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Judging by Romer's work, I'm guessing he didn't deviate too much from his style, which ultimately cost him the job. It was a silly decision to start with when you listen to his body of work. He was never suited for Bond.
And if Romer tried to continue in the style he was comfortable with, no wonder he was booted out. What Romer should have done is deliver a score that sounded like a Bond score, and by the looks of things he didn't do just that.
The problem is that I am so put off by the Zimmer scores I know that I never felt the urge to get into more. Unlike Barry, Morricone, Williams, Goldsmith and even Horner where I'd buy a score without hesitation to just find out. I've seen two of the three movies you mentioned above (not Days of Thunder) but the score made no impression on me that I could use as a basis for comment. I just don't remember any of it. And I won't watch Interstellar again, which for me is a boring, pretentious wreck of a movie.
Here you go, to jog your memory...
Days of Thunder opening credits theme - brilliant! Still gives me goosebumps.
Interstellar docking theme. Slow build up, but brilliant once it gets going (around 2 mins in) -
True Romance, been rehashed and reworked to death ever since by various other composers -
That's a poor impression. Sorry.
Zimmer is a legend and extremely versatile. Comparing the scores from 'Thelma and Louise, 'Gladiator' and 'Dunkirk' you couldn't tell it's the same composer on all three.
There's a reason why he is the most sought-after composer in Hollywood, but to each his own.
Still, looks like it’s all but certain, and it’s the best possible result I think. He’s pretty much the biggest and the best and maybe the only composer working at the moment assured of ‘legend’ status, so it’ll be fun to see what he comes up with.
+1.
+2
Or maybe we are jumping to conclusions: Romer might be the one who took himself off the project, feeling overwhelmed. This is certainly possible. The guy has not undertaken a project quite like this before, and I can imagine the stress getting to him.
Yeah, but if he were to be alive, I've always felt Jerry Goldsmith was someone who could do a Stellar Bond score. And I think he's way better than John Williams & Alan Silvestri.
And he's also thousands of times better than Zimmer.
I, too, am curious about Romer's score because it's the first time in 60 years they ditched a composer.
Well said!
:-bd
Well he’s a thousand times better than everybody! :) I’m not sure where it really gets us listing who he’s better than...
They all pale in comparison to this one:
Not really... :D
Also, really isn't it time we had SOME idea about the title song? Anybody know when we can expect that bit?
is this memorable enough?
IMO the average 60's/70's/80's scores were much more fun and interesting than the sounds we get today – and the linked videos above were only a reminder of that for me. With Arnold's scores I sort of felt the same as I do with older scores. Time will tell if Zimmer does the same. I'm not a fan, that's for sure.
Sorta. A lot of Monty Norman's work was ditched for DR. NO in favor of just replaying John Barry's arrangement of the Bond theme. Makes me wish EON had been able to just hire John Barry to re-score the entire film rather than just working on the theme. The jump in quality from Norman's underscoring to Barry's in FRWL is immeasurable.
What really blows my mind is that Monty Norman originally submitted "Underneath the Mango Tree" as the James Bond theme. To which Terence Young said "there aren't gonna be any bloody mango trees in the other films!"
Zimmer was producing scores in the 80s so you should be happy ;)
Well, for the use of "007", EON would have to pay royalties to the estate of John Barry.
I'd add this too:
A great theme, and entirely unexpected for Holmes, and yet fits the film perfectly. And funnily enough, Michael Price & David Arnold's Sherlock theme seemed to change its instrumentation to a cimbalom-style, Eastern European instrument just after this score was released... ;)