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

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  • TripAcesTripAces Universal Exports
    Posts: 4,585
    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.

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  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,188
    Like Newman or not, he’s not anywhere near as polarizing as Eric Serra was so I see no reason for EON to dislike his efforts.
  • GadgetManGadgetMan Lagos, Nigeria
    edited January 2020 Posts: 4,247
    Yeah, anything's possible....it's just a thought. I like SF's score. Remember as Good as Shirley Bassey's 'Goldfinger' & 'Diamonds are Forever' were, Harry Saltzman hated them. But the songs still made it to the film. Coz he wasn't the Sole Producer....that's why I said 'Eon Might not have really liked Newman's Effort'. And with Eon desperate to make a better Bond film than QoS(although I like QoS) the musical aspect might have been the least of their worries, coz after all QoS had a brilliant score. And when a Director who made you a billion returns with the same Composer, even if you don't like the Composer's work.....would it be wise to tell that to a director you desperately need?....You might lose the director. Still these are just my thoughts. Nothing's written in stone....but you never know.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,188
    Maybe they never liked David Arnold, but he was cheap to pay and delivered Barry sounding music that was passable and were content to keep him around until another director suggested looking at a new composer, which lead to an Oscar nominated score that made EON ecstatic and willing to look for different composers from then on, feeling Arnold had his time.

    Nothing written in stone, but you never know...
  • GadgetManGadgetMan Lagos, Nigeria
    edited January 2020 Posts: 4,247
    Yeah, although I like Arnold & would like to think that's not the case....but I will try not to be bias. But yeah, maybe that's also possible. But am hoping it's not though....Coz I happen to like Arnold.
  • edited January 2020 Posts: 11,425
    Didn't EON have to apply pressure to Newman to incorporate the theme from Adele's song into the movie score? It gets a brief reprise when Bond arrives at the Macau casino but Newman got one of his minions to score it.

    Look, T. Newman is a big name in film music. I am sure EON had no issues with Mendes bringing him on board. Whether EON liked the end result is another matter. I rewatched SF last night for the first time in ages and the music is pretty generic and forgettable. There's not really a single cue or melody that stands out for me personally. It's music largely devoid of personality. Some of it is effective in the specific scene but that is about as generously as I can put it. But at the same time it's not a fail. It does a job.

    I imagine EON just accepted it. It works, but most of us agree there's nothing very special about the SF score.

    And after the success of SF there was obviously no way that EON would refuse Newman's return.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,188
    Getafix wrote: »
    most of us agree there's nothing very special about the SF score.

    Most fans don’t know any better. For example: their reaction to Eric Serra’s score.
  • Posts: 4,044
    Didn’t someone else score the SF and TWOTW instrumental cues rather than Newman?
  • GadgetManGadgetMan Lagos, Nigeria
    edited January 2020 Posts: 4,247
    Yeah, another thing is had Newman scored Goldeneye, the track ' A Pleasant Drive In St. Petersburg' might have been accepted by Eon....Just Maybe. Coz even in the 90s Newman was already a prominent Composer. Like Romer, Serra was young & somewhat obscure....so it was easy to bring another Composer to score a scene Serra had already scored...which to be honest was quite embarrassing. But i still like John Altman's 'Tank Chase Around St. Petersburg' & Eric Serra's 'A Pleasant Drive In St. Petersburg'.....I think it works as a listening experience. But of course, Altman's version was chosen coz it was more traditional.

    Another Example is Bill Conti's 'Runaway' from FYEO's score. Although, the track works as listening experience & and somehow fits Moore's Playful portrayal of Bond. I don't think Barry would have been that playful with that scene, considering FYEO was a more grounded Bond film. And Conti was the guy who scored Rocky....meaning he had a huge Profile already. So like Newman, he was definitely going to be given freedom....at least to a certain degree. One huge plus though, was Conti was able to work with Sheena Easton....so he weaved the title track into the score. Just like how Martin & Hamlisch did too to great effect. I recently started warming up to Michael Kamen's LTK'S score....and I couldn't help, but think had he used the title track in his score, it might have been instantly liked and would have been a better score. Strangely enough, I like Serra's score even without him weaving the title song into his score. One can only imagine how ultra-brilliant that score would have been if he did that....but still I like the score.
  • DrClatterhandDrClatterhand United Kingdom
    Posts: 349
    Outside of the Barry scores, Newman's Skyfall one is my favourite. The whole Shanghai sequence is elevated by his fantastic music. It's all really solid. Different strokes for different folks...
  • Posts: 11,425
    vzok wrote: »
    Didn’t someone else score the SF and TWOTW instrumental cues rather than Newman?

