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

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  • RichardTheBruceRichardTheBruce I'm motivated by my Duty.
    Posts: 13,767
    Yeah, @Walecs. That guy.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,207
    Univex wrote: »
    Lorne Balfe is awesome. Just saying.


    That's pretty good, you know.
  • Posts: 6,709
    Univex wrote: »
    Lorne Balfe is awesome. Just saying.


    That's pretty good, you know.

    Isn't it? And it actually reminded me that Arnold wrote this:



    Both great themes.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,207
    Univex wrote: »
    Univex wrote: »
    Lorne Balfe is awesome. Just saying.


    That's pretty good, you know.

    Isn't it? And it actually reminded me that Arnold wrote this:



    Both great themes.

    STARGATE is stunning. So, so good. And brilliant live, too.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,180
    Zimmer for Bond? SHUT UP AND TAKE MY MONEY.
  • edited December 2019 Posts: 5,767
    Fiedel is the only composer to make really propulsive scoring for the first two, and all done on synthesizers. Everyone else just doing orchestral shit was boring and unsuitable for Terminator.
    I think T3's score was one of the best things about the film. I can't come to any conclusion really wether it suits the film, because I never thought the film was a good terminator film.


    GadgetMan wrote: »
    I can’t remember anything past T2. It’s amazing how much none of the later composers learned anything from Fiedel’s method of scoring.

    The only composer I can think of that might have done a good follow up score is Eric Serra.

    Yeah, Serra has a kind futuristic style in his composition coz of his synth style....his Gunbarrel music for Goldeneye sounded very futuristic. It would have worked for terminator as well. I think composers not wanting to follow the style set by previous composers has to do with Ego of some sort. If Romer respects the works of previous composers like Barry, Martin & Arnold...then he's safe. It shouldn't be that hard to score a Bond film. The style is already there. Howard Goodall's score for Johnny English strikes again really reeks of Bond. Just like Edward Shearmur did for the first installment.even it has a goofy feel in some of it's parts. At least Goodall & Shearmur were aware that it's a parody of Bond and decided to give it that Bondian sound.
    It's pretty easy to emulate someone else's style and come out with a parody score. However, if you want a proper, serious score, it's an entirely different situation, and not at all that easy.
    That's why I would say that Romer is a safer choice than Balfe, because Romer would probably work inside his comfort zone.
    But as you mentioned, nothing's carved in stone yet. Villeneuve also worked with his long time composer on BR2049, and we know how that turned out.



    Hans Zimmer would be about the last person I would want to score a Bond film, unless he quit doing his scores 98% technical and put some heart into it instead. But that seems as unrealistic as a big production company hiring someone not from Zimmer's brigade if it's on short notice.
    An ugly degeneration of film scoring is happening for quite some time. Hopefully it will turn around again soon.
  • GadgetManGadgetMan Lagos, Nigeria
    edited December 2019 Posts: 4,247
    boldfinger wrote: »
    Fiedel is the only composer to make really propulsive scoring for the first two, and all done on synthesizers. Everyone else just doing orchestral shit was boring and unsuitable for Terminator.
    I think T3's score was one of the best things about the film. I can't come to any conclusion really wether it suits the film, because I never thought the film was a good terminator film.


    GadgetMan wrote: »
    I can’t remember anything past T2. It’s amazing how much none of the later composers learned anything from Fiedel’s method of scoring.

    The only composer I can think of that might have done a good follow up score is Eric Serra.

    Yeah, Serra has a kind futuristic style in his composition coz of his synth style....his Gunbarrel music for Goldeneye sounded very futuristic. It would have worked for terminator as well. I think composers not wanting to follow the style set by previous composers has to do with Ego of some sort. If Romer respects the works of previous composers like Barry, Martin & Arnold...then he's safe. It shouldn't be that hard to score a Bond film. The style is already there. Howard Goodall's score for Johnny English strikes again really reeks of Bond. Just like Edward Shearmur did for the first installment.even it has a goofy feel in some of it's parts. At least Goodall & Shearmur were aware that it's a parody of Bond and decided to give it that Bondian sound.
    It's pretty easy to emulate someone else's style and come out with a parody score. However, if you want a proper, serious score, it's an entirely different situation, and not at all that easy.
    That's why I would say that Romer is a safer choice than Balfe, because Romer would probably work inside his comfort zone.
    But as you mentioned, nothing's carved in stone yet. Villeneuve also worked with his long time composer on BR2049, and we know how that turned out

