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

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  • Posts: 5,767
    Univex wrote: »
    Rainman's theme is overly muscular? The Gladiator theme? Inception? The Batman theme consists of only two horns, for pete's sake. The last Samurai theme is too muscular? It builds up, yes, but isn't that the point? That Shepard tone sound effect in Dunkirk wasn't brilliant? The Pirates theme isn't one of the most recognisable themes in cinema history by now?

    I'm not the man's biggest fan, but he is good, or he wouldn't be such a game changer influencer as he is. Whatever he does in a film will translate the decade's sound in both films and trailers. And he is experimental as he is mainstream. He knows his business.

    I, for one, am quite happy with this.
    No I was not referring to the composer who delivered a quite excelent score for Thelma and Louise, for Pete's sake, I was obviously referring to the man's current work. And you actually support what I wrote, because I wrote that Zimmer's sound effects can be very great. And you misunderstood the simile I provided. I did not say his scores are too muscular. But Inception is a good example of his layering technique, where you cannot hear anymore what instruments are being used. I'm not saying this is a bad thing, but Zimmer many times disguises nonexistent compositions under this type of sound, which makes it exciting in the first moment and boring when the ear wants to listen deeper.
  • Posts: 6,709
    boldfinger wrote: »
    Univex wrote: »
    Rainman's theme is overly muscular? The Gladiator theme? Inception? The Batman theme consists of only two horns, for pete's sake. The last Samurai theme is too muscular? It builds up, yes, but isn't that the point? That Shepard tone sound effect in Dunkirk wasn't brilliant? The Pirates theme isn't one of the most recognisable themes in cinema history by now?

    I'm not the man's biggest fan, but he is good, or he wouldn't be such a game changer influencer as he is. Whatever he does in a film will translate the decade's sound in both films and trailers. And he is experimental as he is mainstream. He knows his business.

    I, for one, am quite happy with this.
    No I was not referring to the composer who delivered a quite excelent score for Thelma and Louise, for Pete's sake, I was obviously referring to the man's current work. And you actually support what I wrote, because I wrote that Zimmer's sound effects can be very great. And you misunderstood the simile I provided. I did not say his scores are too muscular. But Inception is a good example of his layering technique, where you cannot hear anymore what instruments are being used. I'm not saying this is a bad thing, but Zimmer many times disguises nonexistent compositions under this type of sound, which makes it exciting in the first moment and boring when the ear wants to listen deeper.

    True, all of that. I don't disagree with you @boldfinger. I made the mistake of reading the reactions to your post and not the post itself. Sorry ;)
  • Red_SnowRed_Snow Australia
    Posts: 2,537
    This was the same person who first reported te news that Hans Zimmer was connected to NTTD:
    http://www.hans-zimmer.com/index.php?rub=fanlatest_comments

    [In respect to why Zimmer isn't scoring Tenet] Because as I said, Tenet was never about scheduling conflict...

    And Hans definitely didn't start Bond just now, but more like more than a month ago. And about being "busy", WW84 & Top Gun are finished or about to be.

    I saw him live in Sydney at the end of last year, and while speaking about his upcoming projects, he mentioned he was next working on a big top secret gig due out next year and that it was something he'd dreamed of working on. He was practically giddy talking about it, even bouncing around on his piano stool. He seemed genuinely excited about it.

    I'd heard the Romer rumours, and was pretty certain he was referring to NTTD. It was the only other big 2020 release he wasn't attached to.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,207
    Funnily enough, I have the opposite experience with a lot of Zimmer scores. There are many that I didn't really like but came to appreciate more over time, and some really grew on me.

    Man Of Steel, for instance, was a score I was almost allergic to when I first heard it. I couldn't marry Zimmer's approach with the character. But these days, I think the score is superb and I listen to it regularly. Zimmer managed to convey almost all of the same emotions of hope and justice in his music for the character that Williams did with his theme. He just did it his way.

    I had a similar reaction to both Interstellar and Dunkirk, though the latter I still find hard to listen to sometimes.

    I'm in that place with his score for Dark Phoenix right now. It didn't do much for me on first watch and first listen, and certainly does sound like Zimmer on autopilot.

    None of his recent scores are on the level of his 90s and early 00s output, but I don't think his music is as cut and dried, simple loud noises and banging, as some think it is; the fast food metaphor in particular doesn't really work for me, as someone who enjoys many of his scores more now than I did when they were first released.

    Believe it or not, I'm actually expecting the same for his Bond score. So either way, whether I like it straight off the bat or come to like it later, I'll probably end up enjoying it. What will make it stand out amongst his other works is just how much influence he takes from Bond's musical history.