    Yes
  • mtmmtm United Kingdom
    Posts: 16,413
    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.

    I don’t think there’s any reason to think that, no.
    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.

    Yes, good post.
    Getafix wrote: »
    Didn't EON have to apply pressure to Newman to incorporate the theme from Adele's song into the movie score? It gets a brief reprise when Bond arrives at the Macau casino but Newman got one of his minions to score it.

    I’m not aware of that: where did you hear that? I heard him being interviewed about it and he seemed more than happy.
    GadgetMan wrote: »
    Yeah, another thing is had Newman scored Goldeneye, the track ' A Pleasant Drive In St. Petersburg' might have been accepted by Eon....Just Maybe. Coz even in the 90s Newman was already a prominent Composer. Like Romer, Serra was young & somewhat obscure....so it was easy to bring another Composer to score a scene Serra had already scored...which to be honest was quite embarrassing. But i still like John Altman's 'Tank Chase Around St. Petersburg' & Eric Serra's 'A Pleasant Drive In St. Petersburg'.....I think it works as a listening experience. But of course, Altman's version was chosen coz it was more traditional.

    Another Example is Bill Conti's 'Runaway' from FYEO's score. Although, the track works as listening experience & and somehow fits Moore's Playful portrayal of Bond. I don't think Barry would have been that playful with that scene, considering FYEO was a more grounded Bond film. And Conti was the guy who scored Rocky....meaning he had a huge Profile already. So like Newman, he was definitely going to be given freedom....at least to a certain degree. One huge plus though, was Conti was able to work with Sheena Easton....so he weaved the title track into the score. Just like how Martin & Hamlisch did too to great effect. I recently started warming up to Michael Kamen's LTK'S score....and I couldn't help, but think had he used the title track in his score, it might have been instantly liked and would have been a better score. Strangely enough, I like Serra's score even without him weaving the title song into his score. One can only imagine how ultra-brilliant that score would have been if he did that....but still I like the score.

    I don’t think Runaway is particularly playful: it’s one of the more dramatic bits of music in that score.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,188
    Ah, the good ole “Newman hates Bond” narrative.
  • edited January 2020 Posts: 2,165
    Ah, the good ole “Newman hates Bond” narrative.

    I dont get that. Its not like he’s in a position where he has to grab every project going his way, he's such an established composer that he could have turned it down if he wasn't comfortable with what it requires.

    Music scores are a collaboration with many different people all wanting different things, and as the composer, you have to try and navigate all of that, keeping everyone happy, whilst keeping yourself happy. Not an easy task, especially on something as big as Bond where everyone has an opinion of what it should “sound like”.

    For what its worth I think Newman did a pretty good job with both scores. I know Spectre gets a lot of stick for its use of Skyfall’s cues, but that was Mendes and (editor) Lee Smith’s decision, not his.
  • Personally, I love Zimmer's style. He isn't one for subtly and I think that bombastic and 'big' sound is needed for Bond. I was very unimpressed by the recent Steve McQueen film 'Widows' - however, the score was terrific. Especially the moment where the heist kicks into gear. At that point the film just elevates above its bland genre tropes and I feel a large part of that is Zimmer's score really kicking in......just imagine the intense chase sequence whilst this plays:



    It's only recently since his collaborations with Nolan that Zimmer has really ascended to the heights he has. I imagine Bond has been on his radar since 2005. If you think about it, Barbara Broccoli has only worked with three composers since taking over the series:
    1. Eric Serra: Probably something she considers a misstep. Too experimental and of its time.
    2. David Arnold: I imagine she thinks he was perfect. Ideally, I imagine she'd like to keep him on the books. But probably not 'starry' enough for the second wave of Craig films. but he's a company man.
    3. Thomas Newman: I think she would have been very sceptical till the last second. She probably didn't like those scores.