    Yeah, True...Good points...but I think Romer seems to find comfort in composing the ambient way & he's more interested to create any sound as long as if fits in with what he's seeing. Reason why some scores work better with the film, but fail as a listening experience. And as Bond fans, we definitely like our scores to be a delightful listening experience. Just like Hildur's score for Joker....it works with the film, but as a listening experience....am not so sure it's a score that really excites the listener.
  • 4EverBonded4EverBonded the Ballrooms of Mars
    Posts: 12,480
    @antovolk yeah he did heavily imply Romer is out, but he did not at all suggest Zimmer is doing it (in the snippets I read); no other names thrown out there. I'm interested with this possible development, not really upset by it (Romer is an unknown factor for me). I have to trust they'll get the music right for this particular film.
  • edited December 2019 Posts: 3,164
    @antovolk yeah he did heavily imply Romer is out, but he did not at all suggest Zimmer is doing it (in the snippets I read); no other names thrown out there. I'm interested with this possible development, not really upset by it (Romer is an unknown factor for me). I have to trust they'll get the music right for this particular film.

    True but of course Hybrid's's Zimmer/RCP connection and the smoke prior to his comment yesterday specifically being around Balfe or someone else from RCP doing it makes one think..

    As I said, all smoke needing a truckload of salt but quite a number of indications are now out there that Romer is indeed out.
  • 00Agent00Agent Any man who drinks Dom Perignon '52 can't be all bad.
    edited December 2019 Posts: 5,185
    If the rumors of Dan Romer leaving are true, and I see no concrete proof of that just yet, i bet Eon will find a good replacement.

    Just as they found a great replacement for Boyle, one that no one saw coming but who made perfect sense over all the rumored candidates. (Same with Craig himself.)

    I wouldn't be excited about Zimmer, but there are worse choices. I love what he did with Blade Runner, where he stepped in last minute as well, but rumor has it he has a ton of ghostwriters through his production company now.

    That being said just hire Nicholas Britell already, damnit.

  • GadgetManGadgetMan Lagos, Nigeria
    edited December 2019 Posts: 4,247
    Maybe Eon are being very Pedantic with the score this time. Coz SP's score didn't help the film. Sometimes a very good score can elevate an average film. That makes one wonder what would have been, if Arnold scored SP. If NTTD doesn't get a good Bondian score, it might easily ruin it too. But we hope it has a Good score that reeks of Bond. The Good, the Bad & the ugly is a very good example of how a good score elevates a film....even if it's a good film in this case.
  • ShardlakeShardlake Leeds, West Yorkshire, England
    Posts: 4,043
    If these rumours are true and RCP are taking over duties, its not like this is some example of just another assignment.

    This is James Bond we are talking about, surely this should be the Boss that takes the reins, if not another high profile member of that outfit.

    I really don't have an issue with Zimmer like some, he tends to provide different type of scores depending on the project and while I don't find his Nolan scores ones that I'd own myself to listen to independent of the film, they do a great job of enhancing the films CN has used him for.

    That being said there were moments in the Inception score where I thought what would Hans do with Bond, I could see him surprising people if he did take the job on. Also he can be playful his score for the 2 Guy Ritchie Holmes film were quite jaunty and fun.

    Who knows what he would bring to Bond, I think there is a tendency to think he would slum it and do a generic HZ score.

    Though having a Bond score on your CV is a badge of honour I would say and I think he might well jump at the chance.

    I'm willing to see what Balfe would do as well and yes Britell if these RCP rumours aren't true.

    If there had been only one or 2 rumours that Romer had been let go but this has been gathering steam for a while now and there is no smoke without fire. So I think that possibly Dan Romer has exited the project and it is only a matter of time before they announce who has the job.