    We shall see.
  • mtmmtm United Kingdom
    edited January 2020 Posts: 16,344
    boldfinger wrote: »
    mtm wrote: »
    boldfinger wrote: »
    .
    mtm wrote: »
    xolani wrote: »
    Hans Zimmer is like a McDonalds burger. Makes you happy for a short moment, gives you a sugar rush - but seldomly more. When you wake up the next day, you won't remember this interesting culinary experience that you had last night. You won't broaden your horizon - but you also won't be disappointed.
    Looking forward to being proven wrong.

    See that’s where I’m at with Arnold, which is why I find so many requests for his return a bit puzzling. A hummable tune occasionally but thin stuff over all. For me, Zimmer has shown many times he can actually conjure a bit of power behind his music if he needs and I’d say folks have posted quite a few examples of that in this thread over the last day or so.
    The only power in Zimmer's tunes comes from layering as many tracks as the most recent speaker system will tolerate. His approach is, the one with the biggest muscle wins, not the one who is most clever or most elegant.

    No I don't think that really rings true when you listen to something like Chevaliers de Sangreal. It's not about being loud at all: it's about giving the music emotional weight.
    Well I was generalising. Obviously Zimmer has more quieter tracks as well. My point is that he rarely gives his instruments clear identities and instead mushes many sounds up. What you describe as being about emotional weight I would in most cases describe as calculated composition without true emotion and inspiration.

    But then you might just be generalising again, writing him off completely based on just a few tracks. I don't find it terribly insightful.
    Red_Snow wrote: »
    This was the same person who first reported te news that Hans Zimmer was connected to NTTD:
    http://www.hans-zimmer.com/index.php?rub=fanlatest_comments

    [In respect to why Zimmer isn't scoring Tenet] Because as I said, Tenet was never about scheduling conflict...

    And Hans definitely didn't start Bond just now, but more like more than a month ago. And about being "busy", WW84 & Top Gun are finished or about to be.

    I saw him live in Sydney at the end of last year, and while speaking about his upcoming projects, he mentioned he was next working on a big top secret gig due out next year and that it was something he'd dreamed of working on. He was practically giddy talking about it, even bouncing around on his piano stool. He seemed genuinely excited about it.

    I'd heard the Romer rumours, and was pretty certain he was referring to NTTD. It was the only other big 2020 release he wasn't attached to.

    Oh that's fun! :)
  • LeonardPineLeonardPine The Bar on the Beach
    Posts: 3,996
    I'm assuming it was Fukunaga who wanted Romer for the score. Fair enough, he's obviously used him on other films and is happy with his work, but shouldn't the producer's be choosing the composer? After all a Bond film takes a certain requirement with regards to its music and is a big undertaking, especially for someone like Romer who has never scored anything like Bond before.

    I feel the producer's are giving too much say to these big name director's which started when Mendes was given the job.

    I'm pleased Zimmer has the job as he has brilliantly scored films from all different genre's. But I think the producer's could have saved time and money by choosing the composer themselves in the first place.

    However the film turns out, it's production history is going to make fascinating reading....
  • GadgetManGadgetMan Lagos, Nigeria
    edited January 2020 Posts: 4,247
    Funnily enough, I have the opposite experience with a lot of Zimmer scores. There are many that I didn't really like but came to appreciate more over time, and some really grew on me.

    Man Of Steel, for instance, was a score I was almost allergic to when I first heard it. I couldn't marry Zimmer's approach with the character. But these days, I think the score is superb and I listen to it regularly. Zimmer managed to convey almost all of the same emotions of hope and justice in his music for the character that Williams did with his theme. He just did it his way.

    I had a similar reaction to both Interstellar and Dunkirk, though the latter I still find hard to listen to sometimes.

    I'm in that place with his score for Dark Phoenix right now. It didn't do much for me on first watch and first listen, and certainly does sound like Zimmer on autopilot.

    None of his recent scores are on the level of his 90s and early 00s output, but I don't think his music is as cut and dried, simple loud noises and banging, as some think it is; the fast food metaphor in particular doesn't really work for me, as someone who enjoys many of his scores more now than I did when they were first released.

    Believe it or not, I'm actually expecting the same for his Bond score. So either way, whether I like it straight off the bat or come to like it later, I'll probably end up enjoying it. What will make it stand out amongst his other works is just how much influence he takes from Bond's musical history.

    We shall see.