    I also think that Broccoli convinced Fukunaga to drop Romer. I think Fukunaga was more complicit in the decision-making than we think....I mean he seems very happy if Instagram and the GMA appearance are anything to go by. I think Romer's work was just wrong for the film - a director has to acknowledge that.
  • GadgetManGadgetMan Lagos, Nigeria
    Posts: 4,247
    Composing for Bond even got Harder....coz a certain guy who scored TND, TWINE, DAD, CR & QoS often gets criticized for sounding like Barry. Funny thing is, to every Bond fan....Barry is the definitive Bond Composer. So if Barry himself approved the sound of the guy who scored TND, and the guy's style which still maintains Barry's style that Bond fans love, is still not liked....one now has to wonder which other style of scoring a Bond film might be accepted. Hans Zimmer might just look back in time and Revive the old Bond style, which is Barry....and mix it with his own style & gets acclaim for it....which might be funny.
  • WalecsWalecs On Her Majesty's Secret Service
    Posts: 3,157
    vzok wrote: »
    Didn’t someone else score the SF and TWOTW instrumental cues rather than Newman?

    Yes
  • edited January 2020 Posts: 623
    I'm looking forward to the score. Newman's stuff worked fine in the films, but was less listenable to me than Arnold's stuff. For instance, I can put a track like Come in 007 Your Time is Up on my Fiio on the way to the shops and really get into it in the same way as Bond '77, or the OHMSS theme. They appeal to my pop sensibilities in that they have a stonking tune. That's the sort of thing I'd like to have back. And really nice orchestrated ones like Capsule in Space, too. Yea.
    That said, the only two soundtracks that I think work against the film, are GE and FYEO. Newman, after all said and done, created the requisite tension and excitement with his scores, I doubt anyone would deny that.
  • suavejmfsuavejmf Harrogate, North Yorkshire, England
    edited January 2020 Posts: 5,131
    Zimmer will be interesting. But why wasn't Arnold approached? His scores for CR & QooS were amazing as was the 3x Brosnan films he scored (bar the 'drum & Base' elements). He sounded like Barry....and all Bond film scores should sound like Barry.

    A tad insulting IMO.

    It's a shame the producers didn't sack Serra in 94/ 95 much like Roamer in 2020.
  • Posts: 5,767
    Univex wrote: »
    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 ;)
    @Univex, no harm done my dear friend.


    mtm wrote: »
    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.
    Ah definitely no, good sir, as a cinema junkie I can't avoid getting a lot of Zimmer in my ears. And I can assure you, I will be very happy if NTTD's score turns out to my liking, no matter what name is attached to it.





  • Posts: 3,276
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  • GadgetManGadgetMan Lagos, Nigeria
    Posts: 4,247
    Zekidk wrote: »
    From Facebook:

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    Splendid!....How Reassuring.
  • Posts: 3,164
    Zekidk wrote: »
    From Facebook:

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    I don't believe that's Fukunaga's official page.
  • Posts: 11,425
    mtm wrote: »
    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.

    I don’t think there’s any reason to think that, no.
    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.

    Yes, good post.
    Getafix wrote: »
    Didn't EON have to apply pressure to Newman to incorporate the theme from Adele's song into the movie score? It gets a brief reprise when Bond arrives at the Macau casino but Newman got one of his minions to score it.

    I’m not aware of that: where did you hear that? I heard him being interviewed about it and he seemed more than happy.
    GadgetMan wrote: »
    Yeah, another thing is had Newman scored Goldeneye, the track ' A Pleasant Drive In St. Petersburg' might have been accepted by Eon....Just Maybe. Coz even in the 90s Newman was already a prominent Composer. Like Romer, Serra was young & somewhat obscure....so it was easy to bring another Composer to score a scene Serra had already scored...which to be honest was quite embarrassing. But i still like John Altman's 'Tank Chase Around St. Petersburg' & Eric Serra's 'A Pleasant Drive In St. Petersburg'.....I think it works as a listening experience. But of course, Altman's version was chosen coz it was more traditional.

    Another Example is Bill Conti's 'Runaway' from FYEO's score. Although, the track works as listening experience & and somehow fits Moore's Playful portrayal of Bond. I don't think Barry would have been that playful with that scene, considering FYEO was a more grounded Bond film. And Conti was the guy who scored Rocky....meaning he had a huge Profile already. So like Newman, he was definitely going to be given freedom....at least to a certain degree. One huge plus though, was Conti was able to work with Sheena Easton....so he weaved the title track into the score. Just like how Martin & Hamlisch did too to great effect. I recently started warming up to Michael Kamen's LTK'S score....and I couldn't help, but think had he used the title track in his score, it might have been instantly liked and would have been a better score. Strangely enough, I like Serra's score even without him weaving the title song into his score. One can only imagine how ultra-brilliant that score would have been if he did that....but still I like the score.

    I don’t think Runaway is particularly playful: it’s one of the more dramatic bits of music in that score.