    If it is Zimmer himself I don't imagine that EON would keep it under wraps too much longer, given his reputation and stature in the world of film scoring.

    If it does happen certain members here aren't going to be happy.

    I'd rather this than Newman returning and I think we can forget Arnold, that ship has sailed.

    EON might bring him back into the fold to kick off the new era, although I've a feeling that both parties have moved on and the director choosing his own composer is to become the norm.
  • edited December 2019 Posts: 4,408


    This sounds very similar to the Blade Runner 2049 situation.

    That film's director orginally wanted his 'go to' composer to handle the score. However, they decided it wasn't working. They went to Hans Zimmer - who has basically monopolised the sound of blockbuster films - to fix the movie at late notice.

    Zimmer used a another composer on Blade Runner 2049 to help him. Basically, on his films Zimmer usually works within a team of composers. Something which some deem untraditional.

    Since @antovolk is suggesting that Hans Zimmer himself is doing the score, it'l likely he's doing the score with someone..........

    Did anyone notice that Eon hired Steve Mazzaro to do the score for The Rhythm Section? He's another member of Zimmer's Remote Control productions. Just check out his IMDB:
    https://www.imdb.com/name/nm2385360/

    The 007 franchise is the last major mountain for Zimmer to climb....



    List of people from Remote Control who may get the job:
    • Lorne Balfe
    • Ramin Djawadi
    • Harry Gregson-Williams
    • Rupert Gregson-Williams
    • Henry Jackman
    • Junkie XL
    • Mark Mothersbaugh
    • Geoff Zanelli
    • John Powell
    • Benjamin Wallfisch
    • Pinar Toprak

    There are a few exciting names above, but A LOT of vanilla names.
  • edited December 2019 Posts: 5,767
    @antovolk yeah he did heavily imply Romer is out, but he did not at all suggest Zimmer is doing it (in the snippets I read); no other names thrown out there. I'm interested with this possible development, not really upset by it (Romer is an unknown factor for me). I have to trust they'll get the music right for this particular film.
    I don't think that Romer is out as long as there is no official confirmation.
    But if he should lose his involvement, I have little doubt that Zimmer or one of his cohorts will get hired, because they are all known for hopping in on short notice and provide calculated scores that satisfy superficial listeners, i.e. the majority of the audience.
  • GadgetManGadgetMan Lagos, Nigeria
    edited December 2019 Posts: 4,247
    Almost every action score these days sound like a Zimmer RIP-off(some even sound inferior)....with just very few composers maintaining their style....but when Zimmer himself does it, some people don't seem to like it. It's quite surprising. Zimmer has really influenced film scoring in Hollywood, Coz once there's a blockbuster these days....a RCP composer(which in most cases turns out to be Zimmer) seems to be the way to go.
  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    List of people from Remote Control who may get the job:
    • Lorne Balfe
    • Ramin Djawadi
    • Harry Gregson-Williams
    • Rupert Gregson-Williams
    • Henry Jackman
    • Junkie XL
    • Mark Mothersbaugh
    • Geoff Zanelli
    • John Powell
    • Benjamin Wallfisch
    • Pinar Toprak

    There are a few exciting names above, but A LOT of vanilla names.

    John Powell and Gregson-Williams are the only ones on that list that I like. I find Balfe, Djawadi, Junkie and Zanelli's score mediocre and generic. They just make generic ambient sound and that's it. I kinda enjoyed Wallfisch's A Cure for Wellness but that was also forgettable. I'm not familiar with Jackman, Mothersbaugh and Toprak's works.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,207
    Walecs wrote: »
    List of people from Remote Control who may get the job:
    • Lorne Balfe
    • Ramin Djawadi
    • Harry Gregson-Williams
    • Rupert Gregson-Williams
    • Henry Jackman
    • Junkie XL
    • Mark Mothersbaugh
    • Geoff Zanelli
    • John Powell
    • Benjamin Wallfisch
    • Pinar Toprak

    There are a few exciting names above, but A LOT of vanilla names.

    John Powell and Gregson-Williams are the only ones on that list that I like. I find Balfe, Djawadi, Junkie and Zanelli's score mediocre and generic. They just make generic ambient sound and that's it. I kinda enjoyed Wallfisch's A Cure for Wellness but that was also forgettable. I'm not familiar with Jackman, Mothersbaugh and Toprak's works.