    I totally agree. And come to even think of it....the Bombastic, Angry opening of YKMN sounds like something Zimmer can actually do....I think based on Zimmer's style, YKMN might actually be Zimmer's Best Bond song. So his score might sound like that....not necessarily bringing back YKMN, but that song's style sounds like something Zimmer can do. If any Bond can accommodate Zimmer's Sound, it's Craig....he's a gritty Bond after all.
  • LeonardPineLeonardPine The Bar on the Beach
    Posts: 3,996
    GadgetMan wrote: »
    Funnily enough, I have the opposite experience with a lot of Zimmer scores. There are many that I didn't really like but came to appreciate more over time, and some really grew on me.

    Man Of Steel, for instance, was a score I was almost allergic to when I first heard it. I couldn't marry Zimmer's approach with the character. But these days, I think the score is superb and I listen to it regularly. Zimmer managed to convey almost all of the same emotions of hope and justice in his music for the character that Williams did with his theme. He just did it his way.

    I had a similar reaction to both Interstellar and Dunkirk, though the latter I still find hard to listen to sometimes.

    I'm in that place with his score for Dark Phoenix right now. It didn't do much for me on first watch and first listen, and certainly does sound like Zimmer on autopilot.

    None of his recent scores are on the level of his 90s and early 00s output, but I don't think his music is as cut and dried, simple loud noises and banging, as some think it is; the fast food metaphor in particular doesn't really work for me, as someone who enjoys many of his scores more now than I did when they were first released.

    Believe it or not, I'm actually expecting the same for his Bond score. So either way, whether I like it straight off the bat or come to like it later, I'll probably end up enjoying it. What will make it stand out amongst his other works is just how much influence he takes from Bond's musical history.

    We shall see.

    I totally agree. And come to even think of it....the Bombastic, Angry opening of YKMN sounds like something Zimmer can actually do....I think based on Zimmer's style, YKMN might actually be Zimmer's Best Bond song. So his score might sound like that....not necessarily bringing back YKMN, but that song's style sounds like something Zimmer can do. If any Bond can accommodate Zimmer's Sound, it's Craig....he's a gritty Bond after all.

    So you're saying Zimmer should emulate David Arnold's style...?

    Irony alert! 🤔
  • GadgetManGadgetMan Lagos, Nigeria
    edited January 2020 Posts: 4,247
    GadgetMan wrote: »
    Funnily enough, I have the opposite experience with a lot of Zimmer scores. There are many that I didn't really like but came to appreciate more over time, and some really grew on me.

    Man Of Steel, for instance, was a score I was almost allergic to when I first heard it. I couldn't marry Zimmer's approach with the character. But these days, I think the score is superb and I listen to it regularly. Zimmer managed to convey almost all of the same emotions of hope and justice in his music for the character that Williams did with his theme. He just did it his way.

    I had a similar reaction to both Interstellar and Dunkirk, though the latter I still find hard to listen to sometimes.

    I'm in that place with his score for Dark Phoenix right now. It didn't do much for me on first watch and first listen, and certainly does sound like Zimmer on autopilot.

    None of his recent scores are on the level of his 90s and early 00s output, but I don't think his music is as cut and dried, simple loud noises and banging, as some think it is; the fast food metaphor in particular doesn't really work for me, as someone who enjoys many of his scores more now than I did when they were first released.

    Believe it or not, I'm actually expecting the same for his Bond score. So either way, whether I like it straight off the bat or come to like it later, I'll probably end up enjoying it. What will make it stand out amongst his other works is just how much influence he takes from Bond's musical history.

    We shall see.

    I totally agree. And come to even think of it....the Bombastic, Angry opening of YKMN sounds like something Zimmer can actually do....I think based on Zimmer's style, YKMN might actually be Zimmer's Best Bond song. So his score might sound like that....not necessarily bringing back YKMN, but that song's style sounds like something Zimmer can do. If any Bond can accommodate Zimmer's Sound, it's Craig....he's a gritty Bond after all.

    So you're saying Zimmer should emulate David Arnold's style...?

