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

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  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,179
    Again, this is just a rumor. Until EON confirms it, Romer still has the job.
  • Zekidk wrote: »
    TripAces wrote: »
    Arnold is the best choice.

    I don't think the words "David Arnold" and "Best Choice" have been used in conjunction in over ten years.

    You are not on any social media or read interviews, we can assume.
    TripAces wrote: »
    I am pointing out that his lack of work is a statement on the industry's views of him, not yours or mine. He's not being hired.

    He has plenty of work and he is primarily UK based. Currently he is scoring the BBC version of 'Dracula' and a couple of weeks ago he was doing Royal Albert Hall, so please, get your facts straight. He is perfectly content with not doing big budget Hollywood-movies, but luckily, his door is always open for Bond. That was at least what he told JBR, who loves him!
    Yep he doesn’t have any interest in scoring most of the garbage that comes out of Hollywood these days. He’s perfectly comfortable doing personal projects and theater work in the UK. But of course his door is always open for Bond. Other than that I’m sure he’d rather pass. I don’t blame him...
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,179
    Lol, Arnold “too good” for Hollywood. Okie dokie.
  • Lol, Arnold “too good” for Hollywood. Okie dokie.
    Well he is. What other composer out there is fit to tie Arnold’s shoelaces? The guy who wins the Oscar every year because the Academy loves the guy - Alexandre Desplat? The year is almost over and I couldn’t name one good score if you held a gun to my head.

    Compare to 1997: Arnold, Horner, Goldsmith, Zimmer.

    1981: Conti, Barry, Williams, Vangelis, Carpenter, Tangerine Dream, Goldsmith

    1987: Barry, Goldsmith, Silvestri, Poledouris, Morricone.
  • Posts: 11,425
    Those lists are pretty amazing. I agree the general standard of film music has slipped.

    I'd argue Zimmer has produced some pretty great scores but accept much of what he does is fairly generic now.
  • talos7talos7 New Orleans
    Posts: 8,195
    You know what, I don’t give a rat’s rear what David Arnold does outside of Bond; I like what he does with Bond, particularly his last two scores, which were exceptional.
    It would be like having a chef who cooks an awesome steak; you tell your friend, ‘m tonight I really want a steak , this chef does a great steak, let’s go to his restaurant. Your friend points out , well , he’s not known for his chicken, veal or fish and I’m not sure about his side dishes and deserts.
    I look at my friend and say, “ Well that’s fine but tonight I want a Steak, and I know the man for the Job.
    Arnold knows Bond, he launch Craig and he’s the man to complete the voyage.
  • Posts: 1,407
    talos7 wrote: »
    You know what, I don’t give a rat’s rear what David Arnold does outside of Bond; I like what he does with Bond

    +1
  • ResurrectionResurrection Kolkata, India
    Posts: 2,541
    Lol, Arnold “too good” for Hollywood. Okie dokie.

    Haha I am curious though, was john Barry completely uk based or he never really worked in Hollywood?
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,205
    Lol, Arnold “too good” for Hollywood. Okie dokie.

    Haha I am curious though, was john Barry completely uk based or he never really worked in Hollywood?

    Barry lived in the States from the mid-70s onwards.
  • edited November 2019 Posts: 5,767
    RC7 wrote: »
    boldfinger wrote: »
    Daniel Pemberton would be fantastic. He's extremely inventive.
    Inventive? He´s got a refreshing curiosity for all kinds of common and uncommon instruments and arrangements, but that doesn´t necessarily result in good music, let alone a good score (i.e. not just one or two interesting tracks).
    mtm wrote: »
    Justin Hurwitz or Daniel Pemberton would be great.

    Yes please to both. They've both shown great style, and that's all Bond really needs.
    RC7 wrote: »
    mtm wrote: »
    RC7 wrote: »
    The general public aren’t as fickle or as snobbish as Bond fans. They know what ‘Bond’ sounds like, and DA delivers that. You’d be hard pushed to find any complaints about his scores from 99% of the audience.

    Prove it if you like. Show me how many hated Newman.

    99% of the audience don't really consciously notice the music.

    Certainly not when Newman is scoring it. The great Bond scores hit you in either the heart or the balls.

    Or when anyone is doing it. That's why I said 99%.
    RC7 wrote: »
    I’m being somewhat facetious - Newman delivered some good stuff, but nothing even close to classic.

    Hand on heart, would you really say Arnold did either? Classic? Barry is classic.
    No, but to be fair, Arnold doesn´t sound pretentious, and none of his tracks ever sounded like Hans Zimmer.