    I love John Powell. He would do a great job with Bond if given the chance. Stepping into a franchise with a well established style is no problem for him either.
  • People on the Zimmer forum seem convinced that Romer is off and Zimmer is indeed scoring:
    http://www.hans-zimmer.com/index.php?rub=disco&id=1796

    Personally, I feel very sorry for Romer. He was clearly hyped for the job. But having Zimmer just makes world's of sense. I'm beyond excited to hear his take on Bond. It's felt inevitable for a while. I need this! Hopefully he sticks around!

    NTTD will sound epic



  • WalecsWalecs On Her Majesty's Secret Service
    edited December 2019 Posts: 3,157
    Walecs wrote: »
    List of people from Remote Control who may get the job:
    • Lorne Balfe
    • Ramin Djawadi
    • Harry Gregson-Williams
    • Rupert Gregson-Williams
    • Henry Jackman
    • Junkie XL
    • Mark Mothersbaugh
    • Geoff Zanelli
    • John Powell
    • Benjamin Wallfisch
    • Pinar Toprak

    There are a few exciting names above, but A LOT of vanilla names.

    John Powell and Gregson-Williams are the only ones on that list that I like. I find Balfe, Djawadi, Junkie and Zanelli's score mediocre and generic. They just make generic ambient sound and that's it. I kinda enjoyed Wallfisch's A Cure for Wellness but that was also forgettable. I'm not familiar with Jackman, Mothersbaugh and Toprak's works.

    I love John Powell. He would do a great job with Bond if given the chance. Stepping into a franchise with a well established style is no problem for him either.

    Definitely. He proved that with Solo, he made some gorgeous pieces of music (such as Lando's Closet) and he showed a lot of respect for William's material. I'm very fond of his How To Train Your Dragon score too.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    edited December 2019 Posts: 8,207
    People on the Zimmer forum seem convinced that Romer is off and Zimmer is indeed scoring:
    http://www.hans-zimmer.com/index.php?rub=disco&id=1796

    Personally, I feel very sorry for Romer. He was clearly hyped for the job. But having Zimmer just makes world's of sense. I'm beyond excited to hear his take on Bond. It's felt inevitable for a while. I need this! Hopefully he sticks around!

    NTTD will sound epic




    You made that sound like an overwhelming number of people, when there was actually only a few and as many are still unconvinced.
    Walecs wrote: »
    Walecs wrote: »
    List of people from Remote Control who may get the job:
    • Lorne Balfe
    • Ramin Djawadi
    • Harry Gregson-Williams
    • Rupert Gregson-Williams
    • Henry Jackman
    • Junkie XL
    • Mark Mothersbaugh
    • Geoff Zanelli
    • John Powell
    • Benjamin Wallfisch
    • Pinar Toprak

    There are a few exciting names above, but A LOT of vanilla names.

    John Powell and Gregson-Williams are the only ones on that list that I like. I find Balfe, Djawadi, Junkie and Zanelli's score mediocre and generic. They just make generic ambient sound and that's it. I kinda enjoyed Wallfisch's A Cure for Wellness but that was also forgettable. I'm not familiar with Jackman, Mothersbaugh and Toprak's works.

    I love John Powell. He would do a great job with Bond if given the chance. Stepping into a franchise with a well established style is no problem for him either.

    Definitely. He proved that with Solo, he made some gorgeous pieces of music (such as Lando's Closet) and he showed a lot of respect for William's material. I'm very fond of his How To Train Your Dragon score too.

    Agreed. I love his scores for Paycheck and X-Men: The Last Stand, as well.
  • matt_umatt_u better known as Mr. Roark
    edited December 2019 Posts: 4,343
    Within the next 6 months Zimmer will score The SpongeBob Movie (May 22nd), Wonder Woman 1984 (June 5th) and Top Gun 2 (June 26th).