    Irony alert! 🤔

    Oh! no, that's not what I meant....I meant Zimmer is often criticized for Being Bombastic. But in truth, the Bond style is indeed Bombastic. Something Barry even said in an interview. All am saying is, a sound like the one in YKMN, is the type of sound one would expect Zimmer to come up with in a Bond film. that is, Loud tracks with the Bond theme around it....coz that song is Bombastic, so is Zimmer. Out of all Craig's theme Songs, if one were to associate one with Zimmer's style, I think it would be YKMN. All am saying is the franchise have already had Big Sounding Music before Zimmer, so Zimmer scoring it....doesn't mean he's here to change the franchise's style. The franchise is not a romantic comedy after all...that one should be worried about having Zimmer on board...and funny enough, Zimmer has even scored a Romantic Comedy before to full Perfection. It just gets to show that before he starts scoring, he knows the kind of film that's in front of him. In recent times, he's been scoring too many Sci-fi & Superhero films...maybe that's why it's often forgotten that he can actually score other films.
  • Junglist_1985Junglist_1985 Los Angeles
    edited January 2020 Posts: 1,030
    Red_Snow wrote: »
    This was the same person who first reported te news that Hans Zimmer was connected to NTTD:
    http://www.hans-zimmer.com/index.php?rub=fanlatest_comments


    I saw him live in Sydney at the end of last year, and while speaking about his upcoming projects, he mentioned he was next working on a big top secret gig due out next year and that it was something he'd dreamed of working on. He was practically giddy talking about it, even bouncing around on his piano stool. He seemed genuinely excited about it.

    I'd heard the Romer rumours, and was pretty certain he was referring to NTTD. It was the only other big 2020 release he wasn't attached to.

    Wow! Based on a quick search this show happened around Oct 6, 2019, which means Zimmer has been at work on NTTD for at least 3 months already!!
  • 00Dalton700Dalton7 Portsmouth
    Posts: 78
    Univex wrote: »
    He had little time to do Pirates, and that turned out as iconic as it could ever be.
    And those who say his scores all sound alike clearly don't know all of his music. He's very eclectic. And has brewed some stellar composers, such as Balfe, in his team.
    It's been six years since I was this interested in a Bond score. If it turns out to be bad, I'll be the first one to say so, trust me.

    But remember it was Klaus Badelt that score the first pirates not Zimmer and most of the melodies and the main theme we’re lifted from the original score. One Zimmer didn’t write.
    Walecs wrote: »
    The main theme from Pirates of the Caribbean is iconic, nothing else about the score is though.

    I disagree here as despite Zimmer taking over from the original films composer there are newer melodies in the sequels that stand out as much as the main theme.

    As for Zimmer and Bond meant to be proven wrong in two months time!

    I remember finding Alan Silvestri’s score for Avengers very anticlimactic when I first heard it and after several rewatches and the passage of time it’s become one of the most instantly recognisable themes of the last decade.
  • A Hans Zimmer Bond score is something I’ve ALWAYS wanted but wasn’t sure would ever happen. I know there’s the reputation for he and RCP pumping out generic scores, but The Dark Knight, Rush, Interstellar, and Inception are some of my favourite scores in recent memory, and while some of his lesser scores can be a bit uninspired, I think he’d have something special in store for Bond, especially if the film is as special as it’s being made out to be. If we get anything close to his work on Inception (which I find to be very Bondian) I’ll be thrilled.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    edited January 2020 Posts: 8,207
    00Dalton7 wrote: »
    Univex wrote: »
    He had little time to do Pirates, and that turned out as iconic as it could ever be.
    And those who say his scores all sound alike clearly don't know all of his music. He's very eclectic. And has brewed some stellar composers, such as Balfe, in his team.
    It's been six years since I was this interested in a Bond score. If it turns out to be bad, I'll be the first one to say so, trust me.

    But remember it was Klaus Badelt that score the first pirates not Zimmer and most of the melodies and the main theme we’re lifted from the original score. One Zimmer didn’t write.

    Zimmer did write the main theme for Pirates, as far as I know. Badelt was credited for the rest (though there were a lot of hands involved in that score), but almost all of the main themes are definitely from Zimmer's pen. He was just too busy to be involved in the orchestration of the score.
  • edited January 2020 Posts: 11,425
    This is amazing news. Could not be happier.

    I've literally lost count of the number of times I've watched a movie, thought the score was awesome and then found out it was Zimmer.

    NTTD is shaping up nicely.

    I just really hope Zimmer has the time and willingness to collaborate with the title song artist. I want the title track woven into the score. If he isn't able to do this I will be disappointed.
    But anyway, very happy he is on board.
  • Posts: 1,858
    All I can say is that it will be interesting to see the reaction here once one of the Zimmer Bond tracks is released.
  • DoctorNoDoctorNo USA-Maryland
    Posts: 755
    boldfinger wrote: »
    I did not say his scores are too muscular. But Inception is a good example of his layering technique, where you cannot hear anymore what instruments are being used. I'm not saying this is a bad thing, but Zimmer many times disguises nonexistent compositions under this type of sound, which makes it exciting in the first moment and boring when the ear wants to listen deeper.