    95% certain Newman was strongly resistant to incorporating Adele and Smith's songs into the scores
  • mtmmtm United Kingdom
    Posts: 16,413
    shamanimal wrote: »
    I'm looking forward to the score. Newman's stuff worked fine in the films, but was less listenable to me than Arnold's stuff. For instance, I can put a track like Come in 007 Your Time is Up on my Fiio on the way to the shops and really get into it in the same way as Bond '77, or the OHMSS theme. They appeal to my pop sensibilities in that they have a stonking tune. That's the sort of thing I'd like to have back. And really nice orchestrated ones like Capsule in Space, too. Yea.
    That said, the only two soundtracks that I think work against the film, are GE and FYEO. Newman, after all said and done, created the requisite tension and excitement with his scores, I doubt anyone would deny that.

    Gosh I even rather like the FYEO one. I think it might actually be the most exciting gunbarrel! :) And Runaway is fairly cheesy, instrument-wise, but it's hard to imagine Barry turning out something as full-on and exciting at the time.
  • mtmmtm United Kingdom
    Posts: 16,413
    Getafix wrote: »
    mtm wrote: »
    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.

    I don’t think there’s any reason to think that, no.
    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.

    Yes, good post.
    Getafix wrote: »
    Didn't EON have to apply pressure to Newman to incorporate the theme from Adele's song into the movie score? It gets a brief reprise when Bond arrives at the Macau casino but Newman got one of his minions to score it.

    I’m not aware of that: where did you hear that? I heard him being interviewed about it and he seemed more than happy.
    GadgetMan wrote: »
    Yeah, another thing is had Newman scored Goldeneye, the track ' A Pleasant Drive In St. Petersburg' might have been accepted by Eon....Just Maybe. Coz even in the 90s Newman was already a prominent Composer. Like Romer, Serra was young & somewhat obscure....so it was easy to bring another Composer to score a scene Serra had already scored...which to be honest was quite embarrassing. But i still like John Altman's 'Tank Chase Around St. Petersburg' & Eric Serra's 'A Pleasant Drive In St. Petersburg'.....I think it works as a listening experience. But of course, Altman's version was chosen coz it was more traditional.

    Another Example is Bill Conti's 'Runaway' from FYEO's score. Although, the track works as listening experience & and somehow fits Moore's Playful portrayal of Bond. I don't think Barry would have been that playful with that scene, considering FYEO was a more grounded Bond film. And Conti was the guy who scored Rocky....meaning he had a huge Profile already. So like Newman, he was definitely going to be given freedom....at least to a certain degree. One huge plus though, was Conti was able to work with Sheena Easton....so he weaved the title track into the score. Just like how Martin & Hamlisch did too to great effect. I recently started warming up to Michael Kamen's LTK'S score....and I couldn't help, but think had he used the title track in his score, it might have been instantly liked and would have been a better score. Strangely enough, I like Serra's score even without him weaving the title song into his score. One can only imagine how ultra-brilliant that score would have been if he did that....but still I like the score.

    I don’t think Runaway is particularly playful: it’s one of the more dramatic bits of music in that score.

    95% certain Newman was strongly resistant to incorporating Adele and Smith's songs into the scores

    Based on what? I'd need more info than just how the score turned out as there can be many influences on that.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,188
    Personally, I love Zimmer's style. He isn't one for subtly and I think that bombastic and 'big' sound is needed for Bond. I was very unimpressed by the recent Steve McQueen film 'Widows' - however, the score was terrific. Especially the moment where the heist kicks into gear. At that point the film just elevates above its bland genre tropes and I feel a large part of that is Zimmer's score really kicking in......just imagine the intense chase sequence whilst this plays:



    It's only recently since his collaborations with Nolan that Zimmer has really ascended to the heights he has. I imagine Bond has been on his radar since 2005. If you think about it, Barbara Broccoli has only worked with three composers since taking over the series:
    1. Eric Serra: Probably something she considers a misstep. Too experimental and of its time.
    2. David Arnold: I imagine she thinks he was perfect. Ideally, I imagine she'd like to keep him on the books. But probably not 'starry' enough for the second wave of Craig films. but he's a company man.
    3. Thomas Newman: I think she would have been very sceptical till the last second. She probably didn't like those scores.

    I also think that Broccoli convinced Fukunaga to drop Romer. I think Fukunaga was more complicit in the decision-making than we think....I mean he seems very happy if Instagram and the GMA appearance are anything to go by. I think Romer's work was just wrong for the film - a director has to acknowledge that.