    I don't see how is gonna be able to work on such a big project like Bond. A project where he won't be able to recycle past themes, like all the sequels he's making. A project that comes out in 4 months.
  • Posts: 5,767
    GadgetMan wrote: »
    Almost every action score these days sound like a Zimmer RIP-off(some even sound inferior)....with just very few composers maintaining their style....but when Zimmer himself does it, some people don't seem to like it. It's quite surprising. Zimmer has really influenced film scoring in Hollywood, Coz once there's a blockbuster these days....a RCP composer(which in most cases turns out to be Zimmer) seems to be the way to go.
    What is surprising about that? Are any of his clones hyped by many people? As I said before, Zimmer and RCP are the go-to's because they are quick, probably not too expensive, and they cater the calculating wishes of the bankers behind the producers.

  • edited December 2019 Posts: 3,164
    matt_u wrote: »
    Within the next 6 months Zimmer will score The SpongeBob Movie (May 22nd), Wonder Woman 1984 (June 5th) and Top Gun 2 (June 26th).

    I don't see how is gonna be able to work on such a big project like Bond. A project where he won't be able to recycle past themes, like all the sequels he's making. A project that comes out in 4 months.

    Wonder Woman is actually apparently done according to the director! The film is basically fully finished and they’re just tinkering with it as and when they want over the next 6 months
  • Agreed. I love his scores for Paycheck and X-Men: The Last Stand, as well.
    Agreed as well, his X-Men score was great unlike the rather lousy movie.


  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    Agreed. I love his scores for Paycheck and X-Men: The Last Stand, as well.
    Agreed as well, his X-Men score was great unlike the rather lousy movie.


    This is amazing. I will also give a listen to his Paycheck score movie, @CraigMooreOHMSS

  • GadgetManGadgetMan Lagos, Nigeria
    edited December 2019 Posts: 4,247
    boldfinger wrote: »
    GadgetMan wrote: »
    Almost every action score these days sound like a Zimmer RIP-off(some even sound inferior)....with just very few composers maintaining their style....but when Zimmer himself does it, some people don't seem to like it. It's quite surprising. Zimmer has really influenced film scoring in Hollywood, Coz once there's a blockbuster these days....a RCP composer(which in most cases turns out to be Zimmer) seems to be the way to go.
    What is surprising about that? Are any of his clones hyped by many people? As I said before, Zimmer and RCP are the go-to's because they are quick, probably not too expensive, and they cater the calculating wishes of the bankers behind the producers.

    Yeah...what I meant by surprising is, scores like Daft Punk's Tron Legacy, M83's Oblivion & Roque Banos' In The Heart Of The Sea all have lucid traits of a Zimmer score....but are praised. My main surprise is, once Zimmer's name is there.....it might not be that praised. Even most action movie trailer scores these days sound like Zimmer. My point is that Zimmer has turned film scoring into a character in movies...it's that prominent that composers these days, while not copying it entirely, tend to sound like Zimmer when it comes to blockbusters.
  • ShardlakeShardlake Leeds, West Yorkshire, England
    Posts: 4,043
    Spongebob & TG 2, surely he can give those to one of the other members of RCP to do?

    This is Bond, I would have though HZ would be chomping at the bit to do this wouldn't he?
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,207
    Walecs wrote: »
    Agreed. I love his scores for Paycheck and X-Men: The Last Stand, as well.
    Agreed as well, his X-Men score was great unlike the rather lousy movie.


    This is amazing. I will also give a listen to his Paycheck score movie, @CraigMooreOHMSS

    Some of my favourites from it, @Walecs :)





    Props for picking that great cue from THE LAST STAND, @FrankXavier

  • edited December 2019 Posts: 5,767
    GadgetMan wrote: »
    boldfinger wrote: »
    GadgetMan wrote: »
    Almost every action score these days sound like a Zimmer RIP-off(some even sound inferior)....with just very few composers maintaining their style....but when Zimmer himself does it, some people don't seem to like it. It's quite surprising. Zimmer has really influenced film scoring in Hollywood, Coz once there's a blockbuster these days....a RCP composer(which in most cases turns out to be Zimmer) seems to be the way to go.
    What is surprising about that? Are any of his clones hyped by many people? As I said before, Zimmer and RCP are the go-to's because they are quick, probably not too expensive, and they cater the calculating wishes of the bankers behind the producers.