    Arnold gets Bond. Knows it. Does it.
    Yes, very well put, @RC7.
    He´s pretty generic, but he owns generic. He´s not generic generic. If that makes any sense ;-).



    bondbat007 wrote: »
    I like Romer and yes he did seem excited about the project. I just hope that perhaps it was mutual and that he and Cary can work together again in the future. As for his replacement, as the entire internet has said, yes it would be great to have DA score Craig's last film and bring it full circle. I would soil myself in the theater if I heard hints of "You Know My Name" during a moment or two. We shall see
    Arnold is not known for sticking to a theme ;-).


    Again, this is just a rumor. Until EON confirms it, Romer still has the job.
    The internet´s our name, and bloating rumors ist our game ;-)!
    Well, BR 2049 let the director-chosen composer Johann Johannson go during production. And even Goldsmith´s score for Timeline was rejected. It was later released on CD, highly recommended!

  • ResurrectionResurrection Kolkata, India
    Posts: 2,541
    Lol, Arnold “too good” for Hollywood. Okie dokie.

    Haha I am curious though, was john Barry completely uk based or he never really worked in Hollywood?

    Barry lived in the States from the mid-70s onwards.

    No I was actually asking if he worked more in Hollywood productions?
  • bondbat007 wrote: »
    I like Romer and yes he did seem excited about the project. I just hope that perhaps it was mutual and that he and Cary can work together again in the future. As for his replacement, as the entire internet has said, yes it would be great to have DA score Craig's last film and bring it full circle. I would soil myself in the theater if I heard hints of "You Know My Name" during a moment or two. We shall see

    If he has left there could be a myriad of reasons why, it may just be simply personal circumstances of some kind have meant that he has had to leave production. On the other hand, in most instances in cinema history when a composer has been replaced (more common than you might think) it usually leads to a composer doing a good score.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,205
    Lol, Arnold “too good” for Hollywood. Okie dokie.

    Haha I am curious though, was john Barry completely uk based or he never really worked in Hollywood?

    Barry lived in the States from the mid-70s onwards.

    No I was actually asking if he worked more in Hollywood productions?

    The majority of them were, yes.
  • edited November 2019 Posts: 5,767
    Getafix wrote: »
    Those lists are pretty amazing. I agree the general standard of film music has slipped.

    I'd argue Zimmer has produced some pretty great scores but accept much of what he does is fairly generic now.
    I´d argue that Zimmer has produced a lot of scores with one or two great tracks on them, but not one great score, at least not since the 80s or early 90s.

  • Posts: 3,274
    boldfinger wrote: »
    Getafix wrote: »
    Those lists are pretty amazing. I agree the general standard of film music has slipped.

    I'd argue Zimmer has produced some pretty great scores but accept much of what he does is fairly generic now.
    I´d argue that Zimmer has produced a lot of scores with one or two great tracks on them, but not one great score, at least not since the 80s or early 90s.
    Gladiator, Last Samurai, Da Vinci Code and Batman Begins stand out as some of the best scores done by a composer the last 20 years, I would argue.
  • edited November 2019 Posts: 440
    2Wint2Kidd wrote: »
    As much as I would love for Arnold to come back, I do feel for Dan Romer. He seemed genuinely excited to be working on the film from what I saw. It may of been mentioned earlier, but did it say why he is being speculated as leaving?

    He read this whole thread.

    David Arnold has been my single favourite Bond composer after Barry, and he could probably write a Bond score in his sleep, but if he does come back for NTTD who knows how it will be received?

    He could either write a horribly generic and derivative score (which would be very unfulfilling and unlikely for him I'm sure) and some of his more obsessive fans on here will lap it up and be thankful that nothing will ever have to have variety.

    Or more likely, he will write one of his typical knockout scores and it will sound too different from his previous work because it's been over a decade since he last wrote one and his style has naturally changed and evolved and the same posters who want him back now will call for his head.

    How quickly some forget that Arnold loved to experiment and change his sound with each score, not without controversy too. After his work on the Brosnans grew more light-hearted and electronica heavy (especially DAD) I remember fans being appalled at him being asked back to do the new "gritty and grounded" take on 007.
  • edited November 2019 Posts: 440
    (Double posted in Error)
  • mtmmtm United Kingdom
    edited November 2019 Posts: 16,343
    RC7 wrote: »
    mtm wrote: »
    Justin Hurwitz or Daniel Pemberton would be great.

    Yes please to both. They've both shown great style, and that's all Bond really needs.
    RC7 wrote: »
    mtm wrote: »
    RC7 wrote: »
    The general public aren’t as fickle or as snobbish as Bond fans. They know what ‘Bond’ sounds like, and DA delivers that. You’d be hard pushed to find any complaints about his scores from 99% of the audience.

    Prove it if you like. Show me how many hated Newman.

    99% of the audience don't really consciously notice the music.