    It’s worth noting Serra was recommendation by John Barry because he loved the score for LEON: THE PROFESSIONAL. For Arnold I remember a claim by Broccoli in some interview that she was handed a CD album of INDEPENDENCE DAY by a store clerk, but it conflicts with the “recommended by Barry” talking point.
  • edited January 2020 Posts: 4,409
    Personally, I love Zimmer's style. He isn't one for subtly and I think that bombastic and 'big' sound is needed for Bond. I was very unimpressed by the recent Steve McQueen film 'Widows' - however, the score was terrific. Especially the moment where the heist kicks into gear. At that point the film just elevates above its bland genre tropes and I feel a large part of that is Zimmer's score really kicking in......just imagine the intense chase sequence whilst this plays:



    It's only recently since his collaborations with Nolan that Zimmer has really ascended to the heights he has. I imagine Bond has been on his radar since 2005. If you think about it, Barbara Broccoli has only worked with three composers since taking over the series:
    1. Eric Serra: Probably something she considers a misstep. Too experimental and of its time.
    2. David Arnold: I imagine she thinks he was perfect. Ideally, I imagine she'd like to keep him on the books. But probably not 'starry' enough for the second wave of Craig films. but he's a company man.
    3. Thomas Newman: I think she would have been very sceptical till the last second. She probably didn't like those scores.

    I also think that Broccoli convinced Fukunaga to drop Romer. I think Fukunaga was more complicit in the decision-making than we think....I mean he seems very happy if Instagram and the GMA appearance are anything to go by. I think Romer's work was just wrong for the film - a director has to acknowledge that.

    It’s worth noting Serra was recommendation by John Barry because he loved the score for LEON: THE PROFESSIONAL. For Arnold I remember a claim by Broccoli in some interview that she was handed a CD album of INDEPENDENCE DAY by a store clerk, but it conflicts with the “recommended by Barry” talking point.

    Cool.

    Let's be real though - Hans Zimmer has been the heir apparent to the Bond composer role for a very long while. Now he is here, you can wave goodbye to David Arnold ever returning.

    giphy.gif
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    edited January 2020 Posts: 8,217
    Personally, I love Zimmer's style. He isn't one for subtly and I think that bombastic and 'big' sound is needed for Bond. I was very unimpressed by the recent Steve McQueen film 'Widows' - however, the score was terrific. Especially the moment where the heist kicks into gear. At that point the film just elevates above its bland genre tropes and I feel a large part of that is Zimmer's score really kicking in......just imagine the intense chase sequence whilst this plays:



    It's only recently since his collaborations with Nolan that Zimmer has really ascended to the heights he has. I imagine Bond has been on his radar since 2005. If you think about it, Barbara Broccoli has only worked with three composers since taking over the series:
    1. Eric Serra: Probably something she considers a misstep. Too experimental and of its time.
    2. David Arnold: I imagine she thinks he was perfect. Ideally, I imagine she'd like to keep him on the books. But probably not 'starry' enough for the second wave of Craig films. but he's a company man.
    3. Thomas Newman: I think she would have been very sceptical till the last second. She probably didn't like those scores.

    I also think that Broccoli convinced Fukunaga to drop Romer. I think Fukunaga was more complicit in the decision-making than we think....I mean he seems very happy if Instagram and the GMA appearance are anything to go by. I think Romer's work was just wrong for the film - a director has to acknowledge that.

    It’s worth noting Serra was recommendation by John Barry because he loved the score for LEON: THE PROFESSIONAL. For Arnold I remember a claim by Broccoli in some interview that she was handed a CD album of INDEPENDENCE DAY by a store clerk, but it conflicts with the “recommended by Barry” talking point.

    Cool.

    Let's be real though - Hans Zimmer has been the heir apparent to the Bond composer role for a very long while. Now he is here, you can wave goodbye to David Arnold ever returning.

    giphy.gif

    That depends on whether he succeeds and returns for another after this one, surely?

    And if that ends up being the case, it's not just true for Arnold, it goes for almost every other potential name that has been mentioned in this thread for the last year or so. I'm not so sure that's a good thing either. There's a lot of talented names there.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    edited January 2020 Posts: 8,188
    Time will tell if Zimmer becomes their go-to guy. I do think another reason Arnold might not have been asked back is because he never got an Oscar nomination after they submitted his work five times, and now EON is just going for Oscar winning composers. The reason that Radiohead song was ultimately rejected was because their work song would be ineligible for an Oscar nomination due to being based off old material.
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