    Yeah...what I meant by surprising is, scores like Daft Punk's Tron Legacy, M83's Oblivion & Roque Banos' In The Heart Of The Sea all have lucid traits of a Zimmer score....but are praised. My main surprise is, once Zimmer's name is there.....it might not be that praised. Even most action movie trailer scores these days sound like Zimmer. My point is that Zimmer has turned film scoring into a character in movies...it's that prominent that composers these days, while not copying it entirely, tend to sound like Zimmer when it comes to blockbusters.
    I don't know In the heart of the sea, but I heartily disagree that the scores of Tron Legacy and Oblivion sound anything like Zimmer or influenced by him, neither the music nor the sound. I wouldn't say those are masterpieces, but within their own frame they offer a lot more heart than Zimmer's scores.
    Can you name an example of a film score by John Barry, John Williams, or Jerry Goldsmith that wasn't 100 times more of a character in the movie? That is my main gripe about Zimmer, that he turned filmmusic from a character with flesh and blood into an artificial wall of sound.
    This kind of sound gets used so often, even in trailers, as you correctly point out, because it superficially ticks the boxes of sounding spectacular, and it attracts additional audiences because it can be heard even by people walking along the street outside the cinema.
    I'm saying this as a man who loves electronic music as much as orchestral music.
  • GadgetManGadgetMan Lagos, Nigeria
    edited December 2019 Posts: 4,247
    boldfinger wrote: »
    GadgetMan wrote: »
    boldfinger wrote: »
    GadgetMan wrote: »
    Almost every action score these days sound like a Zimmer RIP-off(some even sound inferior)....with just very few composers maintaining their style....but when Zimmer himself does it, some people don't seem to like it. It's quite surprising. Zimmer has really influenced film scoring in Hollywood, Coz once there's a blockbuster these days....a RCP composer(which in most cases turns out to be Zimmer) seems to be the way to go.
    What is surprising about that? Are any of his clones hyped by many people? As I said before, Zimmer and RCP are the go-to's because they are quick, probably not too expensive, and they cater the calculating wishes of the bankers behind the producers.

    Yeah...what I meant by surprising is, scores like Daft Punk's Tron Legacy, M83's Oblivion & Roque Banos' In The Heart Of The Sea all have lucid traits of a Zimmer score....but are praised. My main surprise is, once Zimmer's name is there.....it might not be that praised. Even most action movie trailer scores these days sound like Zimmer. My point is that Zimmer has turned film scoring into a character in movies...it's that prominent that composers these days, while not copying it entirely, tend to sound like Zimmer when it comes to blockbusters.
    I don't know In the heart of the sea, but I heartily disagree that the scores of Tron Legacy and Oblivion sound anything like Zimmer or influenced by him, neither the music nor the sound. I wouldn't say those are masterpieces, but within their own frame they offer a lot more heart than Zimmer's scores.
    Can you name an example of a film score by John Barry, John Williams, or Jerry Goldsmith that wasn't 100 times more of a character in the movie? That is my main gripe about Zimmer, that he turned filmmusic from a character with flesh and blood into an artificial wall of sound.
    This kind of sound gets used so often, even in trailers, as you correctly point out, because it superficially ticks the boxes of sounding spectacular, and it attracts additional audiences because it can be heard even by people walking along the street outside the cinema.
    I'm saying this as a man who loves electronic music as much as orchestral music.

    Yeah, true...of coz I love Barry & Goldsmith...those are stellar names. am not really a fan of John Williams...maybe just few of his scores. I consider the late James Horner better than him. We all know Barry so i won't say anything about him. Jerry Goldsmith is so consistent....just like Barry. Of course scores like Goldsmith's 'The Ghost & the Darkness' feels like a character in the film. But I understand your point....everyone have their favourite scores or composers. I love Zimmer, though he might not be the kind of composer you go for when you want to make a classic like Titanic. But I think the reason he's still relevant is coz Studios keep making Big budget action films & we can't expect composers like Michael Nyman(a composer I also love) to score an epic action film.
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