    Certainly not when Newman is scoring it. The great Bond scores hit you in either the heart or the balls.

    Or when anyone is doing it. That's why I said 99%.


    boldfinger wrote: »
    Daniel Pemberton would be fantastic. He's extremely inventive.
    Inventive? He´s got a refreshing curiosity for all kinds of common and uncommon instruments and arrangements, but that doesn´t necessarily result in good music, let alone a good score (i.e. not just one or two interesting tracks).
    mtm wrote: »
    Justin Hurwitz or Daniel Pemberton would be great.

    Yes please to both. They've both shown great style, and that's all Bond really needs.
    RC7 wrote: »
    mtm wrote: »
    RC7 wrote: »
    The general public aren’t as fickle or as snobbish as Bond fans. They know what ‘Bond’ sounds like, and DA delivers that. You’d be hard pushed to find any complaints about his scores from 99% of the audience.

    Prove it if you like. Show me how many hated Newman.

    99% of the audience don't really consciously notice the music.

    Certainly not when Newman is scoring it. The great Bond scores hit you in either the heart or the balls.

    Or when anyone is doing it. That's why I said 99%.
    RC7 wrote: »
    I’m being somewhat facetious - Newman delivered some good stuff, but nothing even close to classic.

    Hand on heart, would you really say Arnold did either? Classic? Barry is classic.
    No, but to be fair, Arnold doesn´t sound pretentious, and none of his tracks ever sounded like Hans Zimmer.

    Lots of people don’t, that’s not a reason to hire one particular person.
  • mtmmtm United Kingdom
    Posts: 16,343
    Blimey this site is hard to work on a phone! Why does it quote the entire conversation?
  • Posts: 5,767
    Zekidk wrote: »
    boldfinger wrote: »
    Getafix wrote: »
    Those lists are pretty amazing. I agree the general standard of film music has slipped.

    I'd argue Zimmer has produced some pretty great scores but accept much of what he does is fairly generic now.
    I´d argue that Zimmer has produced a lot of scores with one or two great tracks on them, but not one great score, at least not since the 80s or early 90s.
    Gladiator, Last Samurai, Da Vinci Code and Batman Begins stand out as some of the best scores done by a composer the last 20 years, I would argue.
    Excellent examples of what I described, several outstanding tracks, and the rest utterly mediocre.

  • Posts: 4,619
    EON fires the talented person who wants to do something unique. A tale as old as time. Remember, these are the people who thought replacing Eric Serra's amazing "A Pleasant Drive in St. Petersburg" with a boring arrangement of the Bond theme was a great idea.

    What will happen next is extremely predictable: EON will hire Arnold who will deliver an awful Barry pastiche and Arnold acolytes will cheer. Cary, if you are reading, you can stopt this.
  • RC7RC7
    Posts: 10,512
    EON fires the talented person who wants to do something unique. A tale as old as time. Remember, these are the people who thought replacing Eric Serra's amazing "A Pleasant Drive in St. Petersburg" with a boring arrangement of the Bond theme was a great idea.

    What will happen next is extremely predictable: EON will hire Arnold who will deliver an awful Barry pastiche and Arnold acolytes will cheer. Cary, if you are reading, you can stopt this.

    Said no one ever.
  • Posts: 4,044
    I doubt Cary is reading
  • Posts: 4,619
    TripAces wrote: »
    Arnold is the best choice.

    I don't think the words "David Arnold" and "Best Choice" have been used in conjunction in over ten years, if ever. It's why the guy has been sitting on his arse doing basically nothing.

    But by all means: feel free to get excited over EON bringing in a guy whose recent film credits are even less impressive than Dan Romer's.
    Post of the month! Based on everything we know about NTTD, it will be a modern, forward-looking Bond film. Hiring Arnold would be a huge mistake that could sink the whole movie.
  • ShardlakeShardlake Leeds, West Yorkshire, England
    Posts: 4,043
    I fall in the camp of not loving Arnold's work although thinking his last 2 Bond scores where is best for the series.

    CR had its moments I did cringe but his instrumental arrangements of YKMN and Vesper's theme were quite sublime.

    I thought QOS though was consistently his best Bond score and thought of getting a theme that recalls YKMN or hearing Vesper's theme in the Matera sequence at the appropriate moment would put a smile on my face.

    Why not let DA cap off Craig's era?

    That being said if Romer isn't gone or someone else gets assigned if the rumours are true. I'm open to see whatever plays out but dismissing Arnold outright with saying he'll just press the auto pilot button is unfair.

    I think he'd take it as an opportunity to deliver something special rather than default to generic.
  • I'd love to know where the source has come from that Dan Romer isn't doing the "NTTD" score.

