It looks like you're new here. If you want to get involved, click one of these buttons!
^ Back to Top
The MI6 Community is unofficial and in no way associated or linked with EON Productions, MGM, Sony Pictures, Activision or Ian Fleming Publications. Any views expressed on this website are of the individual members and do not necessarily reflect those of the Community owners. Any video or images displayed in topics on MI6 Community are embedded by users from third party sites and as such MI6 Community and its owners take no responsibility for this material.
James Bond News • James Bond Articles • James Bond Magazine
Comments
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.
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.
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.
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.
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.
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.
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:
There are a few exciting names above, but A LOT of vanilla names.
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.
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.
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
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.
You made that sound like an overwhelming number of people, when there was actually only a few and as many are still unconvinced.
Agreed. I love his scores for Paycheck and X-Men: The Last Stand, as well.
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
This is amazing. I will also give a listen to his Paycheck score movie, @CraigMooreOHMSS
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.
This is Bond, I would have though HZ would be chomping at the bit to do this wouldn't he?
Some of my favourites from it, @Walecs :)
Props for picking that great cue from THE LAST STAND, @FrankXavier
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.