    Yeah, this is how I feel when I listen to a lot his stuff... it’s like I’m hearing what may be good music underneath the Trans Siberian Orchestration and I want it to come through, but I’m just left with this overpowering sound of something I don’t want to keep listening to.

    I suspect I’ll like the score while watching the movie the first time, but be frustrated when trying to enjoy listening to it thereafter, certainly by itself. I’d be thrilled to be proved wrong though.
  • mtmmtm United Kingdom
    Posts: 16,344
    I'm assuming it was Fukunaga who wanted Romer for the score. Fair enough, he's obviously used him on other films and is happy with his work, but shouldn't the producer's be choosing the composer? After all a Bond film takes a certain requirement with regards to its music and is a big undertaking, especially for someone like Romer who has never scored anything like Bond before.

    I feel the producer's are giving too much say to these big name director's which started when Mendes was given the job.

    I'm pleased Zimmer has the job as he has brilliantly scored films from all different genre's. But I think the producer's could have saved time and money by choosing the composer themselves in the first place.

    However the film turns out, it's production history is going to make fascinating reading....

    I think they do actually give their directors quite a lot of freedom to pick people and make decisions.
  • Posts: 11,425
    This means that Hans Zimmer is doing the soundtrack to 4 major 2020 films: No Time To Die, Dune, Wonder Woman 1984 and Top Gun: Maverick.

    Hiring a guy who is busy doing 3 other films and not hiring David Arnold, probably means Arnold is finished with Bond for good.

    I sincerely hope so.

    I was hoping Arnold would return at some point, but after what just happened, I think that ship has sailed.

    The Craig era has increasingly brought about higher calibre talent. I think EoN have grown out of Arnold. Maybe Romer was to placate Fukunaga to a degree, and it just didn't work out. Whatever the reasons, I hope he never returns with his Poundshop John Barry schtick. Bond deserves better.

    Don't forget Craig's producer role. He may have vetoed Arnold
  • Posts: 11,425
    This means that Hans Zimmer is doing the soundtrack to 4 major 2020 films: No Time To Die, Dune, Wonder Woman 1984 and Top Gun: Maverick.

    Hiring a guy who is busy doing 3 other films and not hiring David Arnold, probably means Arnold is finished with Bond for good.

    I sincerely hope so.

    I was hoping Arnold would return at some point, but after what just happened, I think that ship has sailed.

    The Craig era has increasingly brought about higher calibre talent. I think EoN have grown out of Arnold. Maybe Romer was to placate Fukunaga to a degree, and it just didn't work out. Whatever the reasons, I hope he never returns with his Poundshop John Barry schtick. Bond deserves better.

    Don't forget Craig's producer role. He may have vetoed Arnold
    patb wrote: »
    The only thing I can add re Zimmer is that IMHO, when he gets it right, he gets it very right (if that makes sense?)


    Definitely. And he will have been waiting his whole life for this gig.
  • Posts: 11,425
    Zekidk wrote: »
    j_w_pepper wrote: »
    my impression is that he keeps delivering industrial-type, generic, boring and repetitive stuff from his composing software.

    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.

    Completely agree on his versatility. I remember thinking the 12 Years a Slave score was fantastic while watching the film and hey presto, guess who?
  • Posts: 11,425
    I like him, but there were moments during Interstellar that it sounded like he fell asleep on his keyboard.

    Maybe he did. Nolan's films can be painful at times.
  • edited January 2020 Posts: 11,425
    xolani wrote: »
    Hans Zimmer is like a McDonalds burger. Makes you happy for a short moment, gives you a sugar rush - but seldomly more. When you wake up the next day, you won't remember this interesting culinary experience that you had last night. You won't broaden your horizon - but you also won't be disappointed.
    Looking forward to being proven wrong.

    I will take not being disappointed anyday over Newman or Romer.

    People talk about forgettable film music - that's the definition of Newman. Barely a memorable theme in his entire back catalogue. Zimmer wipes the floor with him.
  • edited January 2020 Posts: 3,274
    patb wrote: »
    That was absolutely amazing. Thank you for posting! That piece alone makes me want to rewatch 'Rush'.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,207
    Zekidk wrote: »
    patb wrote: »
    That was absolutely amazing. Thank you for posting! That piece alone makes me want to rewatch 'Rush'.