    First I heard of it was JBR, I compose music myself and I love David Arnold as much as the next person but I've listened to alot of Dan Romer to get into the spirit of things and I've gotta say I want a Romer "NTTD" score so i can go out and get it on vinyl.

    I love that were in a time where film music is so realised, celebrated and debated 😁

    Some really interesting posts on this site.
  • mtmmtm United Kingdom
    Posts: 16,343
    EON fires the talented person who wants to do something unique. A tale as old as time. Remember, these are the people who thought replacing Eric Serra's amazing "A Pleasant Drive in St. Petersburg" with a boring arrangement of the Bond theme was a great idea.

    What will happen next is extremely predictable: EON will hire Arnold who will deliver an awful Barry pastiche and Arnold acolytes will cheer. Cary, if you are reading, you can stopt this.

    I think if it's true (and we're still not sure about that as it's only one source: wouldn't some more soundtrack-based news guys have heard about it?) it's fairly unlikely they'd get Arnold in. I dunno: I just think they've moved on and there are many composers to choose from.
  • DarthDimiDarthDimi Behind you!Moderator
    edited November 2019 Posts: 24,159
    I don't follow some of the logic in this thread at all. People nostalgically want Arnold back because he used to be the guy doing the Bond scores. People want Arnold back because it would match Craig's last in some poetic way. People want Arnold back because of three minutes of old-school Bond fun in a commercial (so why not Alf Clausen because of his five minutes of Bond music in The Simpsons or Michael Giacchino because of his Incredibles scores?)

    IF Arnold returns, can it please be because he'd be the best choice for this film?

    As soon as a film score is fully integrated into the fibre of a film, it puts a definitive stamp on the overall mood of the film. Terrible scores can ruin an otherwise decent film and great scores can function as some kind of damage control. A great score for a great film is film heaven. Music is to a film what seasoning is to food. Few things are more important than to find the right tone for the right film. John Barry managed that essential match every time, but the others, including Arnold, weren't always an unmitigated success.

    Fukunaga may be working for Broccoli and Wilson and with several other Bond veterans, but having seen his work so far, I've got a feeling that NTTD will "carry the Cary" all over the place. Not just any tune will then be the right one for the film, I assume, even if it sounds great in isolation. The music has to tell a story after all and has to be more than just some cool, vintage Bond material. Am I saying that DA couldn't pull it off? No, that's not what I'm saying. Am I saying I have no confidence in DA? No, especially after CR and QOS that is not what I'm saying. But is DA some kind of guarantee for "perfect Bond music"? No, he isn't. And we who haven't seen a rough cut of the film yet, we who weren't involved in the establishing of the tone and direction of this film, haven't the faintest idea what the proper music for NTTD would be.

    And as some here have already said, perhaps we should first wait for confirmation that Romer has, indeed, left the production.
  • DarthDimi wrote: »
    I don't follow some of the logic in this thread at all. People nostalgically want Arnold back because he used to be the guy doing the Bond scores. People want Arnold back because it would match Craig's last in some poetic way. People want Arnold back because of three minutes of old-school Bond fun in a commercial (so why not Alf Clausen because of his five minutes of Bond music in The Simpsons or Michael Giacchino because of his Incredibles scores?)

    IF Arnold returns, can it please be because he'd be the best choice for this film?

    As soon as a film score is fully integrated into the fibre of a film, it puts a definitive stamp on the overall mood of the film. Terrible scores can ruin an otherwise decent film and great scores can function as some kind of damage control. A great score for a great film is film heaven. Music is to a film what seasoning is to food. Few things are more important than to find the right tone for the right film. John Barry managed that essential match every time, but the others, including Arnold, weren't always an unmitigated success.

    Fukunaga may be working for Broccoli and Wilson and with several other Bond veterans, but having seen his work so far, I've got a feeling that NTTD will "carry the Cary" all over the place. Not just any tune will then be the right one for the film, I assume, even if it sounds great in isolation. The music has to tell a story after all and has to be more than just some cool, vintage Bond material. Am I saying that DA couldn't pull it off? No, that's not what I'm saying. Am I saying I have no confidence in DA? No, especially after CR and QOS that is not what I'm saying. But is DA some kind of guarantee for "perfect Bond music"? No, he isn't. And we who haven't seen a rough cut of the film yet, we who weren't involved in the establishing of the tone and direction of this film, haven't the faintest idea what the proper music for NTTD would be.

    And as some here have already said, perhaps we should first wait for confirmation that Romer has, indeed, left the production.

    +1

    Exactly. Let's wait and see what happens. All we know so far is that one podcast has that Dan Romer left the film. And as of now, that's literally all we know.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,205
    It's nice to keep repeating ourselves, though. Who doesn't love a bit of déja vu?
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