt007 wrote: »
    Univex wrote: »
    DarthDimi wrote: »
    Remind me, please, what "DUD" stands for. :)

    DAD, which was a dud ;)
    https://en.m.wikipedia.org/wiki/Dud

    A bloody big box office success dud.

    Exactly that ;)
  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    Yup, definitely delibarate. The hook does indeed appear in Target Terminated; You Know My Name is also quoted in Talamone and Inside Man
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,179
    Walecs wrote: »
    Yup, definitely delibarate. The hook does indeed appear in Target Terminated; You Know My Name is also quoted in Talamone and Inside Man

    I could definitely hear it in “Talamone”, but “Inside Man” is having me scratch my head wondering where that reference is placed.

    Certainly a rarity for a title song to carry over onto another flick. I can only think of Barry’s callback to McCartney’s LALD in TMWTGG.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,205
    barryt007 wrote: »
    It's a fairly tough song to adapt into a score because of its relative anonymity outside of the opening guitar hook. It's not a particularly memorable song beyond that. So, unless Arnold decided to directly reference that hook using guitars as well, it wouldn't have been as noticeable. I think there are a few references dotted throughout (during the boat chase and later in Target Terminated), but unlike some of the previous songs he brought into his scores (CR, TWINE, TND) they're harder to notice because the song is pretty weak.

    On top of that....if you imagine the opening hook from Another Way To Die performed by horns, brass or strings, the similarities with You Know My Name are uncanny, which doesn't help.

    I always thought that was deliberate ,with the strong link to CR.
    What do you think ?

    It sure is deliberate, I think. But still, it has the knock-on effect of making the White/Keys song more anonymous.
  • HildebrandRarityHildebrandRarity Centre international d'assistance aux personnes déplacées, Paris, France
    Posts: 480
    I also think this is because none of the composers that came after Barry had as much clout. Barry was an accomplished composer with several Oscars under his belt, so he was always going to have a final say on the song because he was that big.

    Barry didn't return for License to Kill because he was sick. He was approached for Goldeneye, but he just had a kid and wanted to spend time with him. He was approached again for Tomorrow Never Dies, but negotiations failed precisely over money and creative control of the song. But he still suggested them to work with David Arnold, as he had been impressed by what he had heard from Shaken and Stirred.
    Is there a chance that a Universal artist could do the theme? i looked on their website and Beyonce is not signed to Universal. However, both Lana Del Rey and Arianna Grande are......

    Universal Music is not connected anymore to Universal Pictures. At some point, both of them were owned by Seagram, then by Vivendi. Vivendi sold Universal Pictures to General Electric, which then sold it, along with NBC, to Comcast in 2011. But Vivendi still owns the Universal Music Group.
    There's the same situation with Time Warner (now Warner Media) and Warner Music. The two companies are under separate ownership.
  • BondAficionadoBondAficionado Former IMDBer
    Posts: 1,889
    Barry didn't return for License to Kill because he was sick. He was approached for Goldeneye, but he just had a kid and wanted to spend time with him. He was approached again for Tomorrow Never Dies, but negotiations failed precisely over money and creative control of the song. But he still suggested them to work with David Arnold, as he had been impressed by what he had heard from Shaken and Stirred.

    I don't think Barry was asked to do Goldeneye iirc. It was in one of JBR's podcasts where they were discussing Barry's legacy with his former agent. I can find the episode if you want.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,179
    Barry couldn’t do GE because he was already committed to The Scarlet Letter
  • NickThunderballsNickThunderballs Australia
    Posts: 133
    Just picture this guys...

    [Jamaica]...Following the PTS

    Bond has just come back from a little outing on his sailing yacht; swimming, diving, spearfishing.

    Brings back his catch of the day. Cleans the fish on the decks of his villa and then prepares a campfire on the beachfront outside his house.

    The sun sets, he reclines in a deckchair on the sand with a Heineken in hand, while the fillets are cooking. Meanwhile Romer's new rendition or even Barry's original recording of Underneath the Mango Tree plays faintly from inside the villa.

    Life is good for the old boy...
  • Posts: 653
    Just picture this guys...

    [Jamaica]...Following the PTS

    Bond has just come back from a little outing on his sailing yacht; swimming, diving, spearfishing.

    Brings back his catch of the day. Cleans the fish on the decks of his villa and then prepares a campfire on the beachfront outside his house.

    The sun sets, he reclines in a deckchair on the sand with a Heineken in hand, while the fillets are cooking. Meanwhile Romer's new rendition or even Barry's original recording of Underneath the Mango Tree plays faintly from inside the villa.

    Life is good for the old boy...
    That would just be too good!!!! That’s why it won’t happen. The producers are unwilling to make common sense decisions when it comes to their franchise. It’s almost as if “oh no wait, this is too good so we can’t do that. Might make the fans too happy”.
  • edited August 2019 Posts: 3,327
    100% total John Barry. This guy should be scoring the next Bond soundtrack, and proves you can still use it effectively in todays modern cinema, rather than the ambient atmos crap examples we've heard so far from Romer.

  • 100% total John Barry. This guy should be scoring the next Bond soundtrack, and proves you can still use it effectively in todays modern cinema, rather than the ambient atmos crap examples we've heard so far from Romer.

    Yes, yet another perfect example where the producers have something so obvious staring them in the face (I mean they already got the DOP from FIRST MAN, why not the composer??) but instead they choose to go with something different. Then they wonder why their franchise is such a mixed bag and why folks are more excited about the MISSION: IMPOSSIBLE franchise these days. That’s because McQuarrie and his team understands what makes that franchise work and fully embrace it, whereas Babs & Mikey are afraid or unwilling to embrace the trademark elements of their franchise and instead would rather go “avant-garde” or “different”. Trying to chase awards these days more than actually just giving us a good ol’ Bond adventure!!!! Give me the Bond sound, give me the Bond look and feel, and stop it with the experimentations.
  • edited August 2019 Posts: 4,044
    Tbf, Mission Impossible chose Lorne Balfe last time who is seen as a sort of ambient Zimmer lite. MI fans loved Joe Kramer’s score for MI5 and hated this choice. Balfe for me turned in a great score. Won some fans over. So there’s hope for Romer. He hasn’t even started yet.
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