    Beautiful performance of a great piece of music.
  • DarthDimiDarthDimi Behind you!Moderator
    Posts: 24,161
    Man Of Steel, for instance, was a score I was almost allergic to when I first heard it. I couldn't marry Zimmer's approach with the character. But these days, I think the score is superb and I listen to it regularly. Zimmer managed to convey almost all of the same emotions of hope and justice in his music for the character that Williams did with his theme. He just did it his way.

    Same here. Action and emotion combined into one.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,207
    DarthDimi wrote: »
    Man Of Steel, for instance, was a score I was almost allergic to when I first heard it. I couldn't marry Zimmer's approach with the character. But these days, I think the score is superb and I listen to it regularly. Zimmer managed to convey almost all of the same emotions of hope and justice in his music for the character that Williams did with his theme. He just did it his way.

    Same here. Action and emotion combined into one.

    Not sure if you've heard this before, @DarthDimi, but I really enjoy it. Especially after the minute mark.

  • DarthDimiDarthDimi Behind you!Moderator
    Posts: 24,161
    DarthDimi wrote: »
    Man Of Steel, for instance, was a score I was almost allergic to when I first heard it. I couldn't marry Zimmer's approach with the character. But these days, I think the score is superb and I listen to it regularly. Zimmer managed to convey almost all of the same emotions of hope and justice in his music for the character that Williams did with his theme. He just did it his way.

    Same here. Action and emotion combined into one.

    Not sure if you've heard this before, @DarthDimi, but I really enjoy it. Especially after the minute mark.


    That's excellent stuff! :D
  • mtmmtm United Kingdom
    edited January 2020 Posts: 16,344
    DarthDimi wrote: »
    Man Of Steel, for instance, was a score I was almost allergic to when I first heard it. I couldn't marry Zimmer's approach with the character. But these days, I think the score is superb and I listen to it regularly. Zimmer managed to convey almost all of the same emotions of hope and justice in his music for the character that Williams did with his theme. He just did it his way.

    Same here. Action and emotion combined into one.

    Not sure if you've heard this before, @DarthDimi, but I really enjoy it. Especially after the minute mark.


    I think I remember hearing that before: it’s a lot of fun. I do remember rather liking his MoS theme: it feels just right. I like the build to it, like he is flying higher and higher. Rather like how Elfman’s Spider Man theme has a go at evoking heights and swinging between buildings. But obviously if you’re competing with the Williams Superman theme you’re not going to win! :)

    I saw a new film the other day and they definitely seem to have decided to use the JW theme; I can’t blame them!
  • GadgetManGadgetMan Lagos, Nigeria
    Posts: 4,247
    It's now highly likely that Eon might not have really liked Newman's effort too....but coz Newman is such a prominent Composer in Hollywood, it might have been a bit harder to dismiss him. Romer on the other Hand, is young and almost obscure....so it was easier to get rid of him. Am sure Eon had always known Romer could never create a suitable Bond score. But they just wanted to please Fukunaga by allowing Romer try....so Fukunaga himself would see the final output for himself, which would justify Eon's reason of dismissing Romer, without making Fukunaga unhappy.
  • GadgetMan wrote: »
    It's now highly likely that Eon might not have really liked Newman's effort too....but coz Newman is such a prominent Composer in Hollywood, it might have been a bit harder to dismiss him. Romer on the other Hand, is young and almost obscure....so it was easier to get rid of him. Am sure Eon had always known Romer could never create a suitable Bond score. But they just wanted to please Fukunaga by allowing Romer try....so Fukunaga himself would see the final output for himself, which would justify Eon's reason of dismissing Romer, without making Fukunaga unhappy.

    It may not have been super popular among the fan base, but I don’t see any reason as to why EON wouldn’t have liked Newman’s score and they certainly wouldn’t have had him come back for Spectre if that were the case. In fact, Skyfall earned the first Oscar nomination for Best Original Score since The Spy Who Loved Me. It may not have been Arnold or Barry, but Newman’s contributions (if unspectacular) fit very well within the parameters of what to expect from a Bond score. Romer, on the other hand, has a style that’s totally incongruous to Hollywood blockbusters, let alone a Bond film so it’s totally understandable that EON may not be happy with his take. It’s interesting that they’ve done as big of a 180 as possible going from Romer to the modern king of Hollywood blockbuster scores. I think we’ve got something special in store, especially if it’s true that Zimmer has been working on this for some time already. If there’s anyone who’d understand the iconic nature and importance of Bond scores in film history, it’d be Zimmer, and I doubt he’d half-ass his contribution to that legacy.
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